The Depiction Of Vampire Characters In Carmilla By J. Sheridan Le Fanu
J. Sheridan Le Fanu’s Carmilla introduces us to the world of Laura, a shy young woman raised in the southern Austrian state of Styria. Through the events of the novella Laura is entranced by a striking young female vampire by the name of Carmilla (also known as Millarca and Mircalla). I believe Carmilla’s enthralling tactics emulate that of the charming, Robin Hood-esque highwaymen of the 19th century. Her first true introduction to Laura is through a stagecoach crash, aping a common technique used by brigands and folklore hero’s alike.
Similarly Carmilla’s previous victim Bertha Rheinfeldt was killed following a masquerade ball, a place suitable for an outlaw to assassinate someone of high standing. Carmilla evades answering questions of her past and family, a mysterious quality mirrored by rogues alike, also used to boast about their deeds without divulging too much information. Perhaps the most interesting parallel is the fact that she is loved by Laura, despite Carmilla’s fear-inducing eminence, much like the highwaymen, who, despite being violent criminals were canonized by the general populace in folklore. Carmilla, and perhaps the charming nature of vampires in general, works well as a metaphor for the enticing yet villainous brigands that populated much of Europe during the time period that vampires rise to popularity in popular fiction.
A band of highwaymen would frequently lie in wait at the side of the road, ready to take advantage of any misfortune that would happen upon a stagecoach carrying affluent passengers. Similarly in Carmilla, Laura’s first in person introduction to Carmilla is through a stagecoach crash, one that Carmilla takes full advantage of when looking for new quarry. “Now going at a pace that was perfectly frightful, swerved as to bring the wheel over the projecting roots of the tree…. Oh! Papa, pray ask her to let her stay with us. ” (Le Fanu, 18-19) Laura’s pleading to her father on the surface seems to be just that of a lonely young woman looking for a friend, however it is later described that the vampire’s charm is one of the tools used to enthrall their victims. Carmilla capitalises fully on the stagecoach misfortune, much like a brigand on an old road.
The events of Carmilla are predated by a tragedy, one perpetrated by Carmilla. Carmilla sets her sights on a young woman during a masquerade ball. Carmilla uses the masked soiree’s anonymity to her advantage in stalking her prey “Had the young lady not worn a mask, I could of course, have been much more certain upon the question whether she was really watching my poor darling. ” (Le Fanu, 73) A similar tactic was used in the assassination of Gustav the Third of Sweden. The assassins mingled their way through the party, searching for their target in the sea of masks, eventually locating and killing him (The Murder of Sweden's King Gustav III). Of course the difference being Carmilla feeds on young Bertha after the ball, however the target acquisition is quite similar.
Carmilla keeps her personal information heavily under lock and key throughout the novella, mostly due to the fact that she is a vampire and her millenia old past would raise suspicions. However, despite her keeping her past a secret, she does divulge a set of clues that are seemingly cryptic or irrelevant to the reader at first “First - Her name was Carmilla. Second - Her family was very ancient and noble. Third - Her home lay in the direction of the west. ” (Le Fanu, 31) Relating back to the assassination of Gustav the Third, the assassins made their deeds known through boasting about their efforts. Carmilla is stating the facts of her past, merely omitting her age and the distance of her home to the west. Later the reader finds out that by stating this information she’s using her quarry’s ignorance of her vampirism to gloat.
Bandits and highwaymen have been canonized into folklore due to their seemingly altruistic deeds. Steal from the rich and give to the poor, something coined by the tale of Robin Hood, a legendary highwayman depicted in english folklore. Hood is characterized by his charm, looks, and skill in most media. Another more contemporary example being Sándor Rózsa a Hungarian outlaw who participated in the Hungarian revolution (Magyar letrajzi Lexikon, 1000-1990). He became quite a figure in Hungarian folklore despite his violent and criminal undertakings. Their characteristics create a reluctant admiration to these violent figures. Much like how Carmilla is extremely beautiful and charming, Laura begins to love her, she also feels a hesitation towards her at the same time “I had no distinct thoughts about her while such scenes lasted, but I was conscious of a love growing into adoration, and also of abhorrence, this I know is paradox, but I can make no other attempt to explain the feeling. ” (Le Fanu, 32) This uncanny attraction to characters of reprehensible actions is well reflected by vampires in Carmilla as well as other works of fiction.
Drawing to a conclusion, the actions of vampires in popular fiction, more specifically in Carmilla can serve as a metaphor for the outlaws that plagued the 17th, 18th, and 19th centuries. Just with a little less robbery and a little more ingestion of human blood.
