Real Vampires? Vampiric Figures In History and Halloween

Vampires figure prominently in horror literature and movies, and in Halloween imagery. Are there any real Vampires? Probably not, but there have been a number of historical and criminal cases involving murderers who drank the blood of their victims.

The infamous Geoffrey Dahmer is a good modern example. John George Haigh (High), the infamous Acid Bath Murderer of England also was accused of drinking his victims’ blood. Haigh was executed in England in 1949. And in the 1920s, a German butcher named Fritz Haarmann (also spelled Fritz Harmon)apparently murdered his victims with a bite to the neck before turning them into sausage.

Countess Elizabeth Bathory of Hungary (1560 – 1614) is a historical figure who probably provides the basis for many Vampire legends. In 1610, Bathory was caught in the act of torturing several young girls and subsequently was charged – along with four co-conspirators – with the mass murder of hundreds more. As the legend has it, Bathory both drank and bathed in the blood of young girls in an attempt to stay forever young. Because she was nobility, Bathory escaped execution, and was instead walled up in a room in her own castle, where she died three years later.

But the most famous of historical “vampires” was Vlad III , a Romanian nobleman who lived from 1431 to 1476. Vlad, also known as “Tepes” (Impaler) was the governor of a strategically placed kingdom on the borders between Moslem Turkey and Christian Europe. Depending upon the source, the kingdom is identified as either Transylvania or Wallachia. He was known as the Son of the Dragon (Dracula), a reference to his father’s position as a Knight of the Order of the Dragon.

In a precarious position in a brutal time, Vlad quickly gained a reputation for ruthlessness and cruelty. He led frequent raids into Turkish territory, burning crops and poisoning wells. Vlad also had a nasty habit of impaling his enemies and prisoners on high stakes, thus gaining his nickname Vlad The Impaler.

There are many legends about Vlad’s excesses. In one, he is said to have invited a collection of his political enemies to a meeting at his castle. Vlad then locked the doors and burned it to the ground with his rivals inside.
When an Ottoman ambassador refused to remove his turban, Vlad had it nailed to the poor man’s head.

And then there were forests of bodies throughout the countryside, impaled high on stakes.

There is no way of knowing how many of these stories are true. But that there are so many of them suggests that his cruelty was more than propaganda.

Although the circumstances of his death are fuzzy, it is thought that Vlad died in battle with the Turks. Legend has it that his head was sent as a gift to the Sultan of Turkey.

Others say that he was killed by the Hungarians, who buried him. But later, when his body was exhumed, the tomb was empty.

Today, ironically, Vlad Tepes is a folk hero to many in that part of the world.

Bram Stoker apparently rediscovered Vlad Dracula while researching vampire lore for a planned novel on vampires. The Transylvanian prince eventually became the central figure in the novel that bears his name: Dracula. The novel was published in 1897.

Many of the elements of the vampire story seem to have been invented by Stoker, including the idea that vampires can change into things like bats. Certainly Stoker created the idea of the Vampire as a sort of sexual predator. Since then novelists and Hollywood have further manipulated Vampire lore, adding and subtracting elements as necessary to fit the plot.

It’s interesting to note that one of the key themes of the novel Dracula seems to be that science does not always have the answer to our problems. The (mortal) characters in the novel are surrounded by (what was then) modern technology – railroads, phonographs and the like – but it is something out of myth and superstition that threatens them.

Originally posted 2015-01-02 03:18:09.

The Halloween History of the Frankenstein Monster

The limits of science – both actual and ethical – provides the theme for another of the elements of modern Halloween and horror imagery: that of the man-made monster.

The idea that man can be threatened by – even destroyed by – his own creations is an old one. The Jewish folktale of the Golem tells of a priest who created a servant out of clay (much as God created Adam out of clay). To activate the Golem, the priest wrote the word “Emeth” (life) on its forehead. Things work out for a while, but eventually the Golem rebels and the priest is forced to destroy it. He tricks it into bending over so that he can erase the “E”, converting the word to “meth” (death). The Golem immediately melts back into a large lump of clay, killing the priest.

Mary Shelley’s 1818 novel Frankenstein is the classic of the genre – and one that provides seemingly endless Halloween fun. No set of Halloween decorations is complete without at least one flat headed, green monster with bolts in its neck.

In Shelley’s novel, Victor Von Frankenstein is a doctor who becomes obsessed with the secrets of life. Through the course of his experiments, he steals body parts and brings to life a creature, which remains nameless throughout the novel.

Note here that, despite what popular culture would have us believe, the creature’s name is not “Frankenstein” or (worse) “Frankie.” Frankenstein is the name of the Doctor. Shelley apparently declined to give the creature a name to emphasize the idea that it has no place in God’s plan. The monster, however, in several places compares himself to the biblical Adam, telling Frankenstein “I ought to be thy Adam.”

Several authors have taken this to indicate that the creature’s name was indeed “Adam.”

Of course, not all goes well with the creature. It is rejected by its creator – Frankenstein – and left to its own devices. Eventually, it returns to Frankenstein to demand that he make a suitable mate. When Frankenstein fails to do so, the monster destroys his family. Frankenstein then sets out to destroy his own creation.

Since its publication – just before Shelley’s 21st birthday – the story of Frankenstein has been told and retold in hundreds of plays, movies, comics and novels. Most got it all wrong and missed the main points of the novel.

It’s also worth noting that the creature in the novel looks nothing like the square-headed, bolt-necked being from the 1931 Universal Pictures movie. That image of the monster was created by Hollywood makeup man Frank Pierce for actor Boris Karloff, who has become the definitive Frankenstein.

Here’s how Shelley describes him:

<blockquote>His yellow skin scarcely covered the work of muscles and arteries beneath; his hair was of a lustrous black, and flowing; his teeth of a pearly whiteness; but these luxuriances only formed a more horrid contrast with his watery eyes, that seemed almost of the same colour as the dun-white sockets in which they were set, his shrivelled complexion and straight black lips.</blockquote>

Some more recent films have tried to more accurately recreate Shelley’s original image. But they weren’t particularly successful. Karloff’s portrayal of the monster is the definitive one for our time.

Originally posted 2015-01-02 03:15:56.

The Halloween History of Dr. Jekyll and Mr. Hyde

The theme of science gone amok is pervasive in 19th and 20th Century Horror and Halloween iconography.

Another work of fiction that explored the idea of science gone amok is Robert Louis Stevenson’s 1886 novel The Strange Case of Dr. Jekyll and Mr. Hyde. In this, Dr. Jekyll creates a formula that separates man’s good aspect from his bad. Testing the potion on himself, he eventually finds himself turning uncontrollably into the evil Mr. Hyde when he is angered or stressed.

Two of the more famous legacies of the Jekyll and Hyde story are the comic book characters “Hulk” and “Two-Face.”

Both Frankenstein and Jekyll clearly are the main sources of that Halloween and Hollywood staple: The Mad Scientist. In the best of these stories (such as The Fly and others), the scientist intrudes on THINGS MAN WAS NOT MEANT TO KNOW, and the results are inevitably bad.

Originally posted 2015-01-02 03:11:49.

Aliens In Horror Movies

Many of the monster movies of the past 40 years also dwell on the themes of the consequences of science. And these monsters are increasingly incorporated into our Hollywood lore.

Godzilla, for example is apparently the result of a nuclear test, as are the giant ants in Them. It’s no accident that Godzilla comes from Japan – the only country to have been hit with a nuclear weapon.

The many aliens that now populate Halloween and Horror imagery offer a variation on the science-gone-amok-theme. The superior technology of the inhabitants of flying saucers is another instance of how we are threatened by science, but in this case, a science far greater than our own.

Originally posted 2015-01-02 03:06:58.

Robots In Horror and Halloween Legend

Killer robots are another being from the realms of science fiction that have found their way into the Gothic Horror and Halloween lexicon. No Halloween night is complete anymore without at least one robot, constructed of cardboard boxes and tinfoil has found its way to your door.

Robot comes from the Czech word Robota, meaning worker. It was first used to refer to artificial men in Karel Capek’s 1920 play, Rossum’s Universal Robots (RUR). In the play, robots destroy humanity after being given souls, which allow them to behave more like humans (now there’s a chilling commentary).

But Capek’s robots were not the first mechanical men in literature. Greek mythology tells of a bronze automaton named Talos. The aforementioned Golem is a sort of mechanical man. And the beloved Oz stories by L. Frank Baum feature any number of mechanical men, including the Tin Woodman, Tik-Tok and a mechanical giant which guards the entrance to the kingdom of the Nomes. And of course, there are the robots in Fritz Lang’s 1927 cinematic masterpiece, Metropolis.

Science Fiction writer Isaac Asimov coined the term “robotics” in his 1941 short story, “Liar!.” That also was the story in which he created the now-well-known “Three Laws of Robotics”, which state:
1. A robot may not harm a human being, or, through inaction, allow a human being to come to harm.
2. A robot must obey the orders given to it by human beings, except where such orders would conflict with the First Law.
3. A robot must protect its own existence, as long as such protection does not conflict with the First or Second Law.

Of course, not all robots follow these laws; some have never even heard of them. Without feelings, they proceed according to a logic all of their own. And that is what makes them so scary. Robots are cold and unfeeling. You can’t appeal to their emotions. They don’t care if you beg. Worse, their hydraulic systems make them inhumanly strong and fast.

Perhaps the ultimate expression of robotic horror can be found in James Cameron’s Terminator trilogy (1984’s The Terminator, 1991’s Terminator 2: Judgment Day and 2003’s Terminator 3: Rise of the Machines). In the trilogy, a global computer system rebels against its human creators and unleashes mechanical horrors bent on the destruction of man. A similar theme is found in the Matrix trilogy.

Robots occupy much the same place in our modern imagination that the undead and other horrors occupied in the superstitious minds of our ancestors. Just as demonic horrors are unfeeling and unstoppable, so too are robots. It’s just that robots are more believable to the modern mind.

Originally posted 2015-01-02 03:03:14.

The Halloween Horror of Mad Slashers and Psychos

The Halloween Horror of Mad Slashers and Psychos

Another relative newcomer to the Halloween scene is the psycho / serial killer. Popularized by film series such as Halloween and Friday the 13th, they reflect any number of modern fears – just as ghost stories reflected the fears of times past. In a way, they ARE our ghost stories.

Consider the ghostlike qualities of Michael Myers in John Carpenter’s classic movie Halloween. He slips, unseen, from location to location. He’s always ready to manifest himself at the worst possible time. And, as it turns out in the innumerable sequels, he is just this side of immortal.

Freddy Krueger in A Nightmare on Elm Street take it even closer to the ghost story. Freddy is the spirit of a dead child killer who manifests himself in teen aged dreams.

The frightening qualities of these Halloween horror movie serial killers is made real by the knowledge that there there doesn’t seem to be any end to man’s inhumanity to man. And the media just serve to amplify those fears with their constant coverage of sensational crime.

The original media superstar killer was Jack The Ripper. In the year 1888 in London, the “Ripper” murdered at least six women in grisly fashion (some claim that he murdered as many as 15, but the other victims are not “official”). Some of the women were prostitutes – all were less than desirable denizens of the seedy Whitechapel neighborhood. Then, as soon as the murders started, they ended, leaving the police empty handed. The murders remain unsolved to this day.

The Ripper’s name comes from a letter that he sent to the police, taunting them and containing the signature “Jack The Ripper.”

In their time, the Ripper murders created a media storm, with newspapers covering every aspect of the gruesome killings. The social status of the victims just made the whole thing more salacious.

It’s probably not a coincidence that, in the Halloween horror slasher movies, the bad girls die early, and the good one generally is left standing – if somewhat bloodied – at the end.

Another famous slasher killer from history is Lizzie Borden. After her parents were hacked to death with an axe in August, 1892, Lizzie, a 32-year-old spinster was charged with the murder. The trial became a media circus; Lizzie was eventually exonerated. But not before she became enshrined in history with the rhyme:

Lizzie Borden took an axe
And gave her mother forty whacks
When she saw what she had done
She gave her father forty one.

Of all the historical serial killers, perhaps none has had as much of an influence on fiction as Ed Gein. In the 1950s, Gein, who lived in Plainfield, Wisconsin, committed a series of gruesome and bizarre murders at his rural farmhouse. His crimes eventually became – at least in part – the basis for the movies Psycho, the Texas Chainsaw Massacres and the character Buffalo Bill in Silence of the Lambs. You can see photos of Ed Gein’s House of Horrors here.

Fear of the unknown. Fear of not being safe anywhere. Fear of those without “our” morals – or without any morals at all. All of these are why serial killers are such effective Halloween horror icons. While we know that ghost and vampires are figments of our imagination, we know that serial killers are all too real.

Originally posted 2015-01-02 03:00:28.

The Halloween History Of The Mummy

Reanimated mummies are, like the alien me

nace, a more recent Halloween invention – and one that, like the werewolf, owes much of its lore to Hollywood. They’ve now become a staple in modern horror writing and movies.

Mummification has been practiced by a wide variety of cultures throughout history. Mummies are found in China, Japan, Tibet and Peru. Natural (and presumably accidental) mummies have been found in a variety of arid or frigid climates.

The most famous society that engaged in mummification, of course, was that of the Ancient Egyptians. The Egyptians believed that the body was the receptacle for the Ka, which was necessary for the afterlife. Skilled embalmers prepared the body by removing the internal organs, eliminating excess moisture with salts, and then wrapping the body with linens soaked in resin.

Egypt has long fascinated western man. The Romans – especially in the time of Caesar adopted Egyptian themes in their art and architecture. The ancient order of Freemasonry, adopted Egyptian motifs in their organization. The involvement of some of the founding fathers in Freemasonry led to the inclusion of a pyramid in the Great Seal of the United States.

During his expedition to Egypt, Napoleon Bonaparte took with him teams of scientists to study the ancient civilization; Napoleon founded the Institut de l’Égypte in Cairo in 1798. It was this Institute that discovered the Rosetta Stone that finally allowed Egyptian writing to be read when it was deciphered in 1822 by Jean-Francois Champollion.

One the mystery of Egyptian writing was unlocked, Egypt became a Victorian era fad. It became fashionable to visit Egypt (Theodore Roosevelt toured Egypt as a child), where tourists picked up innumerable artifacts with which to decorate their homes. In England, public mummy unwappings became a form of entertainment. Some Victorian era religious cults, such as the Order of the Golden Dawn adopted Egyptian motifs in their ceremonies. In 1871, the composer Verdi unveiled the Egyptian themed opera, Aida.

Still, it never seemed to occur to anyone that there might be a reanimated mummy, or a curse of the mummy’s tomb until the publication of an obscure book in 1821 called The Mummy. This was the first use of a mummy in horror literature.

In 1869, Louisa May Alcott of Little Women fame, published a book called Lost in A Pyramid: The Mummy’s Curse. In both of these books, the trouble seemingly begins when an Egyptologist lights a burial chamber by burning the resin-laden body of a mummy. But there is no lumbering, murderous mummy to be found. In Alcott’s book, the curse comes from some seeds taken from the tomb.

Interestingly, in one of his travelogues, Mark Twain reported that he observed mummies being used as fuel for steam engines in Egypt. But given Twain’s penchant for exaggeration, it’s probably best not to believe this one.

Following the sinking of the Titanic, rumors circulated that the giant ocean liner was transporting the mummy of a priestess of Amon-Ra.

But the idea of a Mummy’s curse probably didn’t really catch on until Howard Carter’s opened and excavated King Tut’s tomb in 1923. The unexpected death of Lord Carnavon, Carter’s sponsor, two weeks later, immediately gave rise to the idea of a curse.

Carnavon’s death was not so mysterious – even if it was a bit odd. He had been bitten by a mosquito, and then cut the bite while shaving. The wound became infected, and he died of blood poisoning.

It’s weird, but it’s hardly the stuff of a curse. One study showed that of 58 people directly involved in the opening of the tomb, only eight had died within a dozen years of the event. From an actuarial point of view, that’s nothing unusual.

Hollywood, of course, never let the facts get in the way of a good story. In 1932, Universal Pictures released “The Mummy,” starring Boris Karloff. The story involves an ancient Egyptian priest, Im-Ho-Tep, who spends his time over the centuries guarding the mummy of his lost love, Princess Anck-es-en-Amon. When the body of the Princess is taken to England, Im-Ho-Tep (now known as Ardrath Bey), follows and sets about the job of resurrecting her. This, of course, requires the body of living woman.

Rather than an outright, and mysterious curse, Hollywood’s curse of the mummy involves a staggering, unstoppable monster in hot pursuit of a victim. Like his portrayal of Frankenstein’s monster, Boris Karloff’s interpretation of the creature has left an indelible mark on our consciousness.

Today, when a mummy is portrayed in Halloween art and costumes, it is a tall, lumbering figure, arms outstretched, bandages hanging, and fluttering in the air. Pure Karloff. (Real mummies have their arms bandaged to their bodies, and their feet wrapped together. They would have hopped, not walked.)

Originally posted 2015-01-02 02:52:14.