Varney the Vampire; or, the Feast of Blood was a Victorian era serialized gothic horror classic by James Malcolm Rymer (alternatively attributed to Thomas.
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- Varney the Vampire; or, The Feast of Blood
- Varney the Vampire, or The Feast of Blood (1847)
- Varney the Vampire, or The Feast of Blood ()
Design and Intention in Narrative New York: Varney the Vampire, or The Feast of Blood , 3 vols. This is a chapter about fictions and fantasies, about projections of freakish creatures who will to die. Such projections show the dark side of the Victorian psyche, coupling deep-seated fear of violent and willful death with irrational terror of hidden bogeys that may lurk within the mind. With its horrid and ultimately vengeful monster, Frankenstein is the romantic prototype of this sort of literature. Frankenstein's monster gradually evolves an immoral interior to match his hideous frame and eventually builds his own blazing funeral pyre to consume his own desolate life.
This kind of fantasy took hold in the Victorian era, when propriety and self-denial masked a powerful sense of alienation and estrangement see Kayser, People who did not believe that they bore monsters within eagerly sought stories of monsters without. They preferred to feel subject to dark, external forces rather than search for them as inner demons as we post-Freudians do today.
Like Victor Frankenstein just after his creation of the Monster, they hid from their demons, not realizing that they might be their "own vampires," their "own spirit let loose from the grave" Shelley, Improbable worlds thus became popular worlds as Victorian readers relished tales like Shelley's and those of the brothers Grimm.
Displaced fears of suicide were relocated in the realm of fantasy where ghoulish other selves became perpetrators of suicide. Meanwhile there was little conscious recognition that monsters were images or dreams of one's own self. Most Victorians could not countenance Schiller's dictum, "All creatures born by our fantasy, in the last analysis, are nothing but ourselves" qtd. The mid-century abounded in such fantastical fictions.
About the time that Matthew Arnold was agonizing over Empedocles on the brink of Etna, the publishing house of E.
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Varney the Vampire, or The Feast of Blood came to be one of the most popular mid-century "penny dreadfuls. A titled gentleman who had once died by hanging and had then been revived by a young medical student, Varney was in fact no man at all, but a freak, an anomaly. Instantly revivable when bathed in moonlight, he could not die by any natural means but was condemned to immortality.
His creators tell us that "he would gladly have been more human and lived and died as those lived and died whom he saw around him. But being compelled to fulfill the order of his being, he never had the courage absolutely to take measures for his own destruction, a destruction that should be final in consequence of depriving himself of all opportunity of resuscitation" III, Like Empedocles, then, Varney became a surrogate Victorian, another self.
Capable of endless resuscitation as Empedocles is of endless reincarnation, Varney fulfills the Victorian yearning for immortality. Guilty of selfishness and blood-letting, he deserves the Victorian punishment of death.
Varney the Vampire; or, The Feast of Blood
Whatever the order of his being, however, Varney seems not to have had the right to take his own life. Unlike Empedocles, Varney is a distorted, fantastical self, free from most human constraints. Through him working-class Victorians could experience the forbidden, just as Arnold's more refined readers could through Empedocles.
When Varney's tedium vitae becomes unendurable, the vampire determines to destroy himself. His visionary powers reveal to him that death by drowning could put an end to his existence. Carefully, he stages his demise, throwing himself overboard from a ship with little hope of rescue.
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Varney the Vampire, or The Feast of Blood (1847)
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