Poe and Vampires

Welcome to Celebrate Poe - Episode 355 - Poe and Vampires

While Edgar Allan Poe didn't write about traditional vampires, his exploration of vampiric themes places his work within a broader context of vampiric literature, showcasing the versatility of the concept beyond just blood-drinking monsters.  And hopefully within the next few minutes, Mr. Poe will make an appearance to address that very subject.

To begin with, Poe’s story "The Fall of the House of Usher," the relationship between Roderick and Madeline Usher has vampiric qualities, with their lives seemingly intertwined in a way that drains both.

"The Oval Portrait" - also by Poe - features an artist who seems to transfer his wife's life force into his painting, a vampiric act of creation.

Poe’s story "Morella" explores themes of identity transfer and rebirth, which can be interpreted as a form of vampiric continuation of life.   And those are just three of Poe’s vampiric stories.

But before this podcast delves into those stories, Celebrate Poe will have several episodes dealing with Bram Stoker’s Dracula - and before we tackle the most well-known of all works of vampire literature - I thought it would be appropriate to talk with Mr. Edgar Allan Poe himself about the subject of vampires and briefly touch on their use in his work - and I do want to emphasize the word briefly - because after Easter I intend to - among other things - delve into the use of vampiric elements in more detail in Poe’s stories.   By the way, I think I hear the ghost of Mr. Poe now . . .

Thank you for experiencing Celebrate Poe.

Transcript

Welcome to Celebrate Poe - Episode 355 - Poe and Vampires

While Edgar Allan Poe didn't write about traditional vampires, his exploration of vampiric themes places his work within a broader context of vampiric literature, showcasing the versatility of the concept beyond just blood-drinking monsters.  And hopefully within the next few minutes, Mr. Poe will make an appearance to address that very subject.

To begin with, Poe’s story "The Fall of the House of Usher," the relationship between Roderick and Madeline Usher has vampiric qualities, with their lives seemingly intertwined in a way that drains both.

"The Oval Portrait" - also by Poe - features an artist who seems to transfer his wife's life force into his painting, a vampiric act of creation.

Poe’s story "Morella" explores themes of identity transfer and rebirth, which can be interpreted as a form of vampiric continuation of life.   And those are just three of Poe’s vampiric stories.

But before this podcast delves into those stories, Celebrate Poe will have several episodes dealing with Bram Stoker’s Dracula - and before we tackle the most well-known of all works of vampire literature - I thought it would be appropriate to talk with Mr. Edgar Allan Poe himself about the subject of vampires and briefly touch on their use in his work - and I do want to emphasize the word briefly - because after Easter I intend to - among other things - delve into the use of vampiric elements in more detail in Poe’s stories.   By the way, I think I hear the ghost of Mr. Poe now.

GHOST SOUND

Greetings, Mr. Bartley.

Well, Hello, Mr. Poe.  As I am sure you know, since probably the beginning of the year, I have been talking about vampires and similar topics.  I can understand that a listener might wonder - what does this have to do with Edgar Allan Poe?  Well, I am especially glad to talk with you about your version of vampirism - different in some ways - but definitely as powerful

Ah yes, Mr. Bartley - I don’t know if I would use the term vampirism - lest the exchange of energy be confused with the European Dracula type with fangs and a cloak - one must remember that my depiction of vampirism differed from traditional folklore in several key ways. My approach was a more subtle and psychological - some say more complex - approach to the concept.

Mr. Poe, go on.

Yes, Mr. Bartley, I often used vampirism as a metaphor for human relationships and the draining of vitality, rather than literal blood-drinking. This approach explored "the essentially vampiric nature of human relationships, including love and lust - both normal and incestuous.

Yes, Mr. Poe - I think that I see what you mean.

Mr. Bartley, Instead of relying on supernatural elements, I emphasized the psychological aspects of vampirism. In "The Fall of the House of Usher," for example, the vampiric themes are intertwined with the characters' mental states and the overall atmosphere of decay.

Mr. Poe - one might say that you incorporated vampiric elements without explicitly naming them as such. 

Ah yes, Mr. Bartley - in my story “Berenice’” the narrator's obsession with the title character's teeth can be interpreted as a vampiric motif, but it's presented through the lens of the narrator's mental instability.

You know, Mr. Poe - it took years before I realized that - and I thought I was familiar with the story.

Mr. Bartley - I am not surprised.  In fact, in some cases, I employed vampiric themes satirically. "Berenice" has been interpreted as a satire on literary uses of vampire lore, with the narrator's exaggerated reactions and bizarre twists on traditional vampire elements serving as commentary on gothic conventions.

Mr. Poe - I would go so far as to say that the role of the vampire in an encounter was far more complex than the vampire of traditional legend.

Ah, Mr. Bartley, PRECISELY!  I often attempted to make it unclear who was the vampire and who was the victim. In "The Fall of the House of Usher," BOTH Roderick and Madeline Usher display vampiric traits, creating ambiguity about their roles.  Instead of just one character obtaining the life force of another - they BOTH obtained the life force - while at the same time - the declining demise - of each other.

Mr. Poe, Kinda like they both took each other down.

Mr. Bartley - that might be a way of expressing the situation using your ….ah … current vernacular.  But, Mr. Bartley, I would express the transfer of energy in a far more subtle way. Rather than emphasizing simple blood-drinking, I explored the concept of energy or life force being transferred between individuals. This approach allowed for a more nuanced exploration of human relationships and artistic processes.

So Mr. Poe - By departing from traditional vampire folklore, you created a more complex and psychologically rich exploration of vampirism, using it as a tool to delve into the human psyche and the nature of relationships.

Mr. Bartley - sometimes you quite surprise me! 

Yes, Mr. Poe - that would seem to create ambiguity about their roles.

Mr. Bartley, I continue to be surprised!

So - Mr. Poe - did you use always use vampiric themes to critique power imbalances in relationships - you know, when there is a energy imbalance. 

Ah, Mr. Bartley - it is far more complex than that.  This may require a moment, but let me explain.  My vampiric imagery also served as a commentary on the nature of artistic creation. In "The Oval Portrait,”- an excellent example -  the artist's obsession with his work leads to the literal death of his subject, suggesting that the creative process can be destructive. This portrayal raises questions about the ethics of art and the potential cost of pursuing artistic perfection.  Now please be patient with me as I present an excerpt from The Oval Portrait that describes that destructive creative process.

The portrait, I have already said, was that of a young girl. It was a mere head and shoulders, done in what is technically termed a vignette manner; much in the style of the favorite heads of Sully. The arms, the bosom, and even the ends of the radiant hair melted imperceptibly into the vague yet deep shadow which formed the back-ground of the whole. The frame was oval, richly gilded and filigreed in Moresque. As a thing of art nothing could be more admirable than the painting itself. But it could have been neither the execution of the work, nor the immortal beauty of the countenance, which had so suddenly and so vehemently moved me. Least of all, could it have been that my fancy, shaken from its half slumber, had mistaken the head for that of a living person. I saw at once that the peculiarities of the design, of the vignetting, and of the frame, must have instantly dispelled such idea -- must have prevented even its momentary entertainment. Thinking earnestly upon these points, I remained, for an hour perhaps, half sitting, half reclining, with my vision riveted upon the portrait. At length, satisfied with the true secret of its effect, I fell back within the bed. I had found the spell of the picture in an absolute life-likeliness of expression, which, at first startling, finally confounded, subdued, and appalled me. With deep and reverent awe I replaced the candelabrum in its former position. The cause of my deep agitation being thus shut from view, I sought eagerly the volume which discussed the paintings and their histories. Turning to the number which designated the oval portrait, I there read the vague and quaint words which follow:

"She was a maiden of rarest beauty, and not more lovely than full of glee. And evil was the hour when she saw, and loved, and wedded the painter. He, passionate, studious, austere, and having already a bride in his Art; she a maiden of rarest beauty, and not more lovely than full of glee; all light and smiles, and frolicsome as the young fawn; loving and cherishing all things; hating only the Art which was her rival; dreading only the pallet and brushes and other untoward instruments which deprived her of the countenance of her lover. It was thus a terrible thing for this lady to hear the painter speak of his desire to pourtray even his young bride. But she was humble and obedient, and sat meekly for many weeks in the dark, high turret-chamber where the light dripped upon the pale canvas only from overhead. But he, the painter, took glory in his work, which went on from hour to hour, and from day to day. And he was a passionate, and wild, and moody man, who became lost in reveries; so that he would not see that the light which fell so ghastly in that lone turret withered the health and the spirits of his bride, who pined visibly to all but him. Yet she smiled on and still on, uncomplainingly, because she saw that the painter (who had high renown) took a fervid and burning pleasure in his task, and wrought day and night to depict her who so loved him, yet who grew daily more dispirited and weak. And in sooth some who beheld the portrait spoke of its resemblance in low words, as of a mighty marvel, and a proof not less of the power of the painter than of his deep love for her whom he depicted so surpassingly well. But at length, as the labor drew nearer to its conclusion, there were admitted none into the turret; for the painter had grown wild with the ardor of his work, and turned his eyes from canvas merely, even to regard the countenance of his wife. And he would not see that the tints which he spread upon the canvas were drawn from the cheeks of her who sate beside him. And when many weeks bad passed, and but little remained to do, save one brush upon the mouth and one tint upon the eye, the spirit of the lady again flickered up as the flame within the socket of the lamp. And then the brush was given, and then the tint was placed; and, for one moment, the painter stood entranced before the work which he had wrought; but in the next, while he yet gazed, he grew tremulous and very pallid, and aghast, and crying with a loud voice, 'This is indeed Life itself!' turned suddenly to regard his beloved: -- She was dead!

Mr. Poe - obviously the painter was not the traditional vampire - but there was a distinct transfer of energy that left the subject - or one might say - the victim without the energy displayed through life or any kind of vitality.

Ah, Mr. Bartley - again, you amaze me.

Thank you, Mr. Poe.

Please, Mr. Bartley - let me reiterate - it is sometimes necessary to do such with you - it was through such vampiric themes that I delved into the complexities of human relationships and desires. My stories often blurred the lines between victim and vampire, suggesting that human interactions can be inherently vampiric, involving exchanges of energy and vitality. This approach allowed me to explore the darker aspects of human nature and the potential for exploitation in close relationships.

Ah, Mr. Poe - I think I understand what you mean.  I noticed that a great deal of that passage seemed to touch on the feminine perspective.

Ah, Mr. Bartley - That is most insightful. I used a form of vampirism to touch on issues of gender and sexuality, often in subtle ways that may have challenged societal norms. My stories sometimes explored female sexuality and agency at a time when such topics were taboo.  However, many critics believe that my use of the vampire, as a subversive figure, allowed me to mask these explorations of gender and sexuality within the context of the supernatural.

Fascinating, Mr. Poe!

Thank you, Mr. Bartley - My vampiric themes often intersected with portrayals of obsession and mental instability. In stories such as "Berenice," the narrator's fixation on the title character's teeth can virtually be read as a vampiric motif, intertwined with themes of mental deterioration. This approach allowed me to comment on the potentially destructive nature of obsession and the fragility of the human psyche.

And by employing vampirism as a metaphor, I was able to address complex societal issues in a way that was both subtle and profound, offering commentary on power, art, human nature, and mental health.

Ah, Mr. Poe, that writing continues to resonate with readers today.

Ah, yes, Mr. Bartley, I even feel that my use of vampirism even had the effect of commenting on social issues.

Mr. Poe - would you explain what you mean?

Ah, Mr. Bartley - I firmly believe that my use of vampirism served as a nuanced commentary on various societal issues, employing the concept as a metaphor to explore complex human relationships and cultural anxieties. 

Obviously, my approach differed significantly from traditional vampire folklore, focusing on psychological and symbolic aspects rather than literal blood-drinking monsters.

Mr. Poe - you are amazing!

Thank you, Mr. Bartley - I used vampiric themes to critique power imbalances in relationships, particularly within marriage and patriarchal society. In "The Oval Portrait," the artist's act of painting his wife can be interpreted as a form of vampirism, where the husband takes and the wife gives without reciprocity. This metaphor extends to broader social commentary on the potentially draining nature of unequal partnerships.

Then how does The Oval Portrait address the creative process?

Ah, Mr. Bartley - I do hope the story addresses creativity in a most significant way.  You see, my vampiric imagery also served as a commentary on the nature of artistic creation. In "The Oval Portrait," the artist's obsession with his work leads to the literal death of his subject, suggesting that the creative process can be destructive. This portrayal raises questions about the ethics of art and the potential cost of pursuing artistic perfection. Through the concept of the portrait outliving its subject, I attempted to explore the philosophical implications of immortality. The story suggests that the pursuit of lasting legacy or immortality through art may come at the cost of present life and vitality.

Mr. Poe - that is truly fascinating.  But could you comment further regarding how your use of vampirism relates to the destructive nature of artistic creation?

Ah, Mr. Bartley - the use of vampirism as a metaphor in my works, particularly in "The Oval Portrait," offers a commentary on the potentially destructive nature of artistic creation. 

And let me emphasize that I employed the concept of psychic vampirism to illustrate how the process of artistic creation can drain the life force from its subjects. In "The Oval Portrait," the artist literally saps the vitality from his wife as he paints her portrait. This vampiric act symbolizes how artists may inadvertently consume or destroy their subjects in pursuit of their art.

That is really heavy.

Mr. Bartley - I sometimes have hopes for you, but the concept of weight has nothing to do with my story.

Excuse me, Mr. Poe - I was using heavy in the current vernacular - meaning awesome or substantial or even profound.

Be that as it may, Mr. Bartley - I wanted to express that just as the artist in "The Oval Portrait" creates a masterpiece, he simultaneously destroys the very thing he seeks to immortalize. 

Ah, Mr. Poe - such a concept seems to highlight the idea that art, in its attempt to capture life, may actually diminish or extinguish it.

Ah, Mr. Bartley - that is - to use your terminology - a heavy observation.

Mr. Poe - one might say that the plot of Berenice expresses the use of vampirism in art - that the creative process transforms both the subject and the artist.

Precisely, Mr. Bartley -  as the subject is immortalized on canvas, the subject is reduced to an object, losing their living essence. 

And Mr. Poe - similarly, the artist may be transformed by their work, potentially losing touch with reality or humanity in their pursuit of artistic vision.

Ah, Mr. Bartley, let me conclude by saying, Through the lens of vampirism, I attempted to explores the power imbalance inherent in the artist-subject relationship. The artist, as the vampire, holds power over their subject, drawing out their essence for the sake of art. This dynamic can be seen as a commentary on the ethical implications of artistic representation and the potential for exploitation in the creative process.

And Mr. Poe, let me conclude this episode by pointing out that your use
of vampirism as a metaphor for artistic creation serves to highlight the complex and often dark nature of the creative process. This specific use of vampirism underscores the potential for art to be both a life-giving and life-taking force.

Mr. Bartley, I quite concur, and with that observation, I must take my leave. Farewell, Mr. Bartley.

GHOST SOUND

Goodbye, Mr. Poe.

Join Celebrate Poe for Episode 356 Pre Dracula

Sources include: perplexit.ai and The Oval Portrait from the Complete Works of Edgar Allan Poe

Thank you for listening to Celebrate Poe.