From Feast of Blood

Welcome to Celebrate Poe - Episode 351 - From Feast of Blood -

This is the final episode of Celebrate Poe - at least for now - devoted to Varney the Vampire.   Now, as mentioned in a previous episode, the entire work spans 876 double-columned pages and 232 chapters, totaling nearly 66,000 words.   And the author does a rather good job of holding your interest from issue to issue.

Thank you for experiencing Celebrate Poe.

Transcript

Welcome to Celebrate Poe - Episode 351 - From Feast of Blood -

This is the final episode of Celebrate Poe - at least for now - devoted to Varney the Vampire.   Now, as mentioned in a previous episode, the entire work spans 876 double-columned pages and 232 chapters, totaling nearly 66,000 words.   And the author does a rather good job of holding your interest from issue to issue.

Now the authorship - without going too much into the weeds - the authorship of "Varney the Vampire" is not definitively established, is most commonly attributed to James Malcolm Rymer.  Tho for many years, the authorship was uncertain, with both James Malcolm Rymer and Thomas Peckett Prest considered as possible authors.  It's possible that Thomas Peckett Prest contributed some chapters, because it was not uncommon for other authors to "fill in" on penny dreadful serials.  However,
the consensus among scholars today is that James Malcolm Rymer is the primary author of "Varney the Vampire”.

Now first, I am going to read 10 quotes from Varner the Vampire - then the first part of Chapter 1 - so stay with me for some really good writing with Victorian sensibilities.

“although an American would always rather lose a drop of blood  than a dollar, they keep a pretty sharp look out upon both.”

“Could I desert her – could I say to her, ‘My dear girl, when you were full of health and beauty, I loved you, but now that sadness is at your heart I leave you?’ Could I tell her that, uncle, and yet call myself a man?” “No!”

“It is,” said Henry, “the portrait of Sir Runnagate Bannerworth, an ancestor of ours, who first, by his vices, gave the great blow to the family prosperity.”

“How different was the funeral of one who had friends. He was alone; none followed, save the undertaker and his attendants, all of whom looked solemn from habit and professional motives.

“Tis strange what a change comes over masses of men as they gaze upon a dead body. It may be that they all know that to that complexion they must come at last. This may be the secret of the respect offered to the dead.”

“We are always anxious and willing to give every one credit for the good that is in them; and, hence, we are pleased to find that Sir Francis Varney, despite his singular, and apparently preternatural capabilities, has something sufficiently human about his mind and feelings.

“But soon a better nature seems to come over him, and gentler words fall from his lips. He preaches patience to himself – he talks not of revenge, but of justice, and in accents of more hopefulness than he had before spoken, he calls upon Heaven to succour him in his deep distress.”

“No, no – we will not be terrified thus – there is Heaven above us.”

“The world, my good sir, is censorious, and you cannot stop people from saying extremely ill-natured things.”

“One glance, one terrified glance, in which her whole soul was concentrated, sufficed to shew her who and what the figure was. There was a tall, gaunt form — there was the faded ancient apparel — the lustrous metallic-looking eyes — its half-opened mouth, exhibiting tusk- teeth! It was — yes, it was — the vampyre!

And now the first part of Chapter 1 of Varney the Vampire

CHAPTER I.

——"How graves give up their dead.

And how the night air hideous grows
With shrieks!"

The solemn tones of an old cathedral clock have announced midnight—the air is thick and heavy—a strange, death like stillness pervades all nature. Like the ominous calm which precedes some more than usually terrific outbreak of the elements, they seem to have paused even in their ordinary fluctuations, to gather a terrific strength for the great effort. A faint peal of thunder now comes from far off. Like a signal gun for the battle of the winds to begin, it appeared to awaken them from their lethargy, and one awful, warring hurricane swept over a whole city, producing more devastation in the four or five minutes it lasted, than would a half century of ordinary phenomena.

It was as if some giant had blown upon some toy town, and scattered many of the buildings before the hot blast of his terrific breath; for as suddenly as that blast of wind had come did it cease, and all was as still and calm as before.

Sleepers awakened, and thought that what they had heard must be the confused sounds of a dream. They trembled and turned to sleep again.

All is still—still as the very grave. Not a sound breaks the magic of repose. What is that—a strange, pattering noise, as of a million of fairy feet? It is hail—yes, a hail-storm has burst over the city. Leaves are dashed from the trees, mingled with small boughs; windows that lie most opposed to the direct fury of the pelting particles of ice are broken, and the rapt repose that before was so remarkable in its intensity, is exchanged for a noise which, in its accumulation, drowns every cry of surprise or consternation which here and there arose from persons who found their houses invaded by the storm.

Now and then, too, there would come a sudden gust of wind that in its strength, as it blew laterally, would, for a moment, hold millions of the hailstones suspended in mid air, but it was only to dash them with redoubled force in some new direction, where more mischief was to be done.

Oh, how the storm raged! Hail—rain—wind. It was, in very truth, an awful night.

There is an antique chamber in an ancient house. Curious and quaint carvings adorn the walls, and the large chimney-piece is a curiosity of itself. The ceiling is low, and a large bay window, from roof to floor, looks to the west. The window is latticed, and filled with curiously painted glass and rich stained pieces, which send in a strange, yet beautiful light, when sun or moon shines into the apartment. There is but one portrait in that room, although the walls seem panelled for the express purpose of containing a series of pictures. That portrait is of a young man, with a pale face, a stately brow, and a strange expression about the eyes, which no one cared to look on twice.

There is a stately bed in that chamber, of carved walnut-wood is it made, rich in design and elaborate in execution; one of those works of art which owe their existence to the Elizabethan era. It is hung with heavy silken and damask furnishing; nodding feathers are at its corners—covered with dust are they, and they lend a funereal aspect to the room. The floor is of polished oak.

God! how the hail dashes on the old bay window! Like an occasional discharge of mimic musketry, it comes clashing, beating, and cracking upon the small panes; but they resist it—their small size saves them; the wind, the hail, the rain, expend their fury in vain.

The bed in that old chamber is occupied. A creature formed in all fashions of loveliness lies in a half sleep upon that ancient couch—a girl young and beautiful as a spring morning. Her long hair has escaped from its confinement and streams over the blackened coverings of the bedstead; she has been restless in her sleep, for the clothing of the bed is in much confusion. One arm is over her head, the other hangs nearly off the side of the bed near to which she lies. A neck and bosom that would have formed a study for the rarest sculptor that ever Providence gave genius to, were half disclosed. She moaned slightly in her sleep, and once or twice the lips moved as if in prayer—at least one might judge so, for the name of Him who suffered for all came once faintly from them.

She has endured much fatigue, and the storm does not awaken her; but it can disturb the slumbers it does not possess the power to destroy entirely. The turmoil of the elements wakes the senses, although it cannot entirely break the repose they have lapsed into.

Oh, what a world of witchery was in that mouth, slightly parted, and exhibiting within the pearly teeth that glistened even in the faint light that came from that bay window. How sweetly the long silken eyelashes lay upon the cheek. Now she moves, and one shoulder is entirely visible—whiter, fairer than the spotless clothing of the bed on which she lies, is the smooth skin of that fair creature, just budding into womanhood, and in that transition state which presents to us all the charms of the girl—almost of the child, with the more matured beauty and gentleness of advancing years.

Was that lightning? Yes—an awful, vivid, terrifying flash—then a roaring peal of thunder, as if a thousand mountains were rolling one over the other in the blue vault of Heaven! Who sleeps now in that ancient city? Not one living soul. The dread trumpet of eternity could not more effectually have awakened any one.

The hail continues. The wind continues. The uproar of the elements seems at its height. Now she awakens—that beautiful girl on the antique bed; she opens those eyes of celestial blue, and a faint cry of alarm bursts from her lips. At least it is a cry which, amid the noise and turmoil without, sounds but faint and weak. She sits upon the bed and presses her hands upon her eyes. Heavens! what a wild torrent of wind, and rain, and hail! The thunder likewise seems intent upon awakening sufficient echoes to last until the next flash of forked lightning should again produce the wild concussion of the air. She murmurs a prayer—a prayer for those she loves best; the names of those dear to her gentle heart come from her lips; she weeps and prays; she thinks then of what devastation the storm must surely produce, and to the great God of Heaven she prays for all living things. Another flash—a wild, blue, bewildering flash of lightning streams across that bay window, for an instant bringing out every colour in it with terrible distinctness. A shriek bursts from the lips of the young girl, and then, with eyes fixed upon that window, which, in another moment, is all darkness, and with such an expression of terror upon her face as it had never before known, she trembled, and the perspiration of intense fear stood upon her brow.

"What—what was it?" she gasped; "real, or a delusion? Oh, God, what was it? A figure tall and gaunt, endeavouring from the outside to unclasp the window. I saw it. That flash of lightning revealed it to me. It stood the whole length of the window."

There was a lull of the wind. The hail was not falling so thickly—moreover, it now fell, what there was of it, straight, and yet a strange clattering sound came upon the glass of that long window. It could not be a delusion—she is awake, and she hears it. What can produce it? Another flash of lightning—another shriek—there could be now no delusion.

A tall figure is standing on the ledge immediately outside the long window. It is its finger-nails upon the glass that produces the sound so like the hail, now that the hail has ceased. Intense fear paralysed the limbs of that beautiful girl. That one shriek is all she can utter—with hands clasped, a face of marble, a heart beating so wildly in her bosom, that each moment it seems as if it would break its confines, eyes distended and fixed upon the window, she waits, froze with horror. The pattering and clattering of the nails continue. No word is spoken, and now she fancies she can trace the darker form of that figure against the window, and she can see the long arms moving to and fro, feeling for some mode of entrance. What strange light is that which now gradually creeps up into the air? red and terrible—brighter and brighter it grows. The lightning has set fire to a mill, and the reflection of the rapidly consuming building falls upon that long window. There can be no mistake. The figure is there, still feeling for an entrance, and clattering against the glass with its long nails, that appear as if the growth of many years had been untouched. She tries to scream again but a choking sensation comes over her, and she cannot. It is too dreadful—she tries to move—each limb seems weighed down by tons of lead—she can but in a hoarse faint whisper cry,—

"Help—help—help—help!"

And that one word she repeats like a person in a dream. The red glare of the fire continues. It throws up the tall gaunt figure in hideous relief against the long window. It shows, too, upon the one portrait that is in the chamber, and that portrait appears to fix its eyes upon the attempting intruder, while the flickering light from the fire makes it look fearfully lifelike. A small pane of glass is broken, and the form from without introduces a long gaunt hand, which seems utterly destitute of flesh. The fastening is removed, and one-half of the window, which opens like folding doors, is swung wide open upon its hinges.

And yet now she could not scream—she could not move. "Help!—help!—help!" was all she could say. But, oh, that look of terror that sat upon her face, it was dreadful—a look to haunt the memory for a lifetime—a look to obtrude itself upon the happiest moments, and turn them to bitterness.

The figure turns half round, and the light falls upon the face. It is perfectly white—perfectly bloodless. The eyes look like polished tin; the lips are drawn back, and the principal feature next to those dreadful eyes is the teeth—the fearful looking teeth—projecting like those of some wild animal, hideously, glaringly white, and fang-like. It approaches the bed with a strange, gliding movement. It clashes together the long nails that literally appear to hang from the finger ends. No sound comes from its lips. Is she going mad—that young and beautiful girl exposed to so much terror? she has drawn up all her limbs; she cannot even now say help. The power of articulation is gone, but the power of movement has returned to her; she can draw herself slowly along to the other side of the bed from that towards which the hideous appearance is coming.

But her eyes are fascinated. The glance of a serpent could not have produced a greater effect upon her than did the fixed gaze of those awful, metallic-looking eyes that were bent on her face. Crouching down so that the gigantic height was lost, and the horrible, protruding, white face was the most prominent object, came on the figure. What was it?—what did it want there?—what made it look so hideous—so unlike an inhabitant of the earth, and yet to be on it?

Now she has got to the verge of the bed, and the figure pauses. It seemed as if when it paused she lost the power to proceed. The clothing of the bed was now clutched in her hands with unconscious power. She drew her breath short and thick. Her bosom heaves, and her limbs tremble, yet she cannot withdraw her eyes from that marble-looking face. He holds her with his glittering eye.

The storm has ceased—all is still. The winds are hushed; the church clock proclaims the hour of one: a hissing sound comes from the throat of the hideous being, and he raises his long, gaunt arms—the lips move. He advances. The girl places one small foot from the bed on to the floor. She is unconsciously dragging the clothing with her. The door of the room is in that direction—can she reach it? Has she power to walk?—can she withdraw her eyes from the face of the intruder, and so break the hideous charm? God of Heaven! is it real, or some dream so like reality as to nearly overturn the judgment for ever?

The figure has paused again, and half on the bed and half out of it that young girl lies trembling. Her long hair streams across the entire width of the bed. As she has slowly moved along she has left it streaming across the pillows. The pause lasted about a minute—oh, what an age of agony. That minute was, indeed, enough for madness to do its full work in.

With a sudden rush that could not be foreseen—with a strange howling cry that was enough to awaken terror in every breast, the figure seized the long tresses of her hair, and twining them round his bony hands he held her to the bed. Then she screamed—Heaven granted her then power to scream. Shriek followed shriek in rapid succession. The bed-clothes fell in a heap by the side of the bed—she was dragged by her long silken hair completely on to it again. Her beautifully rounded limbs quivered with the agony of her soul. The glassy, horrible eyes of the figure ran over that angelic form with a hideous satisfaction—horrible profanation. He drags her head to the bed's edge. He forces it back by the long hair still entwined in his grasp. With a plunge he seizes her neck in his fang-like teeth—a gush of blood, and a hideous sucking noise follows. The girl has swooned, and the vampyre is at his hideous repast!

By the way, and this is pretty gross - in this context, the word repast means something taken as food - with the implication that the vampire is engaging is his meal of blood.

In conclusion, Varney the Vampire holds significant importance in the history of horror literature. Varney introduced many elements that became standard in vampire fiction, including fangs, puncture wounds on victims' necks, superhuman strength, and hypnotic powers.

Varney was one of the first vampires depicted as a complex, tragic figure rather than a purely evil monster. This nuanced approach influenced later vampire narratives, and made them more than gross horror stories.
Scholars suggest Varney significantly influenced Bram Stoker's Dracula Varney has inspired various adaptations and references in popular culture, including comics, TV shows, and films.

And the serialization of Varney the Vampire definitely impacted its popularity in several ways. As a penny dreadful, Varney was affordable for working-class readers, contributing to its wide readership. So you might call it the first truly accessible horror story.

The serial format allowed for numerous subplots and cliffhangers, keeping readers engaged over an extended period. The long-running nature of the serial gave the author(s) time to develop Varney into a more rounded, sympathetic character, increasing reader empathy. The ongoing serialization allowed the author(s) to adapt the story and change "rules" as needed, similar to modern TV series.

Despite variable quality due to rapid production, the serialization of Varney the Vampire helped maintain reader interest, leading to its eventual publication as a complete novel.

Join Celebrate Poe for Episode 352 - the first of two episodes for Edgar Poe’s six hoax stories.  Episode 352 is scheduled to be released on the night of March 31 and Episode 353 is scheduled to be released about 15 minutes later - so both episodes should be available for April Fool’s Day.

Sources include: Varney the Vampire by James Malcolm Rymer.

Thank you for listening to Celebrate Poe.