vampire is, apparently, subject, in certain situations, to special conditions. In the particular instance of which I have given you a relation, Mircalla seemed to be limited to a name which, if not her real one, should at least reproduce, without the omission or addition of a single letter, those, as we say, anagrammatically, which compose it.
Carmilla did this; so did
Millarca.
My father related to the Baron Vordenburg, who remained with us for two or three weeks after the expulsion of Carmilla, the story about the Moravian nobleman and the vampire at Karnstein churchyard, and then he asked the Baron how he had discovered the exact position of the long-concealed tomb of the Countess Millarca? The Baron’s grotesque features puckered up into a mysterious smile; he looked down, still smiling on his worn spectacle-case and fumbled with it. Then looking up, he said:
“I have many journals, and other papers, written by that remarkable man; the most curious among them is one treating of the visit of which you speak, to Karnstein. The tradition, of course, discolours and distorts a little. He might have been termed a Moravian nobleman, for he had changed his abode to that territory, and was, beside, a noble. But he was, in truth, a native of Upper Styria. It is enough to say that in very early youth he had been a passionate and favoured lover of the beautiful Mircalla, Countess Karnstein. Her early death plunged him into inconsolable grief. It is the nature of vampires to increase and multiply, but according to an ascertained and ghostly law.
“Assume, at starting, a territory perfectly free from that pest. How does it begin, and how does it multiply itself? I will tell you. A person, more or less wicked, puts an end to himself. A suicide, under certain circumstances, becomes a vampire. That spectre visits living people in their slumbers; they die, and almost invariably, in the grave, develop into vampires. This happened in the case of the beautiful Mircalla, who was haunted by one of those demons. My ancestor, Vordenburg, whose title I still bear, soon discovered this, and in the course of the studies to which he devoted himself, learned a great deal more.
“Among other things, he concluded that suspicion of vampirism would probably fall, sooner or later, upon the dead Countess, who in life had been his idol. He conceived a horror, be she what she might, of her remains being profaned by the outrage of a posthumous execution. He has left a curious paper to prove that the vampire, on its expulsion from its amphibious existence, is projected into a far more horrible life; and he resolved to save his once beloved Mircalla from this.
“He adopted the stratagem of a journey here, a pretended removal of her remains, and a real obliteration of her monument. When age had stolen upon him, and from the vale of years he looked back on the scenes he was leaving, he considered, in a different spirit, what he had done, and a horror took possession of him. He made the tracings and notes which have guided me to the very spot, and drew up a confession of the deception that he had practised. If he had intended any further action in this matter, death prevented him; and the hand of a remote descendant has, too late for many, directed the pursuit to the lair of the beast.”
We talked a little more, and among other things he said was this:
“One sign of the vampire is the power of the hand. The slender hand of Mircalla closed like a vice of steel on the General’s wrist when he raised the hatchet to strike. But its power is not confined to its grasp; it leaves a numbness in the limb it seizes, which is slowly, if ever, recovered from.”
The following spring my father took me on a tour through Italy. We remained away for more than a year. It was long before the terror of recent events subsided; and to this hour the image of Carmilla returns to memory with ambiguous alternations—sometimes the playful, languid, beautiful girl; sometimes the writhing fiend I saw in the ruined church; and often from a reverie I have started, fancying I heard the light step of Carmilla at the drawing-room door.
The Dead Sexton
The sunsets were red, the nights were long, and the weather pleasantly frosty; and Christmas, the glorious herald of the New Year, was at hand, when an event—still recounted by winter firesides, with a horror made delightful by the mellowing influence of years—occurred in the beautiful little town of Golden Friars, and signalized, as the scene of its catastrophe, the old inn known throughout a wide region of the Northumbrian counties as the George and Dragon.
Toby Crooke, the sexton, was lying dead in the old coach-house in the inn yard. The body had been discovered, only half an hour before this story begins, under strange circumstances, and in a place where it might have lain the better part of a week undisturbed; and a dreadful suspicion astounded the village of Golden Friars.
A wintry sunset was glaring through a gorge of the western mountains, turning into fire the twigs of the leafless elms, and all the tiny blades of grass on the green by which the quaint little town is surrounded. It is built of light, grey stone, with steep gables and slender chimneys rising with airy lightness from the level sward by the margin of the beautiful lake, and backed by the grand amphitheatre of the fells at the other side, whose snowy peaks show faintly against the sky, tinged with the vaporous red of the western light. As you descend towards the margin of the lake, and see Golden Friars, its taper chimneys and slender gables, its curious old inn and gorgeous sign, and over all the graceful tower and spire of the ancient church, at this hour or by
