Dracula's Guest: A Connoisseur's Collection of Victorian Vampire Stories

by Sims, Michael

  VAMPIRE STORIES ARE GENERALLY located in Styria; mine is also. Styria is by no means the romantic kind of place described by those who have certainly never been there. It is a flat, uninteresting country, only celebrated by its turkeys, its capons, and the stupidity of its inhabitants. Vampires generally arrive by night, in carriages drawn by two black horses.

  Our Vampire arrived by the commonplace means of the railway train, and in the afternoon. You must think that I am joking, or perhaps that by the word “Vampire” I mean a financial vampire. No, I am quite serious. The Vampire of whom I am speaking, who laid waste our hearth and home, was a real vampire.

  Vampires are generally described as dark, sinister-looking, and singularly handsome. Our Vampire was, on the contrary, rather fair, and certainly not at first sight sinister-looking, and though decidedly attractive in appearance, not what one would call singularly handsome.

  Yes, he desolated our home, killed my brother—the one object of my adoration—also my dear father. Yet, at the same time, I must say that I myself came under the spell of his fascination, and, in spite of all, have no ill-will towards him now.

  Doubtless you have read in the papers passim of “the Baroness and her beasts.” It is to tell how I came to spend most of my useless wealth on an asylum for stray animals that I am writing this.

  I am old now; what happened then was when I was a little girl of about thirteen. I will begin by describing our household. We were Poles; our name was Wronski: we lived in Styria, where we had a castle. Our household was very limited. It consisted, with the exclusion of domestics, of only my father, my governess—a worthy Belgian named mademoiselle Vonnaert—my brother, and myself. Let me begin with my father: He was old, and both my brother and I were children of his old age. Of my mother I remember nothing: she died in giving birth to my brother, who is only one year, or not as much, younger than myself. Our father was studious, continually occupied in reading books, chiefly on recondite subjects and in all kinds of unknown languages. He had a long white beard, and wore habitually a black velvet skull-cap.

  How kind he was to us! It was more than I could tell. Still it was not I who was the favourite. His whole heart went out to Gabriel—Gabryel as we spelt it in Polish. He was always called by the Russian abbreviation Gavril—I mean, of course, my brother, who had a resemblance to the only portrait of my mother, a slight chalk sketch which hung in my father’s study. But I was by no means jealous: my brother was and has been the only love of my life. It is for his sake that I am now keeping in Westbourne Park a home for stray cats and dogs.

  I was at that time, as I said before, a little girl; my name was Carmela. My long tangled hair was always all over the place, and never would be combed straight. I was not pretty—at least, looking at a photograph of me at that time, I do not think I could describe myself as such. Yet at the same time, when I look at my photograph, I think my expression may have been pleasing to some people: irregular features, large mouth, and large wild eyes.

  I was by way of being naughty—not so naughty as Gabriel in the opinion of Mlle. Vonnaert. Mlle. Vonnaert, I may intercalate, was a wholly excellent person, middle-aged, who really did speak good French, although she was a Belgian, and could make herself understood in German, which, as you may or may not know, is the current language of Styria.

  I find it difficult to describe my brother, Gabriel; there was something about him strange and superhuman, or perhaps I should rather say praeter-human, something between the animal and the divine. Perhaps the Greek idea of the Faun might illustrate what I mean; but that will not do either. He had large, wild, gazelle-like eyes: his hair, like mine, was in a perpetual tangle—that point he had in common with me, and indeed, as I afterwards heard, our mother having been of gypsy race, it will account for much of the innate wildness there was in our natures. I was wild enough, but Gabriel was much wilder. Nothing would induce him to put on shoes and socks, except on Sundays—when he also allowed his hair to be combed, but only by me. How shall I describe the grace of that lovely mouth, shaped verily en arc d’amour. I always think of the text in the Psalm, “Grace is shed forth on thy lips, therefore has God blessed thee eternally”—lips that seemed to exhale the very breath of life. Then that beautiful, lithe, living, elastic form!

  He could run faster than any deer: spring like a squirrel to the topmost branch of a tree: he might have stood for the sign and symbol of vitality itself. But seldom could he be induced by Mlle. Vonnaert to learn lessons, but when he did so, he learned with extraordinary quickness. He would play upon every conceivable instrument, holding a violin here, there, and everywhere except the right place: manufacturing instruments for himself out of reeds—even sticks. Mlle. Vonnaert made futile efforts to induce him to learn to play the piano. I suppose he was what was called spoilt, though merely in the superficial sense of the word. Our father allowed him to indulge in every caprice.

  One of his peculiarities, when quite a little child, was horror at the sight of meat. Nothing on earth would induce him to taste it. Another thing which was particularly remarkable about him was his extraordinary power over animals. Everything seemed to come tame to his hand. Birds would sit on his shoulder. Then sometimes Mlle. Vonnaert and I would lose him in the woods—he would suddenly dart away. Then we would find him singing softly or whistling to himself, with all manner of woodland creatures around him,—hedgehogs, little foxes, wild rabbits, marmots, squirrels, and such like. He would frequently bring these things home with him and insist on keeping them. This strange menagerie was the terror of poor Mlle. Vonnaert’s heart. He chose to live in a little room at the top of a turret; but which, instead of going upstairs, he chose to reach by means of a very tall chestnut tree, through the window. But in contradiction to all this, it was his custom to serve every Sunday Mass in the parish church, with hair nicely combed and with white surplice and red cassock. He looked as demure and tamed as possible. Then came the element of the divine. What an expression of ecstasy there was in those glorious eyes!

  Thus far I have not been speaking about the Vampire. However, let me begin with my narrative at last. One day my father had to go to the neighboring town—as he frequently had. This time he returned accompanied by a guest. The gentleman, he said, had missed his train, through the late arrival of another at our station, which was a junction, and he would therefore, as trains were not frequent in our parts, have had to wait there all night. He had joined in conversation with my father in the too-late-arriving train from the town: and had consequently accepted my father’s invitation to stay the night at our house. But of course, you know, in those out-of-the-way parts we are almost patriarchal in our hospitality.

  He was announced under the name of Count Vardalek—the name being Hungarian. But he spoke German well enough: not with the monotonous accentuation of Hungarians, but rather, if anything, with a slight Slavonic intonation. His voice was particularly soft and insinuating. We soon afterwards found out he could talk Polish, and Mlle. Vonnaert vouched for his good French. Indeed he seemed to know all languages. 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, 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 worn and wearied. I could not possibly guess his age.

  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 bare-legged as usual. The stranger looked up at his approach; then I noticed his eyes. They were green: they seemed to dilate and grow larger. Gabriel stood stock-still, with a startled look, like that of a bird fascinated with 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 upstairs, going to his turret-room this time by the staircase instead of the tree. I was in terror of what the Count might think of him. Great was my relief when he came down in his velvet Sunday suit, and shoes and stockings. I combed his hair, and set him generally right.

  When the stranger came to dinner his appearance had somewhat altered; he looked much younger. There was an elasticity of the skin, combined with a delicate complexion, rarely to be found in a man. Before, he had struck me as very pale.

  Well, at dinner we were all charmed with him, especially my father. He seemed to be thoroughly acquainted with all my father’s peculiar hobbies. Once, when my father was relating some of his military experiences, he said something about a drummer-boy who was wounded in battle. His eyes opened completely again and dilated: this time with a particularly disagreeable expression, dull and dead, yet at the same time animated by some horrible excitement. But this was only momentary.

  The chief subject of his conversation with my father was about certain curious mystical books which my father had just lately picked up, and which he could not make out, but Vardalek seemed completely to understand. At dessert-time my father asked him if he were in a great hurry to reach his destination: if not, would he not stay on with us a little while: though our place was out of the way, he would find much that would interest him in his library.

  He answered, “I am in no hurry. I have no particular reason for going to that place at all, and if I can be of service to you in deciphering these books, I shall be only too glad.” He added with a smile that was bitter, very very bitter: “You see, I am a cosmopolitan, a wanderer on the face of the earth.”

  After dinner my father asked him if he played the piano. He said, “Yes, I can do a little,” and he sat down at the piano. Then he played a Hungarian czardas—wild, rhapsodic, wonderful.

  That is the music which makes men mad. He went on in the same strain.

  Gabriel stood stock still by the piano, his eyes dilated and fixed, his form quivering. At last he said very slowly, at one particular motive—for want of a better word you may call it the relâche of a czardas by which I mean that point where the original quasi-slow movement begins again—“Yes, I think I could play that.”

  Then he quickly fetched his fiddle and self-made xylophone, and did actually, alternating the instruments, render the same very well indeed.

  Vardalek looked at him, and said in a very sad voice, “Poor child! You have the soul of music within you.”

  I could not understand why he should seem to commiserate instead of congratulate Gabriel on what certainly showed an extraordinary talent.

  Gabriel was shy even as the wild animals who were tame to him. Never before had he taken to a stranger. Indeed, as a rule, if any stranger came to the house by any chance, he would hide himself, and I had to bring him up his food to the turret chamber. You may imagine what was my surprise when I saw him walking about hand in hand with Vardalek the next morning, in the garden, talking livelily with him, and showing his collection of pet animals, which he had gathered from the woods, and for which we had had to fit up a regular zoological gardens. He seemed utterly under the domination of Vardalek. What surprised us was (for otherwise we liked the stranger, especially for being kind to him) that he seemed, though not noticeably at first—except to me, who noticed everything with regard to him—to be gradually losing his health and vitality. He did not become pale as yet; but there was a certain languor about his movements which certainly there was by no means before.

  My father got more and more devoted to Count Vardalek. He helped him in his studies: and my father would hardly allow him to go away, which he did sometimes—to Trieste, he said—he always came back, bringing us presents of strange Oriental jewellery or textures.

  I knew all kinds of people came to Trieste, Orientals included. Still, there was a strangeness and magnificence about these things which I was sure even then could not have possibly come from such a place as Trieste, memorable to me chiefly for its necktie shops.

  When Vardalek was away, Gabriel was continually asking for him and talking about him. Then at the same time he seemed to regain his old vitality and spirits. Vardalek always returned looking much older, wan, and weary. Gabriel would rush to meet him, and kiss him on the mouth. Then he gave a slight shiver, and after a little while began to look quite young again.

  Things continued like this for some time. My father would not hear of Vardalek’s going away permanently. He came to be an inmate of our house. I indeed, and Mlle. Vonnaert also, could not help noticing what a difference there was altogether about Gabriel. But my father seemed totally blind to it.

  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, which had been specially put there for him, one of Chopin’s nocturnes, very beautifully; I stopped, leaning on the banisters to listen.

  Something white appeared on the dark staircase. We believed in ghosts in our part. I was transfixed with terror, and clung to the banisters. What was my astonishment to see Gabriel walking slowly down the staircase, his eyes fixed as though in a trance! This terrified me even more than a ghost would. Could I believe my senses? Could that be Gabriel?

  I simply could not move. Gabriel, clad in his long white night-shirt, came downstairs and opened the door. He left it open. Vardalek still continued playing, but talked as he played.

  He said—this time speaking in Polish—Nie umiem wyrazic jak ciehie kocham,—“My darling, I fain would spare thee; but thy life is my life, and I must live, I who would rather die. Will God not have any mercy on me? Oh! oh! life; oh, the torture of life!” Here he struck one agonised and strange chord, then continued playing softly, “Oh, Gabriel, my beloved! My life, yes life—oh, why life? I am sure this is but a little of what I demand of thee. Surely thy superabundance of life can spare a little to one who is already dead. No, stay,” he said now almost harshly, “what must be, must be!”

  Gabriel stood there quite still, with the same fixed vacant expression, in the room. He was evidently walking in his sleep. Vardalek played on: then said, “Ah!” with a sigh of terrible agony. Then, very gently, “Go now, Gabriel; it is enough.” And Gabriel went out of the room and ascended the staircase at the same slow pace, with the same unconscious stare. Vardalek struck the piano, and although he did not play loudly, it seemed as though the strings would break. You never heard music so strange and so heart-rending!

  I only know I was found by Mlle. Vonnaert in the morning, in an unconscious state, at the foot of the stairs. Was it a dream after all? I am sure now that it was not. I thought then it might be, and said nothing to any-one about it. Indeed, what could I say?

  Well, to let me cut a long story short, Gabriel, who had never known a moment’s sickness in his life, grew ill; and we had to send to Gratz for a doctor, who could give no explanation of Gabriel’s strange illness. Gradual wasting away, he said: absolutely no organic complaint. What could this mean?

  My father at last became conscious of the fact that Gabriel was ill. His anxiety was fearful. The last trace of grey faded from his hair, and it became quite white. We sent to Vienna for doctors. But all with the same result.

  Gabriel was generally unconscious, and when conscious, only seemed to recognize Vardalek, who sat continually by his bedside, nursing him with the utmost tenderness.

  One day I was alone in the room: and Vardalek cried suddenly, almost fiercely, “Send for a priest at once, at once,” he repeated. “It is now almost too late!”

  Gabriel stretched out his arms spasmodically, and put them around Vardalek’s neck. This was the only movement he had made for some time. Vardalek bent down and kissed him on the lips. I rushed downstairs: and the priest was sent for. When I came back Vardalek was not there. The priest administered extr
eme unction. I think Gabriel was already dead, although we did not think so at the time.

  Vardalek had utterly disappeared; and when we looked for him he was nowhere to be found; nor have I seen or heard of him since.

  My father died very soon afterwards: suddenly aged, and bent down with grief. And so the whole of the Wronski property came into my sole possession. And here I am, an old woman, generally laughed at for keeping, in memory of Gabriel, an asylum for stray animals—and—people do not, as a rule, believe in Vampires!

  Mary Elizabeth Braddon

  (1835–1915)

  MARY ELIZABETH BRADDON WAS one of those indefatigable Victorian novelists who make other writers look like layabouts. Scholars estimate that she wrote more than eighty novels; they’re uncertain because some were published under pseudonyms. Famous especially for Lady Audley’s Secret and Aurora Floyd, in her prime Braddon was considered the queen of sensation novelists.

  The term arose in response to such novels as The Woman in White, by Wilkie Collins, and East Lynne, by Ellen Wood, both of which were built around outrageous plots involving family secrets and violence. Sensation novelists inherited Gothic writers’ penchant for melodrama, but brought it down-to-earth, situating their midnight intrigues not in Transylvanian castles but in Regent’s Park. Instead of doomed barons, their villains might be City businessmen. The public couldn’t get enough; writers such as Braddon reaped a new financial harvest with every book. She admitted that she cranked out some volumes as bill-paying hack work. Once she complained to Bulwer Lytton that “the amount of crime, treachery, murder, slow poisoning & general infamy required by the halfpenny reader is something terrible,” but she was willing to meet the demand, under several pseudonyms when necessary.

  Her most famous novel, still read in the twenty-first century, was Lady Audley’s Secret, inspired in part by a visit to Ingatestone Hall, the sixteenth-century manor house that you can still see in Essex. (A popular actor in the still thriving category of Victorian melodrama, Ingatestone played Bleak House in a recent television adaptation of Dickens’s novel.) Audley’s and several of her other books are much better crafted and more stylish than the manufactured potboilers, but they are never tame or well behaved. Even Queen Victoria was a fan, despite the critics who decried Braddon’s topics and popularity.