DRACULA Diving Deeper | Vampire Folklore

In folklore, vampirism often served as a symbol of disease, particularly when medical knowledge was limited and misunderstood. In Eastern Europe, especially among the Slavs, vampires were a convenient explanation for mysterious deaths caused by unknown diseases. Villagers, fearing that recent deaths were caused by vampires, would exhume and mutilate bodies believed to be undead in an effort to stop the spread of illness and prevent further deaths. The association between vampires and disease was particularly strong, with ailments such as cholera, tuberculosis, typhoid, and rabies being attributed to vampiric activity.

Villagers  would  unearth  and  desecrate  corpses  believed  to  be  vampires  to  prevent  them  from  killing  again. (Lithograph by R. de Moraine, 1864)

Data  from  the  period  of  the  Great  Vampire  Epidemic  links  rabies  to  a  large  number  of  deaths  in  Eastern Europe, some stemming from rabid wolves.

Vampire legends date back to at least the 9th century and were so significant that Serbian law banned "vampire burials" in the 14th century. The “Great Vampire Epidemic” began in 1725 after a suspected vampire case in Serbia. Panic spread across Eastern and Western Europe, as decomposition was mistakenly associated with vampirism. Diseases like pellagra and rabies, whose symptoms mirrored aspects of vampirism, added to the hysteria. Pellagra, caused by a deficiency in niacin (B3) and tryptophan, resulted in symptoms like sensitivity to sunlight and foul breath, while rabies, which spread through bites, caused victims to avoid sunlight and react to strong odors, like garlic—a classic vampire repellent in folklore.

Across different cultures, vampires had their own unique forms. The Romanian Strigoi, the Russian Upir, and the Greek Vrykolakas all shared similarities with the modern vampire, though early descriptions differed from the pale, gaunt figures we recognize today. Instead, early vampires were often depicted as bloated, with ruddy or dark skin, a reflection of their supposed recent death. These undead creatures would often visit loved ones or cause harm in their former neighborhoods, spreading mischief or death. 

The modern, charismatic vampire was born in the 19th century, most notably with John Polidori’s 1819 publication of The Vampyre, which introduced a sophisticated and alluring version of the creature. While various ancient cultures like the Mesopotamians, Hebrews, and Romans had tales of demons and spirits that predated the vampire, it was southeastern Europe in the early 18th century where the folklore of vampires, as we know them today, took shape.

Bram Stoker’s Dracula is hands down the most influential novel shaping the modern vampire legend, laying the foundation for the iconic, mysterious vampire we know today. The novel was published in 1897 and was considered a unique take on the vampire myth. 

Pre-Dracula Vampire novels
1800s “A Visit to the Theatre” by Alexandre Dumas
1849 “The Pale Lady” by Alexandre Dumas & Paul Bocage
1872 “Carmilla” by J. Sheridan Le Fanu
1894 “The Parasite” by Sir Arthur Conan Doyle

Vampires were not only feared for their potential to cause death and disease but also for their association with the supernatural. Traditional protections against vampires varied across cultures, with wild roses, hawthorn branches, and mustard seeds often used to ward them off. In some places, methods of preventing vampiric activity included severing the tendons at the knees of a corpse or scattering seeds at the grave site to keep the vampire occupied counting grains—a form of arithmomania associated with vampires across many cultures, including in China, India, and South America. These legends of the undead, although fantastical, offer a window into how societies historically understood and coped with disease and death in times of uncertainty.

This 19th century vampire-slaying kit was owned by Lord William Malcolm Hailey. source: HANSONS AUCTIONEERS and VALUERS LTD

A vampire-slaying kit once owned by a British aristocrat sparked an international bidding war before selling for six times its estimated price, according to Hansons Auctioneers.

The late 19th century box kit, which sold for £13,000 ($15,736.49), belonged to Lord William Malcolm Hailey (1872-1969), a British peer and former administrator of British India, Hansons Auctioneers said in a news release.

“Whether through fear or fascination, it’s interesting to know a member of the highest aristocratic social order, a man with a place in the House of Lords, acquired this item,” said Charles Hanson, owner of the auction house. “It reminds us that the vampire myth affects people from all walks of life.”

The box features essential items needed to ward off blood-thirsty vampires – including crucifixes, holy water, wooden stake and mallet, rosary beads, a Gothic Bible, brass candlesticks, matching pistols and a brass powder flask.

CNN article, 2022

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JMU | Norfolk theater group brings ‘brilliant’ display of mental health struggles to JMU

By Ashlee Thompson (JMU | The Breeze)

Editor’s Note: This story contains mentions of mental health and suicide that may be triggering for some readers. If you or someone you know is struggling with their mental health in any way, please visit the American Psychological Association’s website or call 988.

“Every Brilliant Thing” follows main character Anna, played by Anna Sosa, and her struggles growing up with a mother with suicidal depression. (Landon Shakelford | The Breeze)

As audience members took their seats in preparation for a performance about mental health, they were handed a slip of paper with a seemingly random phrase and a number ranging from one to one million. 

Little did they know they would soon be as important to this production as the main character. 

Norfolk-based Virginia Stage Company (VSC) brought its one-man play, “Every Brilliant Thing,” to JMU on Tuesday as part of its Sentara Health-sponsored tour across the state. Taking place on the third floor of D-Hall in the Hall of Presidents, the play’s layout took a unique approach with the audience sitting in a large circular formation surrounding all four sides of the actor and her props. 

The comedy-drama play follows main character Anna, played by VSC actor Anna Sosa, and her struggles growing up with a mother who has suicidal depression. Beginning at 7 years old, Anna creates a numbered, handwritten list of things worth living for in order to cheer up her mother, who’s been hospitalized multiple times due to suicide attempts. As Anna grows up and hits milestones, the list grows with her. 

“A lot of us that are part of this project have [experienced] suicide some way in our lives,” Sosa said. “Whether it’s friends or family or our own personal struggle, I’m not alone in that, which is part of the reason why this show is so important.” 

As the show progressed, audience participation became a crucial part of the production. When Sosa said the number on someone’s paper they were handed as they entered, they had to yell out what it read. 

“Number 1,” Sosa yelled during a scene. Across the room, someone shouted, “Ice cream!” This occurred throughout the entire one-hour duration until the list was complete. 

The audience participation went further than just shout-outs. Certain spectators were called to the floor to play significant roles in Anna’s life, such as her father, a veterinarian, a professor, a sock puppet and her love interest. Audience members had to improvise their way through their scene with help from Sosa. 

One audience member, who played a teacher with a sock puppet, was given a microphone and a sock and was tasked with cheering up a 7-year-old Anna. 

“I can’t imagine this show without the participation,” Sosa said. “It allows everyone to see themselves in the various components of the show.” 

Sophomore economics major Zach Marks attended the play to earn a wellness passport credit for his Health 100 class. He left with an acting credit. 

Marks was chosen to play Sam, Anna’s future husband she met in college. He acted through their meet-cute, proposal and eventual divorce without any preparation. Sam is an important character to the story, being the one who helped Anna continue and finish her list — after it was forgotten after high school — and encouraged her to talk with a therapist. 

“I thought it was really sweet, everything [Sam] did, reaching out and continuing the list and trying to help her be better,” Marks said. “I wasn’t sure what to expect, but I learned there’s a lot of good things in the world.” 

The play focused on various relationships in Anna’s life and how they impacted her, with Sam helping her realize she buried a lot of her familial trauma without realizing.  

“If you lived your whole life without feeling crushingly depressed,” Anna said during the play, “then you probably haven’t been paying attention.” 

In addition to the heavy topics and lessons taught throughout the show, the University Counseling Center was present to answer any questions and provide information about JMU’s mental health resources. 

Psychoeducation outreach specialist Karla Kale thought “Every Brilliant Thing” was important to show on campus to “bring awareness” and “destigmatize” discussions about suicide and mental health, especially as this week is National Suicide Prevention Week, she said. 

“We want to make sure folks are aware of the resources and that help is available,” Kale said. “The JMU Counseling Center is a fantastic resource. We are free and confidential to students if they’re looking for support.”  

One of the play’s final scenes sees Anna attend a support group to talk about her mother’s passing. She recalls finding her list again. Anna goes home and finishes the list up to one million items, with the last bullet point saying,  “playing vinyl records,” something she and her dad bonded over. 

“If anyone here has had thoughts of suicide, do not do it,” Sosa said during a monologue. “[Life] may not be brilliant, but things get better.”

Contact Ashlee Thompson at thomp6ab@dukes.jmu.edu. For more on the culture, arts and lifestyle of the JMU and Harrisonburg communities, follow the culture desk on X and Instagram @BreezeJMU.