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Artwork based on 's, an early influential work of vampire literature. Vampire literature covers the spectrum of literary work concerned principally with the subject of. The literary vampire first appeared in 18th-century poetry, before becoming one of the stock figures of with the publication of 's (1819), which was inspired by the life and legend of. Later influential works include the (1847); 's tale of a, (1872) and the masterpiece of the genre: 's (1897). Some authors created a more 'sympathetic vampire', with Varney being the first example, and in 1986 by in. More recently the genre has been blended with motifs like. Moreover, some modern vampires even feed on, rather than blood.
This section needs additional citations for. Unsourced material may be challenged and removed. (June 2014) The traits of the literary vampire have evolved from the often repulsive figures of folklore.
Fictional vampires can be romantic figures, often described as elegant and sexy (compare demons such as and ). This is in stark contrast to the vampire of Eastern European folklore, which was a horrifying animated corpse.
However, as in folklore, the literary vampire is sustained by drinking blood. They do not need other food, water, or even oxygen. They are sometimes portrayed as being unable to eat human food at all, forcing them to either avoid public dining or mime chewing and eating to deceive their mortal victims. The fictional vampire, however, often has a pale appearance rather than the dark or ruddy skin of folkloric vampires and their skin is cool to the touch. As in folklore literary vampires can usually be warded off with and symbols of Christian faith such as, the, or a.
According to literary scholar in Our Vampires Ourselves, the influence of the moon was seen as dominant in the earliest examples of vampire literature: For at least fifty years after Planche's Vampire, the moon was the central ingredient of vampire iconography; vampire's solitary and repetitive lives consisted of incessant deaths and – when the moon shone down on them – quivering rebirths. Ruthven, Varney and Raby need marriage and blood to replenish their vitality but they turn for renewed life to the moon.a corpse quivering to life under the moon's rays is the central image of midcentury vampire literature; fangs, penetration, sucking and staking are all peripheral to its lunar obsession. Bram Stoker's Dracula was hugely influential in its depiction of vampire traits, some of which are described by the novel's vampire expert. Dracula has the ability to change his shape at will, his featured forms in the novel being that of a wolf, bat, dust and fog. He can also crawl up and down the vertical external walls of his castle, in the manner of a lizard. One very famous trait Stoker added is the inability to be seen in mirrors, which is not found in traditional Eastern European folklore.
Dracula also had protruding teeth, though was preceded in this by Varney the Vampire and Carmilla. In the novel, the vampire hunter Van Helsing prescribes that a vampire be destroyed by a wooden stake (preferably made of ) through the heart, drowning, or incineration.
The vampire's head must be removed from its body, the mouth stuffed with and holy water or relics, the body drawn and quartered, then burned and spread into the four winds, with the head buried on hallowed ground. The destruction of the vampire Lucy follows the three-part process enjoined by Van Helsing (staking, decapitation, and garlic in the mouth). Traditional vampire folklore, followed by Stoker in Dracula does not usually hold that sunlight is fatal to vampires, though they are nocturnal. It is also notable in the novel that Dracula can walk about in the daylight, in bright sunshine, though apparently in discomfort and without the ability to use most of his powers, like turning into mist or a bat. He is still strong and fast enough to struggle with and escape from most of his male pursuers. It is only with the 1922 film that daylight is depicted as deadly to vampires. Such scenes in, most especially the closing scene of the 1958 film in which Count Dracula is burnt by the sun, were very influential on later vampire fiction.
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For instance Anne Rice's vampire Lestat and Chelsea Quinn Yarbro's Count Saint Germain both avoid the lethal effects of daylight by staying closeted indoors during the day. A well-known set of special powers and weaknesses is commonly associated with vampires in contemporary fiction. There is a tendency, however, for authors to pick and choose the ones they like, or find more realistic, and have their characters ridicule the rest as absurd. For example, in the movie, the vampire hunter tells Karen Jenson what kills vampires (stakes, silver, and sunlight), and dismisses tactics seen in vampire movies (namely crosses and running water) as ineffective. Some vampires can fly.
This power may be supernatural levitation, or it may be connected to the vampire's shape-shifting ability. Some traditions hold that a vampire cannot enter a house unless he or she is invited in. Generally, a vampire needs be invited in only once and can then come and go at will. 's novel explored an unusual direction with this myth in having one of the protagonists revoke a vampire's invitation to a house; the vampire was forced to flee the building immediately. This is also featured in the American TV series where Sookie withdraws her invitation on a number of occasions causing vampires to be thrown out by supernatural. Also in when a newly turned vampire wakes up in a house he was not invited into he immediately flees. Some tales maintain that vampires must return to a coffin or to their 'native soil' before sunrise to take their rest safely.
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Others place native soil in their coffins, especially if they have relocated. Downloud gratis serial key untuk epson l1300. Still other vampire stories, such as Le Fanu's, maintain that vampires must return to their coffins, but sleep in several inches of blood as opposed to soil. Vampires are generally held to be unable to bear children, though the concept of a 'half vampire' and similar creatures does exist in folklore and in some modern fiction. Some fictional vampires are fascinated with counting, an idea derived from folk stories about vampires being compelled to stop and count any spilled grain they find in their path. The most famous fictional counting vampire is likely the character on television's. Other examples include a episode of the titled Bad Blood, and the novel,. Some modern fictional vampires are portrayed as having magical powers beyond those originally assigned by myth, typically also possessing the powers of a witch or seer.
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Such examples include from (Drusilla was a seer before she was a vampire, and carried those powers into her undeath), from The Nightshade Chronicles. Also vampires from the Vampire Academy books also known as the moroi are skilled in elemental magic. Also in the Twillight Series certain vampires appear to have special gifts like Edward (telepathy), Alice (visions), Bella (shielding), that are either supernatural or evolved from their own personalities like Victoria (survival instinct). Vampire hybrids.
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