In composing his novel Dracula, Bram Stoker drew heavily upon an earlier, more seedy story in which a young woman succumbs to the attractions of an undead countess. Victorian Gothic reviews J. Sheridan Le Fanu’s Carmilla:
First published in 1897, Bram Stoker’s Dracula was destined to become the universally-acknowledged masterwork of vampire fiction, but it was not, by any means, the first of its kind. Stokers genius consisted not in having invented the modern vampire monster, but in the imaginative way he synthesized and expanded upon the ideas that prior authors had already been exploring.
One of these was J. Sheridan Le Fanu, whose 1872 tale Carmilla provided a template for many of Dracula’s best-remembered characters and motifs, including the occult doctor (Dr. Hesselius), and the lonely Gothic castle set in a barbarous region of Europe. Many of the proper names in Dracula, in fact, are direct allusions to Carmilla’s characters and settings: “Karnstein” became “Carfax,” “Reinfeldt” became “Renfield,” and so on. Le Fanu’s protagonist, Laura, corresponds roughly to Stoker’s Mina; both are afflicted young women whose souls come depend upon their families’ efforts to unravel the vampire mystery.
Carmilla is told in the first person, from Laura’s point of view. She is a lonely Englishwoman who lives with her father and governesses in an ancient scholss in Styria (southeast Austria). After receiving word of the sudden death of a would-be guest, Bertha Reinfeldt, Laura and company gather on the castle drawbridge to admire a calm, full-moon night when an out-of-control carriage crashes in upon the scene. A weak, unconscious Carmilla is thrown from the compartment in the accident that ensues. Her “mother,” a mysterious noblewomen, professes to be on an urgent, secret mission, but reluctantly consents to leave Carmilla to recover in the family’s care.
Laura quickly recognizes Carmilla from a dream she had as a child; a dream of being visited in bed at night, and bitten on the shoulder. Carmilla, too, professes to remember Laura from a corresponding dream, wherein she awoke to find herself in an unfamiliar bed chamber, and Laura there. Quickly, they develop an intimate friendship, characterized pressings of hands, kissing of cheeks, and plenty of blushing.
[More at Victorian Gothic]