"Dover does their usual wonderful — and visually rich — job in this edition of the penny dreadful vampire tales. Of interest to fans of vampire fiction but also those interested in Victoriana, penny dreadfuls, and trends in popular fiction generally. The woodcuts and other visual embellishments help capture the mood and feel of the original publications." — Society Nineteen
Before there was Dracula, there was Varney the Vampyre, the most famous of the sensational penny dreadfuls issued by Victorian-era publishers. Printed anonymously in serial form in 1847, these gripping tales recount the exploits of a deathless creature with an insatiable appetite for blood. A succession of exciting episodes chronicle the horrible fates of Varney's victims as well as the terrifying experiences of the band of comrades sworn to destroy the vampire.
Varney the Vampyre not only thrilled countless eager readers but also established many of the conventions and ideas associated with vampirism. Scarcely any copies of the original edition survive, yet this legendary "feast of blood" continues to captivate readers with its inexplicable deaths, impossible escapes, revivifications, and graveyard rituals. This volume, the first of a two-book set, features an Introduction by noted science-fiction/fantasy editor E. F. Bleiler. Both editions are enriched by many atmospheric woodcut illustrations.
About the Author
The authorship of the Varney books is a bit of a mystery. Thomas Peckett Prest was known as the "king of the bloods," although many scholars attribute the stories to James Malcolm Rymer, an equally famous writer of penny dreadfuls.
Read an Excerpt
Varney the Vampyre
or, the Feast of Blood Part 1
By James Malcolm Rymer, Thomas Peckett Prest
Dover Publications, Inc.Copyright © 1972 Dover Publications, Inc.
All rights reserved.
—"How graves give up their dead. And how the night air hideous grows With shrieks!"
MIDNIGHT.—THE HAIL-STORM.—THE DREADFUL VISITOR.—THE VAMPYRE
The solemn tones of an old cathedral clock have announced midnight—the air is thick and heavy—a strange, death like stillness pervades all nature. Like the ominous calm which precedes some more than usually terrific outbreak of the elements, they seem to have paused even in their ordinary fluctuations, to gather a tertific strength for the great effort. A faint peal of thunder now comes from far off. Like a signal gun for the battle of the winds to begin, it appeared to awaken them from their lethargy, and one awful, warring hurricane swept over a whole city, producing more devastation in the four or five minutes it lasted, than would a half century of ordinary phenomena.
It was as if some giant had blown upon some toy town, and scattered many of the buildings before the hot blast of his terrific breath; for as suddenly as that blast of wind had come did it cease, and all was as still and calm as before.
Sleepers awakened, and thought that what they had heard must be the confused chimera of a dream. They trembled and turned to sleep again.
All is still—still as the very grave. Not a sound breaks the magic of repose. What is that—a strange, pattering noise, as of a million of fairy feet? It is hail—yes, a hail-storm has burst over the city. Leaves are dashed from the trees, mingled with small boughs; windows that lie most opposed to the direct fury of the pelting particles of ice are broken, and the rapt repose that before was so remarkable in its intensity, is exchanged for a noise which, in its accumulation, drowns every cry of surprise or consternation which here and there arose from persons who found their houses invaded by the storm.
Now and then, too, there would come a sudden gust of wind that in its strength, as it blew laterally, would, for a moment, hold millions of the hailstones suspended in mid air, but it was only to dash them with redoubled force in some new direction, where more mischief was to be done.
Oh, how the storm raged! Hail—rain—wind. It was, in very truth, an awful night.
* * *
There is an antique chamber in an ancient house. Curious and quaint carvings adorn the walls, and the large chimneypiece is a curiosity of itself. The ceiling is low, and a large bay window, from roof to floor, looks to the west. The window is latticed, and filled with curiously painted glass and rich stained pieces, which send in a strange, yet beautiful light, when sun or moon shines into the apartment. There is but one portrait in that room, although the walls seem panelled for the express purpose of containing a series of pictures. That portrait is of a young man, with a pale face, a stately brow, and a strange expression about the eyes, which no one cared to look on twice.
There is a stately bed in that chamber, of carved walnut-wood is it made, rich in design and elaborate in execution; one of those works of art which owe their existence to the Elizabethan era. It is hung with heavy silken and damask furnishing; nodding feathers are at its corners—covered with dust are they, and they lend a funereal aspect to the room. The floor is of polished oak.
God! how the hail dashes on the old bay window! Like an occasional discharge of mimic musketry, it comes clashing, beating, and cracking upon the small panes; but they resist it—their small size saves them; the wind, the hail, the rain, expend their fury in vain.
The bed in that old chamber is occupied. A creature formed in all fashions of loveliness lies in a half sleep upon that ancient couch—a girl young and beautiful as a spring morning. Her long hair has escaped from its confinement and streams over the blackened coverings of the bedstead; she has been restless in her sleep, for the clothing of the bed is in much confusion. One arm is over her head, the other hangs nearly off the side of the bed near to which she lies. A neck and bosom that would have formed a study for the rarest sculptor that ever Providence gave genius to, were half disclosed. She moaned slightly in her sleep, and once or twice the lips moved as if in prayer—at least one might judge so, for the name of Him who suffered for all came once faintly from them.
She has endured much fatigue, and the storm does not awaken her; but it can disturb the slumbers it does not possess the power to destroy entirely. The turmoil of the elements wakes the senses, although it cannot entirely break the repose they have lapsed into.
Oh, what a world of witchery was in that mouth, slightly parted, and exhibiting within the pearly teeth that glistened even in the faint light that came from that bay window. How sweetly the long silken eyelashes lay upon the cheek. Now she moves, and one shoulder is entirely visible—whiter, fairer than the spotless clothing of the bed on which she lies, is the smooth skin of that fair creature, just budding into womanhood, and in that transition state which presents to us all the charms of the girl—almost of the child, with the more matured beauty and gentleness of advancing years.
Was that lightning? Yes—an awful, vivid, terrifying flash—then a roaring peal of thunder, as if a thousand mountains were rolling one over the other in the blue vault of Heaven! Who sleeps now in that ancient city? Not one living soul. The dread trumpet of eternity could not more effectually have awakened any one.
The hail continues. The wind continues. The uproar of the elements seems at its height. Now she awakens—that beautiful girl on the antique bed; she opens those eyes of celestial blue, and a faint cry of alarm bursts from her lips. At least it is a cry which, amid the noise and turmoil without, sounds but faint and weak. She sits upon the bed and presses her hands upon her eyes. Heavens! what a wild torrent of wind, and rain, and hail! The thunder likewise seems intent upon awakening sufficient echoes to last until the next flash of forked lightning should again produce the wild concussion of the air. She murmurs a prayer—a prayer for those she loves best; the names of those dear to her gentle heart come from her lips; she weeps and prays; she thinks then of what devastation the storm must surely produce, and to the great God of Heaven she prays for all living things. Another flash—a wild, blue, bewildering flash of lightning streams across that bay window, for an instant bringing out every colour in it with terrible distinctness. A shriek bursts from the lips of the young girl, and then, with eyes fixed upon that window, which, in another moment, is all darkness, and with such an expression of terror upon her face as it had never before known, she trembled, and the perspiration of intense fear stood upon her brow.
"What—what was it?" she gasped; "real, or a delusion? Oh, God, what was it? A figure tall and gaunt, endeavouring from the outside to unclasp the window. I saw it. That flash of lightning revealed it to me. It stood the whole length of the window."
There was a lull of the wind. The hail was not falling so thickly—moreover, it now fell, what there was of it, straight, and yet a strange clattering sound came upon the glass of that long window. It could not be a delusion—she is awake, and she hears it. What can produce it? Another flash of lightning—another shriek—there could be now no delusion.
A tall figure is standing on the ledge immediately outside the long window. It is its finger-nails upon the glass that produces the sound so like the hail, now that the hail has ceased. Intense fear paralysed the limbs of that beautiful girl. That one shriek is all she can utter—with hands clasped, a face of marble, a heart beating so wildly in her bosom, that each moment it seems as if it would break its confines, eyes distended and fixed upon the window, she waits, froze with horror. The pattering and clattering of the nails continue. No word is spoken, and now she fancies she can trace the darker form of that figure against the window, and she can see the long arms moving to and fro, feeling for some mode of entrance. What strange light is that which now gradually creeps up into the air? red and terrible—brighter and brighter it grows. The lightning has act fire to a mill, and the reflection of the rapidly consuming building falls upon that long window. There can be no mistake. The figure is there, still feeling for an entrance, and clattering against the glass with its long nails, that appear as if the growth of many years had been untouched. She tries to scream again but a choking sensation comes over her, and she cannot. It is too dreadful—she tries to move—each limb seems weighed down by tons of lead—she can but in a hoarse faint whisper cry,—
And that one word she repeats like a person in a dream. The red glare of the fire continues. It throws up the tall gaunt figure in hideous relief against the long window. It shows, too, upon the one portrait that is in the chamber, and that portrait appears to fix its eyes upon the attempting intruder, while the flickering light from the fire makes it look fearfully life-like. A small pane of glass is broken, and the form from without introduces a long gaunt hand, which seems utterly destitute of flesh. The fastening is removed, and one-half of the window, which opens like folding doors, is swung wide open upon its hinges.
And yet now she could not scream—she could not move. "Help!—help!—help!" was all she could say. But, oh, that look of terror that sat upon her face, it was dreadful—a look to haunt the memory for a life-time—a look to obtrude itself upon the happiest moments, and turn them to bitterness.
The figure turns half round, and the light falls upon the face. It is perfectly white—perfectly bloodless. The eyes look like polished tin; the lips are drawn back, and the principal feature next to those dreadful eyes is the teeth—the fearful looking teeth—projecting like those of some wild animal, hideously, glaringly white, and fang-like. It approaches the bed with a strange, gliding movement. It clashes together the long nails that literally appear to hang from the finger ends. No sound comes from its lips. Is she going mad—that young and beautiful girl exposed to so much terror? she has drawn up all her limbs; she cannot even now say help. The power of articulation is gone, but the power of movement has returned to her; she can draw herself slowly along to the other side of the bed from that towards which the hideous appearance is coming.
But her eyes arc fascinated. The glance of a serpent could not have produced a greater effect upon her than did the fixed gaze of those awful, metallic-looking eyes that were bent on her face. Crouching down so that the gigantic height was lost, and the horrible, protruding, white face was the most prominent object, came on the figure. What was it?—what did it want there?—what made it look so hideous—so unlike an inhabitant of the earth, and yet to be on it?
Now she has got to the verge of the bed, and the figure pauses. It seemed as if when it paused she lost the power to proceed. The clothing of the bed was now clutched in her hands with unconscious power. She drew her breath short and thick. Her bosom heaves, and her limbs tremble, yet she cannot withdraw her eyes from that marble-looking face. He holds her with his glittering eye.
The storm has ceased—all is still. The winds are hushed; the church clock proclaims the hour of one: a hissing sound comes from the throat of the hideous being, and he raises his long, gaunt arms—the lips move. He advances. The girl places one small foot from the bed on to the floor. She is unconsciously dragging the clothing with her. The door of the room is in that direction—can she reach it? Has she power to walk?—can she withdraw her eyes from the face of the intruder, and so break the hideous charm? God of Heaven! is it real, or some dream so like reality as to nearly overturn the judgment for ever?
The figure has paused again, and half on the bed and half out of it that young girl lies trembling. Her long hair streams across the entire width of the bed. As she has slowly moved along she has left it streaming across the pillows. The pause lasted about a minute—oh, what an age of agony. That minute was, indeed, enough for madness to do its full work in.
With a sudden rush that could not be foreseen—with a strange howling cry that was enough to awaken terror in every breast, the figure seized the long tresses of her hair, and twining them round his bony hands he held her to the bed. Then she screamed—Heaven granted her then power to scream. Shriek followed shriek in rapid succession. The bed-clothes fell in a heap by the side of the bed—she was dragged by her long silken hair completely on to it again. Her beautifully rounded limbs quivered with the agony of her soul. The glassy, horrible eyes of the figure ran over that angelic form with a hideous satisfaction—horrible profanation. He drags her head to the bed's edge. He forces it back by the long hair still entwined in his grasp. With a plunge he seizes her neck in his fang-like teeth—a gush of blood, and a hideous sucking noise follows. The girl has swooned, and the vampyre is at his hideous repast!CHAPTER 2
THE ALARM.—THE PISTOL SHOT.—THE PURSUIT AND ITS CONSEQUENCES.
Lights flashed about the building, and various room doors opened; voices called one to the other. There was an universal stir and commotion among the inhabitants.
"Did you hear a scream, Harry?" asked a young man, half-dressed, as he walked into the chamber of another about his own age.
"I did—where was it?"
"God knows. I dressed myself directly."
"All is still now."
"Yes; but unless I was dreaming there was a scream."
"We could not both dream there was. Where did you think it came from?"
"It burst so suddenly upon my ears that I cannot say."
There was a tap now at the door of the room where these young men were, and a female voice said,—
"For God's sake, get up!"
"We are up," said both the young men, appearing.
"Did you hear anything?"
"Yes, a scream."
"Oh, search the house—search the house; where did it come from—can you tell?"
"Indeed we cannot, mother."
Another person now joined the party. He was a man of middle age, and, as lie came up to them, he said,—
"Good God! what is the matter?"
Scarcely had the words passed his lips, than such a rapid succession of shrieks came upon their ears, that they felt absolutely stunned by them. The elderly lady, whom one of the young men had called mother, fainted, and would have fallen to the floor of the corridor in which they all stood, had she not been promptly supported by the last coiner, who himself staggered, as those piercing cries came upon the night air. He, however, was the first to recover, for the young men seemed paralysed.
"Henry," he cried, "for God's sake support your mother. Can you doubt that these cries come from Flora's room?"
The young man mechanically supported his mother, and then the man who had just spoken darted back to his own bed-room, from whence he returned in a moment with a pair of pistols, and shouting,—
"Follow me, who can!" he bounded across the corridor in the direction of the antique apartment, from whence the cries proceeded, but which were now hushed.
That house was built for strength, and the doors were all of oak, and of considerable thickness. Unhappily, they had fastenings within, so that when the man reached the chamber of her who so much required help, he was helpless, for the door was fast.
"Flora! Flora!" he cried; "Flora, speak!"
All was still.
"Good God!" he added; "we must force the door."
"I hear a strange noise within," said the young man, who trembled violently.
"And so do I. What does it sound like?"
"I scarcely know; but it nearest resembles some animal eating, or sucking some liquid."
"What on earth can it be? Have you no weapon that will force the door? I shall go mad if I am kept here."
"I have," said the young man. "Wait here a moment."
He ran down the staircase, and presently returned with a small, but powerful, iron crow-bar.
Excerpted from Varney the Vampyre by James Malcolm Rymer, Thomas Peckett Prest. Copyright © 1972 Dover Publications, Inc.. Excerpted by permission of Dover Publications, Inc..
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