The Evolution of Vampires in Folklore Mythology and Popular Fiction
- alanbjones
- 15 hours ago
- 9 min read
Vampires have long intrigued us, invoking fear and fascination across cultures and eras. From eerie legends to beloved characters in books and films, the vampire myth has undergone remarkable transformations over time.
Let's go on a journey through the history of vampires, uncovering how these nocturnal beings have evolved to reflect the fears and desires of society throughout the ages.
Origins in Folklore
The roots of vampire mythology can be traced back to ancient civilisations, where fears surrounding death led to various superstitions and rituals.
For instance, in Slavic folklore, legends of the "vampir" or "upir" emerged from tales of corpses rising to feast on the living. These early figures were not the romantic heroes we see today but rather gruesome beings that embodied death and disease.
Similarly, ancient Greece and Rome featured vampire-like figures, such as the "Lamia," a child-eating demon, and the "Strigoi," known for witchcraft and deceit. These tales served as warnings about the consequences of immoral behaviour, contributing to a collective fear of the undead.
As vampire folklore spread, diverse regions developed unique characteristics. For example, in Mediterranean cultures, the vampire was often associated with aristocracy and seduction, while in Eastern Europe, they symbolised widespread fears of disease and social instability.
In the 19th century, vampire fears in Europe were fueled by a combination of real-world phenomena and cultural anxieties, notably the spread of disease and the anxieties of a changing society. These fears manifested in both folklore and literature, with the figure of the vampire becoming a powerful symbol of both the unknown and the anxieties of the time.
Mythology: The Vampire Archetype
In mythology, vampires began to take on a more defined form, embodying distinct traits and behaviours.
A central theme was the connection between vampires and blood, representing not just sustenance but also life and immortality. In Mesopotamian beliefs, gods were portrayed as blood drinkers, emphasising the theme of resurrection. It is estimated that over 60% of mythologies worldwide include some form of vampiric entity, suggesting a universal fear of mortality.
The figure of Lilith, from Jewish mythology, illustrates the emergence of this vampiric archetype. Lilith, often seen as Adam's first wife, is known for seducing men at night, reinforcing the image of the dangerous female vampire.
Gallu is a type of demon originating in Mesopotamia, closely associated with Lilith and the Lilitu. They never stop drinking blood, although, unlike most vampires, they also eat human flesh (fun fact: their name is where we get the word “ghoul”).
In Ancient Greece, they were known as gello (later pluralised to gelloudes) and were exclusively female, preying on children. By the 11th century CE they were described as sucking the blood and vital fluids of infants. Over time, they were also blamed for the deaths of pregnant women and fetuses.
In Romanian folklore, strigoi (plural: strigoaică) are supernatural beings, often described as either spirits of the dead who rise from their graves or living individuals with supernatural abilities. They are associated with vampires and are believed to possess the ability to transform into animals, become invisible, and drain the vitality of living beings, sometimes through blood .
The term strigoi is also linked to the Romanian verb "a striga," meaning "to scream," and is thought to be derived from the Latin words "strix" and "striga," which relate to owls and blood-sucking creatures.
Succubi and Incubi are demons from folklore.Succubi are female demons who seduce men in their sleep, while Incubi are male demons who seduce women. Both are said to drain the life force or vitality of their victims, sometimes leading to illness or even death.
The Late Latin word incubus ("a nightmare induced by a demon") is derived from Latin incubō ("nightmare, what lies down on one whilst one sleeps") and further from incubāre ("to lie upon, to hatch").[
One of the earliest evident mentions of a demon sharing qualities with an incubus comes from Mesopotamia on the Sumerian King List, circa 2400 BC, where the hero Gilgamesh's father is listed as Lilu..
Lilu is described as "disturbing" and "seducing" women in their sleep, while Lilitu, a female demon, is described as appearing to men in erotic dreams. Two other corresponding demons also appear in Mesopotamian accounts: Ardat lili, who visits men by night, and Idlu lili, a male counterpart to Ardat lili who visits women by night and begets from them. Ardat lili is derived from ardatu, the word for "a woman of marriageable age", while idlu lili is derived from idlu, meaning a "grown man". These demons were originally storm demons. They eventually became regarded as night demons, potentially due to a mistaken etymology.
The idea of the Vampire, or its close relatives, in ancient myths explored the dual nature of vampires, as both alluring and frightening. This duality revealed human fears about sexuality and the unknown, which continue to influence modern interpretations.
The Birth of Modern Vampire Literature
The modern vampire emerged in the 18th and 19th centuries as literature began to reflect the Romanticism movement's interest in the dark and macabre.
Consider John Polidori's "The Vampyre" (1819), which introduced the sophisticated vampire archetype. The character Lord Ruthven became a template for many vampire figures in literature, showcasing vampires as tragic antiheroes rather than simply monsters.
Bram Stoker's "Dracula" (1897) solidified the vampire's image, integrating themes of forbidden desire and the conflict between modernity and ancient traditions. Count Dracula’s character encapsulated a blend of charm and danger, making him a complex figure rather than a one-dimensional villain.
Stoker adopted specific characteristics of folkloric vampires for his own, such as their aversion to garlic and the notion of staking as a means of killing them. He invented other attributes; for example, Stoker's vampires must be invited into one's home, sleep on earth from their homeland and have no reflection in mirrors.
Sunlight is not fatal to Dracula in the novel—this was an invention of the unauthorised Dracula film Nosferatu (1922).
Some of Stoker's inventions applied unrelated lore to vampires for the first time; for example, Dracula has no reflection because of a folkloric concept that mirrors show the human soul.
Since 1958, it has been frequently claimed that the vampiric antagonist of Bram Stoker's novel Dracula was extensively based on the person of Vlad III, Voivode (Prince) of Wallachia, also known as Vlad Țepeș ('the Impaler') after his favoured method of punishment and execution. This theory was the central theme of Radu Florescu and Raymond McNally's best-selling 1972 book, In Search of Dracula.
Bob Curran, lecturer in Celtic History and Folklore at the University of Ulster, Coleraine, in the Summer 2000 edition of History Ireland, a history magazine based in Ireland, suggested that Stoker may have derived his inspiration from the legend of Abhartach.
There is a place in the parish of Errigal in Londonderry, called Slaghtaverty, but it ought to have been called Laghtaverty, the laght or sepulchral monument of the abhartach [avartagh] or dwarf (see p. 61, supra). This dwarf was a magician, and a dreadful tyrant, and after having perpetrated great cruelties on the people he was at last vanquished and slain by a neighbouring chieftain; some say by Fionn Mac Cumhail. He was buried in a standing posture, but the very next day he appeared in his old haunts, more cruel and vigorous than ever. And the chief slew him a second time and buried him as before, but again he escaped from the grave, and spread terror through the whole country. The chief then consulted a druid, and according to his directions, he slew the dwarf a third time, and buried him in the same place, with his head downwards; which subdued his magical power, so that he never again appeared on earth. The laght raised over the dwarf is still there, and you may hear the legend with much detail from the natives of the place, one of whom told it to me.
Patrick Western: Joyce, The Origin and History of Irish Names of Places
Stoker may have had other influences.
Varney the Vampire; or, the Feast of Blood was a serialised gothic horror story variously attributed to James Malcolm Rymer and Thomas Peckett Prest. It first appeared in 1845–1847 as a series of weekly cheap pamphlets of the kind then known as "penny dreadfuls".
These works laid the foundation for numerous interpretations, transforming vampires into symbols of both societal anxieties and unfulfilled desires, resonating with readers and audiences worldwide.
Vampires in the 20th Century: A Cultural Phenomenon
The early 20th century saw vampires making a significant leap into popular culture.
Classic films like "Nosferatu" (1922) and "Dracula" (1931) redefined the vampire's visual representation, emphasising fear and allure. Bela Lugosi's portrayal of Count Dracula established an iconic image that remains influential today, shaping perceptions of vampires in media.
As societal contexts evolved, so did the portrayals of vampires. For example, during the 1950s, vampires mirrored fears related to nuclear war and societal upheaval, evident in films such as "The Last Man on Earth" (1964). Drastic shifts continued to occur, culminating in the late 20th century's romanticisation of vampires, exemplified by Anne Rice's "The Vampire Chronicles," where vampires were depicted as complex beings grappling with existential dilemmas.
Television series like "Buffy the Vampire Slayer" and "The Vampire Diaries" further expanded the genre, combining horror with romance and relatability. This transformation widened the appeal of vampires, allowing them to resonate with contemporary audiences by addressing their struggles within a humanised context.
Contemporary Vampires: Diversity and Representation
In the 21st century, the portrayal of vampires has expanded to embrace a broader range of identities and stories.
Recent works challenge conventional portrayals, exploring themes of race, sexuality, and gender. The "Twilight" series ignited a global frenzy by presenting a romantic relationship between a human and a vampire, depicting the complexities of teenage love against a fantastical background. Interestingly, the franchise sold over 100 million copies globally, highlighting its immense popularity.
Additionally, films like "What We Do in the Shadows" offer a comedic take on vampires, showcasing them as relatable figures navigating modern life. This evolution shows how vampires have transitioned from fearsome creatures to characters embodying humour and diversity, reflecting the changing values of society.
These shifts signal broader societal changes, including the acceptance and exploration of diverse identities, thus enriching the tapestry of vampire lore.
Why the fascination with Vampire Lore and Legacy
The fascination with vampire lore and legacy stems from a potent blend of fascination with mortality, power, and the exploration of forbidden desires. Vampires, as figures who cheat death, embody both the allure and terror of immortality, while their seductive and dangerous nature allows for explorations of taboo desires and romantic fantasies. This, combined with their diverse and adaptable nature in storytelling, ensures their enduring presence in our cultural consciousness.
1. Mortality and Immortality:
Vampires, existing outside the natural cycle of life and death, tap into our primal fear of mortality while simultaneously offering a tantalising glimpse of what it might be like to transcend it.
The idea of living forever, even with the perceived "curse" of being a vampire, is a powerful one that allows us to explore our anxieties about death and the unknown.
2. Power and Seduction:
Vampires are often depicted as powerful, wealthy, and seductive figures, embodying a dark romanticism that appeals to a broad audience.
They can be both terrifying monsters and alluring antiheroes, allowing for the exploration of themes such as good vs. evil, temptation, and the consequences of unchecked desires.
3. Exploration of Taboo and Forbidden Desires:
Vampire lore often delves into themes of sexuality, violence, and the transgression of societal norms.
Their need for blood can be interpreted as a metaphor for various desires, from intimacy and passion to power and dominance.
This allows for a safe exploration of these darker aspects of human nature within a fictional context.
4. Adaptability and Timelessness:
Vampire stories have evolved over the centuries, reflecting shifting cultural values and anxieties.
From monstrous figures in early folklore to romantic anti-heroes in modern literature and film, vampires have consistently reinvented themselves to resonate with contemporary audiences.
Their ability to adapt to different genres, from horror to romance, ensures their continued relevance and appeal.
5. Connection to Gothic Culture:
Vampires are deeply embedded in Gothic culture, representing themes of darkness, mystery, and the supernatural.
Their association with shadows, forbidden love, and the macabre resonates with the Gothic aesthetic and sensibility.
This connection further solidifies their place as enduring icons in popular culture.
The Journey Ahead
The evolution of vampires reveals humanity's ongoing fascination with themes of death, desire, and the enigmatic. From their haunting origins in folklore to the complex portrayals seen in contemporary fiction, vampires have morphed into multifaceted figures that mirror our deepest anxieties and longings.
As we continue to explore the narratives surrounding these nocturnal beings, it’s exciting to imagine how future generations will interpret the vampire myth. Their story is far from finished, promising adaptation and transformation as society continues to evolve.
Alan /|\
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