The Vampyre

“In spite of the deadly hue of his face, which never gained a warmer tint, either from the blush of modesty, or from the strong emotion of passion, though its form and outline were beautiful, many of the female hunters after notoriety attempted to win his attentions, and gain, at least, some marks of what they might term affection.” 

Polidori’s description of Ruthven establishes the classic physical appearance of the vampire while using the connotations of his descriptive language to allude to Ruthven’s predatory nature.

“[H]e was as often among those females who form the boast of their sex from their domestic virtues, as among those who sully it by their vices.”

Polidori uses juxtaposition to muddle Ruthven’s true intentions; His presence among dishonored women and the exceedingly virtuous makes his true intentions difficult to find.

“He had, hence, that high romantic feeling of honour and candour, which daily ruins so many milliners’ apprentices.”

Aubrey’s idealistic, romanticism-infused sense of honor proves to be his Tragic Flaw. Aubrey’s virtues are ironic, because these same virtues lead to his infatuation with Ruthven as a romantic figure. The “milliner’s apprentices” comment may be a reference to Susanna Rowson’s novel The Inquisitors (1794), which features an ill-fated romantic liaison between an honorable young milliner’s apprentice and the wealthy employer who casts her aside.

“He believed all to sympathise with virtue, and thought that vice was thrown in by Providence merely for the picturesque effect of the scene, as we see in romances."

Aubrey wishes to believe that all people are good at heart, but his appraisal of human nature is naively shaped by fiction. Aubrey’s naivety and obsession with books are hallmarks of ingenue characters, who are typically women.

“He thought, in fine, that the dreams of poets were the realities of life.”

Aubrey’s guardians have neglected his practical upbringing with the result that he “cultivated more his imagination than his judgment” (30). His unrealistic understanding of the world feeds into his Tragic Flaw.

“[I]t was not upon the virtuous, reduced to indigence by the misfortunes attendant even upon virtue, that he bestowed his alms;—these were sent from the door with hardly suppressed sneers; but when the profligate came to ask something, not to relieve his wants, but to allow him to wallow in his lust, or to sink him still deeper in his iniquity, he was sent away with rich charity.”

Ruthven’s tendency to prey on the vices of society suggests the overwhelming power of evil in the struggle of Good Versus Evil.

“There was one circumstance about the charity of his Lordship, which was still more impressed upon his mind: all those upon whom it was bestowed, inevitably found that there was a curse upon it, for they were all either led to the scaffold, or sunk to the lowest and the most abject misery.”

Ruthven’s corruption is directly tied to his ability to dole out money as he pleases, suggesting the innate link between the aristocracy and corruption in the them of Power and Corruption.

“It was innocence, youth, and beauty, unaffected by crowded drawing-rooms and stifling balls.”

Ianthe’s connection to Nature through her home and the language used to describe here contrasts the artifice of the aristocrats in the London.

“There was no colour upon her cheek, not even upon her lip; yet there was a stillness about her face that seemed almost as attaching as the life that once dwelt there:—upon her neck and breast was blood, and upon her throat were the marks of teeth having-opened the vein:—to this the men pointed, crying, simultaneously struck with horror, ‘A Vampyre! a Vampyre!”

The pallor of Ianthe’s skin connects her to Ruthven, who also was noted for his pale skin. The connection of skin color between a dead body and Ruthven is an instance of foreshadowing.

“Swear by all your soul reveres, by all your nature fears, swear that for a year and a day you will not impart your knowledge of my crimes or death to any living being in any way, whatever may happen, or whatever you may see.”

Ruthven’s oath is an example of melodrama in the narrative: Ruthven’s words are large and bombastic, his unusual syntax and lofty statements are used for emotional appeal, both on the audience and Aubrey. Aubrey, whose worldview is informed by literature, is pulled into Ruthven’s melodramatic display.

“[W]hen he remembered his oath a cold shivering came over him, as if from the presentiment of something horrible awaiting him.”

Aubrey’s presentiment foreshadows his later regret concerning the promise.

“Remember your oath.”

Ruthven uses his taunt during the story’s denouement, exploiting Aubrey’s Tragic Flaw to his own ends.

“He roused himself, he could not believe it possible—the dead rise again!”

Aubrey’s encounter with Ruthven is his first full recognition that Ruthven is a vampire. The end of Aubrey’s skepticism is still hampered by his other Tragic Flaw, which stops him from speaking up.