The Living Dead: A Study of the Vampire in Romantic LiteratureIn his Preface to The Living Dead: A Study of the Vampire in Romantic Literature, James Twitchell writes that he is not interested in the current generation of vampires, which he finds "rude, boring and hopelessly adolescent. However, they have not always been this way. In fact, a century ago they were often quite sophisticated, used by artists varied as Blake, Poe, Coleridge, the Brontes, Shelley, and Keats, to explain aspects of interpersonal relations. However vulgar the vampire has since become, it is important to remember that along with the Frankenstein monster, the vampire is one of the major mythic figures bequeathed to us by the English Romantics. Simply in terms of cultural influence and currency, the vampire is far more important than any other nineteenth-century archetypes; in fact, he is probably the most enduring and prolific mythic figure we have. This book traces the vampire out of folklore into serious art until he stabilizes early in this century into the character we all too easily recognize. - Book Jacket. |
From inside the book
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Page 13
... central tradition . The most important of these repeated themes is of course death , or more precisely , the inability to experience death . Equally important , however , is the recurring image of blood . Blood , as both a fluid and ...
... central tradition . The most important of these repeated themes is of course death , or more precisely , the inability to experience death . Equally important , however , is the recurring image of blood . Blood , as both a fluid and ...
Page 72
... central to Jane's maturation ? To understand possible answers to these questions we need to first set the vampire back into its mid - nineteenth - century context , especially as he must have been perceived by the Brontë sisters at ...
... central to Jane's maturation ? To understand possible answers to these questions we need to first set the vampire back into its mid - nineteenth - century context , especially as he must have been perceived by the Brontë sisters at ...
Page 135
... central events . First , it must be noted that all the central characters , with the exception of the evil totem , Dracula , appear to be models of chastity and Victorian virtue . Appearances are deceiving , however , as early in the ...
... central events . First , it must be noted that all the central characters , with the exception of the evil totem , Dracula , appear to be models of chastity and Victorian virtue . Appearances are deceiving , however , as early in the ...
Contents
The Female Vampire | 39 |
The Male Vampire in Poetry | 74 |
The Vampire in Prose | 103 |
Copyright | |
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Other editions - View all
The Living Dead: A Study of the Vampire in Romantic Literature James B. Twitchell Limited preview - 1981 |
The Living Dead: A Study of the Vampire in Romantic Literature James B. Twitchell,Twitchell No preview available - 2014 |
Common terms and phrases
analogy Ancient Mariner artist attack Aubrey Bannerworth Basil Beatrice become Belle Dame Berenice Bertha blood body Brontë Byron Byronic Hero Carmilla Cenci century character Charlotte Brontë Christabel Coleridge Coleridge's critics D. H. Lawrence dead death demon destroy dhampire Dorian Gray Dracula dream Emily Brontë energy English evil explain eyes female fiction Geraldine Gothic Gothic novel Heathcliff James Jane John Polidori Keats Keats's kiss lamia later Lawrence's Leech Gatherer Ligeia literary literature living lover Lycius Madeline Madeline's male Manfred Mario Praz metaphor monster Morella mythic narrator narrator's never night novel Oval Portrait Poe's poem poet Polidori Porphyro psychological realizes Resolution and Independence Rime Rochester Romantic Ruthven Sacred Fount says scene seems sense sexual Shelley simply spirit Stoker strange sucking tale tell theme vampire motif vampire myth vampire story vampire's Varney the Vampyre victim wanted Wedding Guest woman Women in Love Wordsworth Wuthering Heights York young