Bram Stoker's Vampire Trap - Vlad the Impaler and his Nameless Double by Hans Cornel de Roos MA (2012).pdf - Wampirologia - morefaya2006

Bram Stoker’S Vampire trap

Vlad the impaler and hiS nameleSS douBle

By hanS Corneel de rooS, ma

muniCh

email: info@hanSderooS.Com

homepage: www.hanSderooS.Com

puBliShed By linköping uniVerSity eleCtroniC preSS

S-581 83 linköping, Sweden

in the SerieS:

linköping eleCtroniC artiCleS in

Computer and information SCienCe

SerieS editor: prof. erik Sandewall

aBStraCt

Since Bacil Kirtley in 1958 proposed that Bram Stoker’s Count Dracula, the best known literary character

ever, shared his historical past with the Wallachian Voivode Vlad III Dracula, an intense debate about this

connection has developed and other candidates have been suggested, like the Hungarian General János

Hunyadi – a proposal resurfacing in the most recent annotated Dracula edition by Leslie Klinger (2008).

By close-reading Stoker’s sources, his research notes and the novel, I will demonstrate that Stoker’s narrative

initially links his Count to the person of Vlad III indeed, not Hunyadi, although the novelist neither knew

the ruler’s irst name, nor his father’s name, nor his epithet “the Impaler”, nor the cruelties attributed to him.

Still – or maybe for this very reason – Stoker did not wish to uphold this traceable identity: In Chapter 25,

shortly before the decisive chase, he removes this link again, by way of silent substitution, cloaked by

Professor van Helsing’s clownish distractions. Like the Vampire Lord Ruthven, disappearing through the

“vampire trap” constructed by James R. Planché for his play he Brides of the Isles in the English Opera

House , later renamed to Lyceum heatre and run by Stoker, the historical Voivode Vlad III Dracula is

suddenly removed from the stage: In the inal chapters, the Vampire Hunters pursue a nameless double.

Smoothly performed, this piece of stage magic has gone unnoticed for more than one hundred years now.

As a consequence, most of the arguments related to the Count’s lifetime identity turn out to sufer from

ignoratio delenchi (the fallacy of irrelevant conclusion). he “marriage” of Count Dracula and Vlad the

Impaler needs no divorce, as iled for by Toronto Prof. Em. Elizabeth Miller in 1998: As Stoker revoked this

bond before his book went to print, it was never consummated and can be annulled without much ado.

http://ep.liu.se/ea/cis/2012/002/ 19 March 2012

Hans C. de Roos: Bram Stoker’s Vampire Trap

taBle of ContentS

aBStraCt.............................................................................................................................................1

taBle of ContentS...........................................................................................................................2

puBliCation data; Copyright and Citation................................................................................3

dediCation, aCknowledgementS..................................................................................................4

introduCtion....................................................................................................................................5

i – from the nameleSS “Count____Styria” to “Count draCula”.......................................6

ii – Van helSing and Count draCula on the Vampire’S identity........................................6

iii – Szekler or wallaChian?........................................................................................................ 7

iV – wilkinSon’S aCCount on the prinCipalitieS of wallaChia and moldaVia.............7

•TexTcomparisonWilkinson/sToker’snoTes/counTDracula’sspeech............8

•FacsimileoFsToker’snoTesrosenbachp.71anD72............................................9

V – JánoS hunyadi or Vlad draCula iii?...................................................................................11

Vi – Vlad the impaler, radu the handSome and miChael the BraVe.............................11

Vii – other VoiVodeS of the draCuleSti line..........................................................................12

•painTingsoFVlaDiiianDmichaeliireceiVingTurkishDelegaTes....................13

Viii – “Stoker, like wilkinSon, hadn’t a Clue whiCh draCula waS whiCh”....................14

ix–ThecurrenTsTaTeoFDebaTe.............................................................................................15

x–The“FicTionalFacTparaDox”.............................................................................................15

xi–inTheWriTer’skiTchen.......................................................................................................16

xii–bramsToker’sVampireTrap.............................................................................................17

appenDixa:houseoFbasarabgenealogicaloVerVieW....................................................20

appenDixb:samuelsononhunniaDesanDVlaDTheimpaler..........................................21

appenDixc:TheballlaDoFsTephenThegreaT’sFlighTToniamTZ................................22

appenDixD:allegeDlinkoFQueeneliZabeThiioFenglanDToVlaDTheimpaler.....22

workS Cited or diSCuSSed, SeleCted BiBliography..............................................................23

http://ep.liu.se/ea/cis/2012/002/ 19 March 2012

Hans C. de Roos: Bram Stoker’s Vampire Trap

puBliCation data

his paper is an expanded and updated version of an essay which will be published in April 2012 as part of the planned book:

he Ultimate Dracula

Moonlake Editions, Munich,

ISBN Nr. 978-3-943559-00-2

Published on 19 March, 2012

by Linköping University Electronic Press

581 83 Linköping

Sweden

Linköping Electronic Articles in

Computer and Information Science

ISSN 1401-9841

Series editor: Erik Sandewall

he Notes by Bram Stoker are property and © of the Rosenbach Museum & Library, Philadelphia. he stills showing

“he New Transported Man” were derived from the movie he Prestige , USA/UK, 2006, © Touchstone Pictures/Warner

Bros./Syncopy Fims; they appear here by way of “Fair Use,” for review, research and educational purposes only. he same

conditions apply for the use of this document, see below. All other images are believed to be in the Public Domain already.

Recommended citation:

<Author>. <Title>. Linköping electronic articles in computer and information science, Vol. 15 (2012): no. 2.

http://w w w.ep.liu.se/ea/cis/2012/002/

March 16, 2012.

his URL will also contain a link to the author’s home page.

he publishers will keep this article on-line on the Internet (or its possible replacement network in the future) for a period of

25 years from the date of publication, barring exceptional circumstances as described separately.

he on-line availability of the article implies a permanent permission for anyone to read the article on-line, to print out single

copies of it, and to use it unchanged for any non-commercial research and educational purpose, including making copies

for classroom use. his permission can not be revoked by subsequent transfers of copyright. All other uses of the article are

conditional on the consent of the copyright owner. he publication of the article on the date stated above included also

the production of a limited number of copies on paper, which were archived in Swedish university libraries like all other

written works published in Sweden.he publisher has taken technical and administrative measures to assure that the on-

line version of the article will be permanently accessible using the URL stated above, unchanged, and permanently equal

to the archived printed copies at least until the expiration of the publication period. For additional information about the

Linköping University Electronic Press and its procedures for publication and for assurance of document integrity, please

refer to its WWW home page: http://www.ep.liu.se/ or by conventional mail to the address stated above.

http://ep.liu.se/ea/cis/2012/002/ 19 March 2012

Hans C. de Roos: Bram Stoker’s Vampire Trap

dediCation

his essay is dedicated to my old friend Kathinka Stel in

Amsterdam, accomplishing independent literary research

on the Durch poet Max de Jong; the mechanism by which

Bram Stoker let his Voivoide Dracula suddenly disappear

from the stage was irst penned down on her birthday.

aCknowledgementS

At this place I would like to thank all persons and institutions who supported me and my team while dealing with the

Dracula subject since May 2010. his paper, like the Dracula Maps essay, is a spin-of of a much broader efort to visualise

Bram Stoker’s famous novel. Special thanks is due to Karen Schoenewaldt and her colleagues at the Rosenbach Library

& Museum, Philadelphia, who also answered my third request most friendly, and to my circle of proofreaders, especially

MacGregor Buchanan and his daughter Seonaid. Should any error have remained, I am responsible for it as the author,

of course. Last but not least to Peter Berkesand and Prof. Erik Sandewall at Linkoeping University Electronic Press, who

enabled me to publish this paper, too, at short notice and to my friends Alida Kreutzer, Friedo Niepmann, Reinhold Koch

and Roy Hessing, for their ongoing interest in my projects.

Munich, 15 March 2012

Hans Corneel de Roos

http://ep.liu.se/ea/cis/2012/002/ 19 March 2012

Hans C. de Roos: Bram Stoker’s Vampire Trap

Bram Stoker's Vampire Trap - Vlad the Impaler and his Nameless Double by Hans Cornel de Roos MA (2012).pdf

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