Be Content to Suffer

Welcome to Celebrate Poe - Be Content to Suffer - This is episode 350 of Celebrate Poe - a bit of a milestone for this podcast.  And I must admit that when I started Celebrate Poe, I had no idea I would make it this far - and there is still so much of Poe’s life, his works, and the many influences on his writing to delve into - and I would be most honored if you take that journey with me. 

Thank you for experiencing Celebrate Poe.

Transcript

Welcome to Celebrate Poe - Be Content to Suffer - This is episode 350 of Celebrate Poe - a bit of a milestone for this podcast.  And I must admit that when I started Celebrate Poe, I had no idea I would make it this far - and there is still so much of Poe’s life, his works, and the many influences on his writing to delve into - and I would be most honored if you take that journey with me.

First, I could never have imagined doing more than 100 episodes, and I could NEVER have imagined that Celebrate Poe would take me across the pond to delve into the origins and history of vampiric literature - works that  would influence POE’s vampiric stories - I didn’t even KNOW that Poe wrote some classic vampiric stories, and I can’t wait to get into them.

Now, when I first looked over the vampire and Gothic stories leading up to Poe’s works, I ran across Varney the Vampire, and my first reaction - well, I have never heard of this story before, and I doubt that it is worth an episode - but the more I got into Varney the Vampire, the more I realized that Varney is a unique piece of literature.  So I am definitely going to talk about Varner the Vampire - and hope I can do the work justice in only 3 or 4 episodes.

Initially, Varney is portrayed as a predatory figure, seeking to acquire blood from young, beautiful virgins for his survival. He appears ruthless in his pursuit, attempting to marry and then drain his victims.

As the story progresses, Varney develops a more conflicted self-image. He becomes increasingly haunted by guilt and filled with self-criticism.. This internal struggle reflects the emergence of the "emo" vampire archetype, foreshadowing later tragic vampire protagonists.

Varney's self-loathing intensifies to the point where he attempts suicide multiple times. This demonstrates his growing despair and desire to end his cursed existence.

Over the course of the book, Varney is presented with increasing sympathy as a victim of circumstances. This shift suggests that Varney begins to see himself less as a monster and more as a tragic figure trapped by his condition.

Varney's origin story, revealed near the end of the story, provides context for his self-perception. He views himself as cursed for his past actions, including betraying a royalist and accidentally killing his own son. This backstory adds depth to his character and explains his conflicted nature.

Ultimately, Varney's self-perception deteriorates to the point where he sees no other option but to end his existence. His final act represents the culmination of his self-loathing and desire for permanent death, unable to reconcile his vampiric nature with his human conscience.


One area that especially interested me was the possible connection of a complicated character such as Varney the Vampire, and the often self-destructive heroes of Edgar Poe’s works. And while Varney the Vampire and Edgar Allan Poe's works are not directly connected, there are some interesting similarities and comparisons that can be drawn between them.

Both Varney the Vampire and Poe's works emphasize psychological horror. Poe's stories focus on "psychological vampirism of people, objects and even buildings," which is similar to the psychological emphasis in Varney the Vampire.

And Varney the Vampire, as a Victorian-era penny dreadful, shares the gothic atmosphere prevalent in many of Poe's works. Both feature dark, brooding settings and explore themes of death and the supernatural.

Varney is portrayed in a somewhat sympathetic manner, showing resentment for his condition. This complexity of character is reminiscent of some of Poe's protagonists, who are often tormented or conflicted individuals.

While Poe did not write explicitly about vampires, his works like "Morella," "Ligeia," and "The Fall of the House of Usher" demonstrate a fascination with themes of life after death and parasitic relationships. These themes are central to vampire literature, including Varney the Vampire.  And you can rest assured that I will attempt to approach Poe’s vampiric stories - they are not the kind of vampire story that you associate with black capes and fangs, but are far more subtle -and deal with the transfer of energy - but more - MUCH more about that later.

Varney the Vampire was published as a penny dreadful serial, while many of Poe's works were also published serially in magazines. This format allowed both to build suspense and develop complex narratives over time.

Exploration of the uncanny: Both Varney and Poe's works deal with the concept of the uncanny - familiar elements made strange and unsettling. This is evident in Varney's resemblance to an ancestral portrait, a trope that creates an eerie sense of déjà vu, similar to the unsettling familiarity in many of Poe's tales.

While these comparisons exist, it's important to note that Poe's works predate Varney the Vampire, which was published in 1845-18473, after Poe had written many of his most famous stories. Therefore, any similarities are likely due to shared gothic and romantic literary traditions rather than direct influence.

I think it is especially interesting that Edgar Allan Poe published several of his works in serial format in various magazines and periodicals. His only complete novel, "The Narrative of Arthur Gordon Pym of Nantucket," was initially published as a serial in the Southern Literary Messenger in 1837 before being released as a complete novel in 18384.

Poe also intended to publish a collection of his early short stories titled "Tales of the Folio Club" in the 1830s. While this collection was not published as intended, several of these stories were printed individually in periodicals such as the Philadelphia Saturday Courier and the Baltimore Saturday Visiter.

Many of Poe's works appeared in various journals and magazines throughout his career. Some of the American journals Poe was involved with include American Review: A Whig Journal, the Broadway Journal,
Burton's Gentleman's Magazine, and Godey's Lady's Book.

In 1843, "The Murders in the Rue Morgue" was reprinted in "The Prose Romances of Edgar A. Poe," which was intended to be the first of a pamphlet series. This story had originally appeared in Graham's Magazine in April 1841.

It's worth noting that publishing works in serial format was common practice during Poe's time, allowing authors to reach a wider audience through periodicals before potentially collecting their works into full volumes.

Now Edgar Allan Poe did have some control over the serial publication of his works, particularly through his involvement with the Broadway Journal. This included revised editions of "The Masque of the Red Death" and "The Oval Portrait," among others.

However, Poe's control over his publications was often limited by financial constraints and the economic realities of the publishing industry in his time. 

For instance: Poe struggled to get his early works published without underwriting the costs himself. He was asked to pay $100 to cover potential losses for the publication of "Al Aaraaf, Tamerlane, and Minor Poems" in 1829.  And his first collection of short stories in 1836 was rejected by multiple publishers, including Carey and Lea and Harpers, because Poe declined to pay for publication out of his own pocket.

Even when Lea and Blanchard agreed to publish "Tales of the Grotesque and Arabesque" in 1839, they kept all the profits, leaving Poe with only the copyright and a few copies.

Poe's experience with the Broadway Journal, while giving him editorial control, was short-lived due to financial difficulties. Despite his efforts, including taking a loan from Rufus Wilmot Griswold, Poe was unable to keep the publication financially viable. The journal ceased publication on January 3, 1846, less than a year after Poe gained full control.

In summary, while Poe did achieve some control over the serial publication of his works, particularly through the Broadway Journal, his ability to exercise this control was often limited by financial constraints and the challenging economic landscape for American authors in the mid-19th century.

In other words, Poe did not have much luck regarding the serial publication of his literary works.

But back across the sea - there are some things I want to say about the penny dreadful format publiations.  Now Penny dreadfuls primarily targeted the newly literate, working-class youth, especially boys. Working-class boys who could not afford a penny a week often formed clubs that would share the cost, passing the flimsy booklets from reader to reader.

These periodicals featured sensational stories designed to shock, scare, disturb, or disgust the reader, often including gothic tales of adventure, romance, mystery, or crime. They often drew from true crime and elevated existing fears with tales of murderous highwaymen, doomed lovers, and ominous spectres.

Format Penny dreadfuls were typically released weekly, featuring an illustration on the front cover and 8-16 pages of text. Illustrations were an essential component, serving as an advertising tool with shocking imagery.

And at a penny apiece, they were far cheaper than installments of Charles Dickens novels, making them accessible to the working class.

There were as many as 100 publishers in the business, with some writers juggling multiple works simultaneously.Edward Lloyd was a prominent publisher, known for titles such as Varney the Vampyre and Lives of the Most Notorious Highwaymen. George Reynolds' Mysteries of London was another successful series.

When I first looked at vampire literature, I ran into one that was supposed to be extremely influential called Varney the Vampire.  Actually (and I am ashamed to say this) my first thought was of a Barney the Vampire - as if the assistant sherriff on the olde TV program, The Andy Griffith Show, Barney Fife was a vampire whose beau was Velma Lou.  But that was probably before your time.  But  I digress …

I would like to conclude this episode by reading the section for Varney the Vampire where Flora Bannerworth of Bannerworth Hall rather melodramatically tells Varney the Vampire that a relationship with here is impossible.

First - Varney the Vampire speaks -

"For thy sweet sake, I believe so much, Flora Bannerworth; it is a condition with my hateful race, that if we can find one human heart to love us, we are free. If, in the face of Heaven, you will consent to be mine, you will snatch me from a continuance of my frightful doom; and for your pure sake, and on your merits, shall I yet know heavenly happiness. Will you be mine?" 

A cloud swept from off the face of the moon, and a slant ray fell upon the hideous features of the vampire. He looked as if just rescued from some charnel-house, and endowed for a space with vitality to destroy all beauty and harmony in nature, and drive some soul to madness. 

"No, no, no!" shrieked Flora, "never!" 

"Enough," said Varney, "I am answered. It was a bad proposal. I am a vampyre still." 

"Spare me! spare me!" 

"Blood!" 

Flora sank upon her knees, and uplifted her hands to heaven. "Mercy, mercy!" she said. 

"Blood!" said Varney, and she saw his hideous, fang-like teeth. "Blood! Flora Bannerworth, I have asked you to love me, and you will not — the penalty be yours." 

"No, no!" said Flora. "Can it be possible that even you, who have already spoken with judgment and precision, can be so unjust? By what plea of honour, honesty, or justice, can I be blamed for not embracing an alternative which is beyond all human control? — I cannot love you." 

"Then be content to suffer. Flora Bannerworth, will you not, even for a time, to save yourself and to save me, become mine?"  I would fain serve you, although you cannot save me; there may yet be a chance, which shall enable you to escape from the persecution of my presence." 

"Oh! glorious chance!" said Flora. "Which way can it come? tell me how I may embrace it and such grateful feelings as a heart-stricken mourner can offer to you, who has rescued me from my deep affliction, and I shall yet be yours." 

"Hear me, then, Flora Bannerworth, while I state to you some particulars of mysterious existence, of such beings as myself, which never yet have been breathed to mortal ears." 

"Flora," he said, "it is not that I am so enamoured of an existence to be prolonged only by such frightful means, which induces me to become a terror to you or to others. Believe me, that if my victims, those whom my insatiable thirst for blood make wretched, suffer much, I, the vampyre, am not without my moments of unutterable agony. But it is a mysterious law of our nature, that as the period approaches when the exhausted energies of life require a new support from the warm, gushing fountain of another's veins, the strong desire to live grows upon us, until, in a state of wild insanity, which will recognise no obstacles, human or divine, we seek a 
victim." 

"A fearful state!" said Flora. 

"It is so; and, when the dreadful repast is over, then again the pulse beats healthfully, and the wasted energies of a strange kind of vitality are restored to us, we become calm again, but with that calmness comes all the horror, all the agony of reflection, and we suffer far more than tongue can tell." 

"You have my pity," said Flora; "even you have my pity." 

"I might well demand it, if such a feeling held a place within your breast. I might well demand your pity, Flora Bannerworth, for never crawled an abject wretch upon the earth's rotundity, so pitiable as I. Having once attacked any human being, we feel a strange, but terribly impulsive desire again to seek that person for more blood. But I love you. Flora; the small amount of sensibility that still lingers about my existence, acknowledges in you a pure and better spirit. I would fain save you." 

"Oh! tell me how I may escape the terrible infliction." 

"That can only be done by flight. Leave this place, I implore you! leave it as quickly as the movement may be made. Linger not — cast not one regretful look behind you on your ancient home. I shall remain in this locality for years. Let me lose sight of you, I will not pursue you; but, by force of circumstances, I am myself compelled to linger here. Flight is the only means by which you may avoid a doom as terrific as that which I endure." 

"But tell me," said Flora, after a moment's pause, during which she appeared to be endeavouring to gather courage to ask some fearful question; "tell me if it be true that those who have once endured the terrific attack of a vampyre, become themselves, after death, one of that dread race?" 

"It is by such means," said Varney, "that the frightful brood increases; but, time and circumstances must aid the development of the new and horrible existence. You, however, are safe." 

"Safe! Oh! say that word again." 

"Yes, safe; not once or twice will the vampyre's attack have sufficient influence on your mortal frame, as to induce a susceptibility on 
your part to become coexistent with such as he. The attack must he often repeated, and the termination of mortal existence must be a consequence essential, and direct from those attacks, before such a result may be anticipated." 

"Yes, yes; I understand." 

"If you were to continue my victim from year to year, the energies of life would slowly waste away, and, till like some faint taper's gleam, consuming more sustenance than it received,  and then. Flora Bannerworth, you might become a vampyre." 

"Oh! horrible! most horrible!" 

"If by chance, or by design, the least glimpse of the cold moonbeams rested on your apparently lifeless remains, you would rise again and be one of us — a terror to yourself and a desolation to all around." 

"Oh! I will fly from here," said Flora. "The hope of escape from so terrific and dreadful a doom shall urge me onward; if flight can save me — flight from Bannerworth Hall, I will pause not until continents and oceans divide us." 

"It is well. I'm able now thus calmly to reason with you. A few short months more and I shall feel the languor of death creeping over me, and then will come that mad excitement of the brain, which, were you hidden behind triple doors of steel, would tempt me again to seek your chamber — again to seize you in my full embrace — again to draw from your veins the means of prolonged life — again to convulse your very soul with terror." 

"I need no incentives," said Flora, with a shudder, "in the shape of descriptions of the past, to urge me on." 

"You will fly from Bannerworth Hall?" 

"Yes, yes!" said Flora, "it shall be so; its very chambers now are hideous with the recollection of scenes enacted in them. I will urge my brothers, my mother, all to leave. And in some distant clime we will find security and shelter. There even we will learn to think of you with more of sorrow than of anger — more pity than reproach — more curiosity than loathing." 

Join Celebrate Poe for episode 351 - From Feast of Blood for some of the best sections of this classic tale of terror about a conflicted vampire.

Sources include: Varney the Vampire by James Malcolm Rymer.

Thank you for listening to Celebrate Poe.