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Amazon Advertising Find, attract, and engage customers. Amazon Drive Cloud storage from Amazon. Alexa Actionable Analytics for the Web. AmazonGlobal Ship Orders Internationally. Amazon Inspire Digital Educational Resources. Amazon Rapids Fun stories for kids on the go. I could not forget your face. It has remained before my eyes ever since. I wonder whether you feel as strangely drawn towards me as I do to you; I have never had a friend -shall I find one now?
Now the truth is, I felt rather unaccountably towards the beautiful stranger, I did feel, as she said, 'drawn towards her', but there was also something of repulsion. She interested and won me; she was so beautiful and so indescribably engaging.
El lenguaje y la actitud de Carmilla, arrolladoramente sexual y erotizante, desconciertan a Laura, la incomodan, pero al mismo tiempo no puede oponer resistencia. Her agitations and her language [de Carmilla] were unintelligible to me. From these foolish embraces, which were not of very frequent occurrence, I must allow, I used to wish to extricate myself […]. Her murmured words sounded like a lullaby in my ear, and soothed my resistance into a trance, from which I only seemed to recover myself when she withdrew her arms. Respecting these very extraordinary manifestations I strove in vain to form any satisfactory theory -I could not refer them to affectation or trick.
It was unmistakably the momentary breaking out of suppressed instinct and emotion. Was she […] subject to brief visitations of insanity; or was there here a disguise and a romance? Laura y Carmilla conforman las dos caras de la misma moneda, los dos modelos enfrentados, la dualidad de la que hablaba Dijkstra. Mientras que Laura corresponde al modelo moral casi divino, Carmilla es la animalidad, la lujuria, lo maligno.
Laura es "a beautiful young lady, with golden hair and large blue eyes, and lips […]" p. Except that her movements were languid […]. Her complexion was rich and brilliant; her features were small and beautifully formed; her eyes large, dark and lustrous; her hair was quite wonderful […] so magnificently thick and long […]. It was exquisitely fine and soft, and in colour a rich very dark brown, with something of gold" p. Dijkstra subraya este punto cuando dice: It becomes clear that Carmilla, even if she is real, is a mirror image, the photographic negative of Laura […]. She is Laura's erotic primal nature made flesh.
So completely opposite is she from Laura that the latter for a moment even suspects that her new companion might actually be male […]. Thus, Carmilla, the vampire […] has all the viraginous qualities of the bestial woman. You may guess how strangely I felt as I heard my own symptoms so exactly described in those which had been experienced by the poor girl who, but for the catastrophe which followed, would have been at that moment a visitor at my father's chateau. You may suppose, also, how I felt as I heard him detail habits and mysterious Bram Dijkstra, op.
Carmilla es la propia condesa; Bertha era descendiente, por parte materna, de la misma estirpe, al igual que Laura. Ella misma fue vampirizada por el modo tradicional: Carmilla es aniquilada en tanto que su presencia, identificada con el primitivismo y la animalidad, desequilibra la estabilidad social y moral. Romantic Tales, aparecido en El cuento empieza diciendo: Vampire stories are generally located in Styria; mine also.
Styria is by no means the romantic kind of place described by those who have certainly never been there […]. Vampires generally arrive at night, in carriages drawn by two black horses. Our Vampire arrived by the commonplace means of the railway train, and in the afternoon.
I find it difficult to describe my brother Gabriel; there was something about him strange and superhuman, or perhaps I should rather say praeterhuman, something between the animal and the divine.
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Perhaps the Greek idea of the Faun might illustrate what I mean […]. He had large, wild, gazelle-like eyes: La narradora alude al texto del Salmo -"Grace is shed forth on thy lips, therefore has God blessed thee eternally" p. Gabriel posee la capacidad de dominar la Naturaleza y de comunicarse directamente con ella. Igualmente la Naturaleza lo obedece: Everything seemed to come tame to this hand" p.
After dinner my father asked him if he played the piano. He said 'Yes, I can a little', and he sat down at the piano. Then he played a Hungarian csardas -wild, rhapsodic, wonderful […] p. You have the soul of music within you. He was announced under the name of Count Vardalek -the name being Hungarian. But he spoke German […].
His voice was peculiarly soft and insinuating […]. But let me give my first impressions. He was rather tall with fair wavy hair, rather long, which accentuated a certain effeminacy, about his smooth face. His figure had something -I cannot say what- serpentine about it. The features were refined; and he had long, slender, subtle, magnetic-looking hands, a somewhat long sinuous nose, a graceful mouth, and an attractive smile, which belied the intense sadness of the expression of the eyes.
When he arrived his eyes were half closed -indeed they were habitually so- so that I could not decide their colour. He looked worned and wearied. I could not possibly guess his age. My life, yes life -oh, why life? I am sure this is but a little that I demand of thee.
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Surely thy superabundance of life can spare little to one who is already dead. No, stay', he said now almost harshly, 'what must be, must be! Suddenly Gabriel burst into the room; a yellow butterfly was clinging to his hair. He was carrying in his arms a little squirrel. Of course he was barelegged as usual. The stranger looked up at his approach […] Gabriel stood stock-still, with a startled look, like that of a a bird fascinated by a serpent.
But nevertheless he held out his hand to the newcomer Vardalek, taking his hand -I don't know why I noticed this trivial thing- pressed the pulse with his forefinger. Suddenly Gabriel darted from the room and rushed upstairs […]. Great was my relief when he came down in his velvet Sunday suit, and shoes and stockings! Sin embargo, el conde Vardalek lo sabe al instante y eficazmente lo interpreta. One night I had gone downstairs to fetch something which I had left in the drawing-room.
As I was going up again I passed Vardalek's room. He was playing on a piano […] one of Chopin's nocturnes […] Something white appeared on the dark staircase […] What was my astonishment to see Gabriel walking slowly down the staircase, his eyes fixed as though in a trance! He left it open.
Vardalek still continued playing, but talked as he played. He said -this time speaking in Polish- Nie uniem wyrazic jak ciechi kocham- 'My darling, I fain would spare thee; but thy life is my life, and I must live, I who would rather die […] pp. Ambos se despiden con una escena tierna y amorosa: El texto acaba con la frase: Es muy curioso que este vampiro no muera. Parravicini, lleva a cabo. Se puede ver claramente que cuando el narrador habla de Lady Ducayne, por ejemplo, en realidad lo hace de toda la aristocracia y nobleza inglesa.
Rolleston was a lady by birth and education; but it had been her bad fortune to marry a scoundrel; for the last half-dozen years she had been that worst of widows, a wife whose husband had deserted her. Happily, she was courageous, industrious, and a clever needlewoman; and she had been able just to earn a living for herself and her only child, by making mantles and cloaks for a West-end house.
Perhaps this is what makes some girls so eager to marry -the want of someone strong and brave and honest and true to care for then and order them about. I want no one, mother darling, for I have you, and you are all the world to me. No husband could ever come between us two.
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If I ever were to marry he would have only the second place in my heart. No young man can afford to marry a penniless girl nowadays. Life is too expensive. Es muy destacable el hecho de que realmente los dos constituyen las dos caras de la misma moneda: El narrador nos informa: In two years' hospital practice he had seen too much of the grim realities of life to retain any prejudices about rank.
Cancer, phthisis, gangrene, leave a man with little respect for the humanity. The kernel is always the same -fearfully and wonderfully made- a subject for pity and terror. Then I think you have had your share of the sunshine and the pleasures of the earth, and that you should spend your few remaining days in repenting your sins and trying to make atonement for the young lives that have been sacrificed to your love of life. Para la ingenua mirada de Bella, Lady Ducayne aparece como un ser gentil, bueno y amable. As she looked, a carriage passed her, an old-fashioned, yellow chariot, on cee [sic] springs, drawn by a pair of high grey horses, with the stateliest of coachmen driving them, and a tall footman sitting by his side.
A partir de las opiniones de los personajes, las descripciones y alusiones del narrador llegamos a saber que Lady Ducayne es un vampiro. Dos aspectos fundamentales para resumir en cierto modo el tema central de la novela: Usemos las palabras del propio van Helsing para ilustrar lo mencionado: He meant that we shall have an open mind, and not let a little bit of truth check the rush of a big truth […].
We get the small truth the first. We keen him, and evalue him; but all the same we must not let him think himself all the truth in the universe. Como ejemplo, baste mencionar la historia que refiere que le gustaba comer rodeado de la gente empalada en el reciente combate. En palabras de Molina Foix: Vlad Tepes el Empalador y sus antepasados. Como opina Ken Gelder: Dracula […] also in part enables these many readerly productions to come into being. Whithin, stood a tall old man, clean-shaven save for a long white moustache, and clad in black from head to foot […].
He held in his hand an antique silver lamp, in which the flame burned without chimmey or globe of any kind, throwing long, quivering shadows as it flickered in the draught of the open door. Y es en el uso de este disfraz donde la autora ubica el verdadero sentimiento del miedo: A Poetics of Gothic, pp. Here I am, sitting at a little oak table where in old times possibly some fair lady sat to pen, with much thought and many blushes, her ill-spelt love-letter, and writing my diary in shorthand all that has happened since I closed it last.
I could feel the soft, shivering touch of the lips on the supersensitive skin of my throat, and the hand dents of two sharp teeth, just touching and pausing there. I closed my eyes in a languorous ecstasy and waited —waited with beating heart. The moonlight was so bright that through the thick yellow blind the room was light enough to see. On the bed beside the window lay Jonathan Harker […] kneeling on the near edge of the bed facing outwards was the white-clad figure of his wife.
By her side stood a tall, thin man, clad in black […]. With his left hand he held both Mrs. Ah, I doubt not that in old time, when such things were, many a man who set forth to do such a task as mine, found at the last his heart fail him, and then his nerve. So he delay, and delay, and delay, till the mere beauty and the fascination of the wanton Un- Dead have hypnotised him […] then the beautiful eyes of the fair woman open and look above, and the voluptuous mouth present to a kiss —and a man is weak.
And there remain one more victim in the Vampire fold; one more to swell the grim and grisly ranks of the Un-Dead. Lombroso aparece citado en la novela. La mujer fatal como vampiro. En una de las cartas de Lucy ella se queja de no poder casarse con sus tres pretendientes: Es muy ilustrativa al respecto la escena en que Arthur Holmwood termina con Lucy: Arthur took the stake and the hammer, and when once his mind was set on action his hands never trembled nor even quivered […] The Thing in the coffin-writhed; and a hideous, blood-curdling screech come from the opened red lips.
The body shook and quivered and twisted in wild contortions; the sharp white teeth champed together till the lips were cut and the mouth was smeared with a crimson foam. But Arthur never faltered. He looked like a figure of Thor as his untrembling arm rose and fell, driving deeper and deeper the mercy-bearing stake, whilst the blood from the pierced heart welled and spurted up around it.
His face was set, and high duty seemed to shine through it. Mientras que el viaje del conde de Transilvania a Inglaterra supone su rejuvenecimiento, a Harker le supone el envejecimiento, sobre todo cuando Mina es contaminada. Porque como el vampiro representa el inconsciente humano, no puede reflejarse ya que es parte de nosotros mismos. How dare you cast eyes on him when I had forbidden it? Back, I tell you all! This man belongs to me!
Is it not so? I think he understood my look: Curiosamente Morris no sobrevive a la lucha final. Edgar Allan Poe y H. They come of an ancient and queenly lineage, these Dark Women of the romance tradition, iconographic inscriptions of patriarchal ambivalence towards the female. From Lilith to Lulu and beyond they haunt the houses of their masters, mocking them while escaping into the safety mythology. Romance narratives allow such outsized creations free reign, unfettered by the dictates of verisimilar fictions.
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Ligeia llega a poseer el cuerpo de la segunda esposa del narrador; Berenice cae presa de Ibid, p. Lilith, figura tradicionalmente vinculada al vampirismo, como ya hemos visto. Tras la muerte de ella, el narrador se sume en un mundo obsesivo dominado por el consumo de drogas. They were […] far larger than the ordinary eyes of our race. They were even far fuller than the fullest of the Gazelle eyes of the tribe of the valley of Nourjahad […]. I recognized it […] sometimes in the commonest objects of the universe. It has flashed upon me in the survey of a rapidly-growing vine —in the contemplantion of a moth, a butterfly, a chrysalis, a stream of running water.
I have felt it in the ocean, in the falling of a meteor […] in the glances of unusually aged people. And there are one or two stars in heaven […] of which I have been made aware of the feeling.