The First Vampire Novel?

In this episode, I want to delve into what is generally viewed as the first vampire novel - the VAMPYRE by John William Polidori and published in 1819. This novella marked the beginning of modern vampire fiction and introduced the archetype of the aristocratic vampire through the character of Lord Ruthven. Polidori's work was inspired by a fragment of a story written by Lord Byron during a ghost story competition - and there was quite a bit of disagreement regarding who wrote what!

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Transcript

Welcome to Celebrate Poe - Episode 333 - The First Vampire Novel?

In this episode, I want to delve into what is generally viewed as the first vampire novel - the VAMPYRE by John William Polidori and published in 1819. This novella marked the beginning of modern vampire fiction and introduced the archetype of the aristocratic vampire through the character of Lord Ruthven. Polidori's work was inspired by a fragment of a story written by Lord Byron during a ghost story competition - and there was quite a bit of disagreement regarding who wrote what.

In any case, earlier literary references to vampires do exist in poetry and other works. For example, Robert Southey's 1801 epic poem Thalaba the Destroyer includes a brief mention of a vampire, and Lord Byron’s poem The Giaour also contains allusions to vampiric folklore. 

An example of text about a vampire from Lord Byron's The Giaour can be found in lines 757–768, where the curse of vampirism is vividly described. This passage is considered one of the earliest mentions of vampires in English literature:  By the way, the word corse means corpse. So here are those 12 lines - 

"But first, on earth as vampire sent,
Thy corse shall from its tomb be rent:
Then ghastly haunt thy native place,
And suck the blood of all thy race;
There from thy daughter, sister, wife,
At midnight drain the stream of life;
Yet loathe the banquet which perforce
Must feed thy livid living corse:
Thy victims ere they yet expire
Shall know the demon for their sire,
As cursing thee, thou cursing them,
Thy flowers are withered on the stem.”

This passage reflects a dark and Gothic portrayal of vampirism. The cursed individual is condemned to rise from the grave as a vampire, preying upon their own family in a horrifying cycle of torment and destruction. The imagery emphasizes both the physical horror and the psychological anguish of this fate, as the vampire loathes the very sustenance that keeps its undead existence going.  Creepy!

Now, these earlier appearances are not full-fledged vampire narratives but contributed to the development of the genre.

However, John Polidori's The Vampyre is considered the first significant vampire story in prose and laid the foundation for later works such as (Carmilla (1897), and twenty-five years later Bram Stoker's Dracula, which solidified the vampire's place in popular culture - works I will be delving into later.

But back to John Polidori’s The Vampire.

John Polidori's The Vampyre (1819) is considered the foundation of modern vampire literature. It transformed the vampire from a monstrous, animalistic figure rooted in folklore into an aristocratic and seductive predator. Lord Ruthven, the story's vampire, introduced the archetype of the sophisticated, high-society vampire who is a symbol of allure and terror, and preys on the virtuous and innocent. 

This portrayal also marked a shift from oral folklore to literary exploration, allowing for deeper psychological and social commentary. The themes of seduction, moral decay, and hidden danger in polite society became staples of vampire fiction, inspiring countless adaptations and reinterpretations. 

While The Vampyre introduced the romanticized vampire archetype, Dracula expanded it into a broader cultural metaphor for Victorian anxieties.

Now Lord Ruthven is the title vampire in Polidori’s novella and one of the first vampires in English literature. Based on Lord Byron’s persona, Ruthven is portrayed as a pale, enigmatic aristocrat who charms his way into high society while secretly preying on virtuous women. His character introduced key traits now associated with vampires: seductive charm, aristocratic demeanor, and supernatural menace. Ruthven's significance probably lies in his role as the prototype for modern vampires. He shifted the image of vampires from grotesque creatures to alluring predators who could infiltrate human society undetected—a concept that has persisted in vampire fiction for over two centuries.

In fact, it can be said that Lord Ruthven shaped the romantic vampire genre. Lord Ruthven established the "romantic vampire" archetype by blending horror with allure. 

His character  preys on young women by exploiting their innocence and virtue. His aristocratic status reflects societal fears about corruption within the upper classes. And while outwardly charming and refined, he is inwardly monstrous—a duality that became central to later vampire characters such as Dracula.

This romanticized portrayal influenced later works such as Carmilla (which explored themes of forbidden desire) and future depictions of vampires as tragic or seductive antiheroes.

Lord Ruthven inspired many future vampire stories - including 
Varney the Vampire (1845-1847): A serialized gothic horror tale that introduced sympathetic elements to the vampire mythos.
Carmilla (1872): Sheridan Le Fanu’s novella about a lesbian vampire predating Dracula, exploring themes of sexual liberation.
Dracula (1897): Bram Stoker’s iconic novel expanded on Polidori’s aristocratic vampire while adding folkloric elements like crucifixes and garlic.

Polidori’s influence continues to resonate even in contemporary portrayals of vampires across various media. In summary, The Vampyre (and that’s literary evolution in the genre. From Stoker's Dracula to modern interpretations, Polidori's work remains foundational to how we understand vampires today.

Now the portrayal of Lord Ruthven differed somewhat from traditional vampire folklore. The portrayal of Lord Ruthven significantly diverged from traditional vampire folklore by reimagining the vampire as an aristocratic, seductive, and socially integrated figure. 

For example, in traditional folklore, vampires were often depicted as reanimated corpses or monstrous creatures associated with rural villages and graveyards. They were typically peasants or outcasts who returned from the dead to prey on their communities.

Lord Ruthven, by contrast, is a member of the aristocracy, moving seamlessly within London’s high society. This elevated social status allowed him to exploit his wealth and influence to manipulate and destroy lives.

Now folkloric vampires were grotesque and decayed, often described as bloated with ruddy or darkened skin due to their supposed blood consumption.  In contrast, Ruthven is pale but strikingly handsome, with a "beautiful" yet unsettling appearance. His charm and allure make him a figure of fascination rather than immediate fear, enabling him to prey on virtuous young women through seduction rather than through brute force.

Traditional vampires were nocturnal creatures, unable to move about during the day. Ruthven defies this limitation by appearing in broad daylight, attending social gatherings and mingling with the elite. This adaptability made him more dangerous as he could infiltrate society undetected.

Folkloric vampires were primarily physical threats, draining victims’ blood directly.  On the other hand, Ruthven uses psychological manipulation and social cunning to ruin his victims before killing them. He deliberately preys on virtuous individuals, corrupting their reputations and lives for his own amusement.

Folkloric vampires were often tied to religious fears, with crosses, holy water, and other sacred objects used to repel them. Ruthven lacks explicit ties to religious symbolism or demonic origins. His evil is more social and psychological than spiritual, reflecting fears of moral decay within the aristocracy rather than supernatural damnation.

Lord Ruthven was first modeled after Lord Byron, embodying the traits of the "Byronic hero"—a charismatic, mysterious, and morally ambiguous figure. This connection imbued Ruthven with a sense of allure and danger that elevated him above traditional folkloric vampires. His aristocratic demeanor, seductive charm, and libertine behavior mirrored Byron's public persona as "mad, bad, and dangerous to know" 

At the time of The Vampyre's publication, Byron was a cultural phenomenon. (Today we might say he was hot.) The initial misattribution of the story to Byron only heightened its appeal, as readers associated Ruthven with Byron’s infamous reputation. This connection added an autobiographical dimension to the narrative, making Ruthven a literary extension of Byron's mythos.

By this time Polidori had a definitely strained relationship with Byron, and  the public did not have a very high opinion of Byron. In fact, they saw Byron as a cruel and manipulative predator.  Lord Byron was an EXTREMELY complex figure.

Scholars often interpret Ruthven as Polidori’s unflattering caricature of Byron, reflecting their turbulent dynamic during their time at the Villa Diodati 

Polidori expanded on Byron's unfinished Fragment of a Novel to create a fully realized vampire character who could hide in plain sight within high society. By doing so, he redefined vampires as sophisticated predators rather than grotesque monsters, a shift that became foundational for modern vampire fiction. The association with Byron allowed Polidori to critique societal issues like aristocratic decadence and moral corruption while simultaneously exploiting the public’s fascination with celebrity culture.

Guess you could say we still have our own version of a fascination with celebrity culture.

Lord Ruthven’s dual origins as both Byron’s and Polidori’s creation enriched his literary impact by combining personal satire with cultural critique. This duality not only shaped Ruthven into a complex archetype but also laid the groundwork for the modern vampire genre, ensuring his lasting legacy in literature and popular culture.

Now when The Vampyre was first published in 1819, it was falsely attributed to Lord Byron. This misattribution capitalized on Byron's immense fame and notoriety, leading many readers to view Lord Ruthven as an extension of Byron himself. Byron’s reputation as a scandalous, charismatic figure—embroiled in rumors of incest, bisexuality, and libertine behavior—made Ruthven seem like a fictionalized version of the poet.

Goethe even called The Vampyre Byron’s greatest work, further cementing the association between the character and the poet. Ruthven DID embody traits of the Byronic hero: rebelliousness, individualism, and a disregard for societal norms. These qualities aligned with Byron’s public persona and literary style, making Ruthven appear as a vampiric manifestation of Byron’s personality.

The allure of Ruthven’s character was enhanced by his connection to Byron’s poetic themes of seduction, transgression, and moral ambiguity, which resonated with audiences already captivated by Byron’s works.
Readers were drawn to the story not just for its content but also for its perceived insight into Byron’s life. This fueled its initial popularity but also overshadowed Polidori’s authorship.

Now is where it gets really messy. Polidori used Ruthven to critique Byron’s manipulative tendencies and moral corruption, turning the vampire into a vehicle for personal revenge. This layer of satire made Ruthven more than just a Byronic hero; he became a symbol of aristocratic decadence and moral decay in high society.

And when Polidori claimed authorship, the public began to see him as an underdog overshadowed by his famous employer. While some admired his ability to craft a compelling story from Byron’s fragment, others dismissed him as a plagiarist or opportunist.

Polidori’s tragic life—marked by professional struggles and eventual suicide  in his early twenties —added a melancholic dimension to his authorship, casting him as a marginalized figure in Romantic literature.

But as Polidori’s work gained recognition over time, critics began to appreciate his role in transforming vampire folklore into modern vampire literature. His depiction of Ruthven as an aristocratic predator who hides in plain sight was groundbreaking and laid the foundation for subsequent vampire fiction.

When viewed as Byron's creation, the character of Lord Ruthven was celebrated for embodying the allure and danger associated with the poet's persona. Conversely, when recognized as Polidori's creation, Ruthven became a critique of aristocratic decadence and a pioneering figure in modern vampire literature. This dual perception enriched Ruthven's legacy, making him one of the most complex figures in Gothic fiction.

But how was the relationship between Byron and Polidori REALLY reflected in the character of Lord Ruthven - and the public’s perception of the character.

Well, the relationship between Lord Byron and John Polidori significantly influenced the creation of the character Lord Ruthven in Polidori's The Vampyre. Polidori, who served as Byron's personal physician during their travels in 1816, had a tumultuous and often antagonistic relationship with the poet. This dynamic is reflected in the portrayal of Ruthven, a character widely recognized as a thinly veiled caricature of Byron.

Lord Ruthven does embody many traits associated with Byron: he is a charismatic, aristocratic figure with an air of mystery and danger. Like Byron, Ruthven captivates those around him with his charm and allure but ultimately brings ruin to those who fall under his spell. This mirrors Byron's reputation as a "mad, bad, and dangerous to know" figure, notorious for his scandalous affairs and manipulative tendencies.

Polidori drew directly from his experiences with Byron to shape Ruthven's character. Their relationship was marked by power imbalances, with Byron often belittling and humiliating Polidori, such as mocking his literary efforts in front of others. This dynamic likely fueled Polidori's resentment and desire for revenge, which he channeled into creating Ruthven as an exaggerated and unflattering portrait of Byron. Ruthven's predatory nature—both literal as a vampire and figurative in his manipulation of others—reflects the darker aspects of Byron's personality.

Both Ruthven and Byron are depicted as enigmatic figures who attract widespread attention and admiration despite their morally dubious behavior. In The Vampyre, Ruthven is described as irresistible to society, much like Byron was in real life.

Ruthven leaves a trail of devastation in his wake, seducing women and causing the downfall of those close to him. This echoes Byron's reputation for ruining relationships and leaving emotional wreckage behind. The literary relationship between Aubrey (Ruthven's traveling companion) and Ruthven parallels Polidori's own experiences with Byron. Aubrey starts as an idealistic admirer but becomes disillusioned by Ruthven's true nature—a reflection of Polidori's initial admiration for Byron turning into bitterness.

In The Vampyre, Ruthven exploits Aubrey's trust and oath to orchestrate tragedy, including the death of Aubrey's sister. This betrayal may symbolize Polidori's feelings of being used and discarded by Byron.

I believe Polidori’s The Vampyre can even be seen as a form of literary revenge against Byron. By casting his former employer as a vampiric figure who thrives on the suffering of others, Polidori transformed his personal grievances into a Gothic narrative that critiqued Byron’s character while also immortalizing him in literature. The story’s publication under Byron’s name initially added insult to injury but later highlighted Polidori’s authorship and creative agency.

So Lord Ruthven serves as both a reflection of Byron’s charismatic yet destructive persona, as well as an outlet for Polidori’s frustrations with their fraught relationship. Through The Vampyre, Polidori not only contributed to the evolution of vampire literature but also left behind a biting critique of one of the most famous poets of his time.

I’d like to end this episode by delving into the interesting story of how Lord Byron played a significant role in the creation of the character Lord Ruthven,

Although Byron did not directly create Ruthven, his personality, reputation, and literary contributions were instrumental in shaping the character.
Polidori based Lord Ruthven on Byron, drawing from the poet's aristocratic demeanor, charisma, and controversial reputation. Byron was known for his charm, wit, and scandalous lifestyle, which made him a prominent figure in London's social circles. These traits are reflected in Ruthven's seductive and destructive nature, as well as his ability to captivate and ruin those around him.

As you may remember from a previous episode of Celebrate Poe, The Vampire originated during the famous summer of 1816 at the Villa Diodati in Switzerland, where Byron, Polidori, Mary Shelley, and Percy Shelley challenged each other to write ghost stories. Byron began a fragment of a vampire tale featuring a character named Augustus Darvell but left it unfinished. Polidori later expanded on this premise to create The Vampyre, transforming Byron's fragment into a full narrative. Polidori then named his vampire "Lord Ruthven," borrowing the name from Lady Caroline Lamb's 1816 novel Glenarvon, where it was used as an unflattering parody of Byron. This choice reinforced the connection between Ruthven and Byron, making the story partly a satirical critique of Byron's character and behavior.

Now Polidori had served as Byron's personal physician during their travels but often found himself at odds with the poet due to Byron's sharp wit and dismissive attitude. (Byron must have really been hard to get along with.) This strained relationship likely influenced Polidori's decision to model Ruthven after Byron, using the story as a form of literary revenge.

When The Vampyre was first published in 1819, it was mistakenly attributed to Byron. This confusion further linked Ruthven to Byron in the public imagination, despite both Byron and Polidori clarifying that the work was Polidori’s.

Finally, Lord Byron indirectly inspired Lord Ruthven through his unfinished vampire tale and his own persona, which Polidori adapted into a fictionalized and vampiric critique. This collaboration—intentional or not—helped establish the archetype of the aristocratic vampire in Gothic literature.

Join Celebrate Poe for episode 334. Poe and Frankenstein, Part One

Sources include: The Complete Works of Lord Byron, Poetry, Plays, Letters, and Biographies by Lord Byron, Dark Imaginings: Ideology and Darkness in the Poetry of Lord Byron by Geoff Payne, and Swimming with Lord Byron by Harold Kuhn.

Thank you for listening to Celebrate Poe.