The supernatural has always had a strong appeal with human mankind. In the folklore of nearly every society, tales about supernatural beings can be found making this fascination universe. Supernatural creatures have also been protagonists of books, comics, music and movies for centuries haunting the audience´s dreams in the nights (Stanfield, p.1). Among all of them, vampires and werewolves seem to be the most enduring having made their way straight into the 21st century.
Today, Vampires and werewolves are everywhere with the Twilight series leading the way. The release of the four books by Stephenie Meyer can be seen as a major reason for the new hype about the supernatural beings in our time. It is the most popular series for children since Joanne K. Rowling’s Harry Potter novels. In 2008, “Eclipse” the third book of the Twilight saga ranked even higher than “Harry Potter and the Deathly Hallows” pushing Joanne K. Rowling down to the second place of the bestseller list. The success was tremendous not only with young people but with an audience of all ages making the Twilight series the most commercially successful work on Vampires in the beginning of the 21st century (Anatol, p.1).
But how are Vampires and werewolves portrayed by Stephenie Meyer and how do these supernatural creatures differ from their ancestors in myth and classical literature?
Within the paper this question will be analyzed. Therefore, the history of the Vampire as well as the Werewolf legend will be traced back. The portrayal of Vampires and Werewolves in classical masterpieces of English literature as well as in the Twilight series will then be compared to the myth and to one another. In the end, the results will be interpreted.
Table of Contents
1. Introduction
2. The Vampire
2.1 Vampire legend
2.2 The classic Vampire – Bram Stoker´s Dracula
2.3 The Vampire in the Twilight series
3. The Werewolf
3.1. Werewolf legend
3.2 The classic Werewolf – The Werewolf of Paris
3.3 The Werewolf of the Twilight series
4. Conclusion
Research Objectives and Themes
This paper examines how supernatural creatures, specifically vampires and werewolves, are portrayed in Stephenie Meyer’s "Twilight" series compared to their representations in ancient myths and classical English literature. The central research question explores the evolution of these archetypes and how their characterizations have been adapted for a modern, commercially successful young adult audience while maintaining specific genre elements.
- Historical evolution of vampire and werewolf legends across various cultures.
- Comparative analysis of traditional versus modern literary portrayals of supernatural beings.
- Analysis of the commercial success and cultural impact of the "Twilight" series.
- Investigation of creative narrative choices in adapting traditional folklore for modern protagonists.
Excerpt from the Book
2.2 The classic Vampire – Bram Stoker´s Dracula
Bram Stoker´s “Dracula” was published in 1897. Never being out of print since that time, the novel belongs to the best selling ones in history. His famous protagonist “Count Dracula” has become the prototype of the Vampire in the late nineteenth and twentieth century being illustrated as the following (Davison, p.19-21).
When Jonathan Harker first meets the Count at the door of his castle, he describes his outer appearance: “(…) a tall old man, clean-shaven save for a long white moustache, and clad in black from head to foot, without a single speck of colour about him anywhere. (…) (Stoker, p.181)”. First shaking hands, Jonathan realizes that the Count has a rather unnatural strength and that his hand is pale and very cold. He describes it as “more like the hand of a dead than a living man (p.18).” Later, when he sits by the fire and observes the Count, he describes him in more detail:
His face was strong – a very strong – aquiline, with high bridge of the thin nose and peculiarly arched nostrils; with lofty domed forehead, and hair growing scantily round the temples, but profusely elsewhere. His eyebrows were massive, almost meeting over the nose, and with bushy hair that seemed to curl in its own profusion. The mouth (…) was fixed and rather cruel-looking, with peculiar sharp white teeth; these protruded over the lips, whose remarkable ruddiness showed astonishing vitality in a man of his years. (…) his ears were pale and at the tops extremely pointed; the chin was broad and strong, and the cheeks firm though thin. (…) [The hands] were rather coarse – broad, with squat fingers. (…) there were hairs on the palm. The nails were long and fine, cut to a sharp point (p.20).
Summary of Chapters
1. Introduction: The introduction establishes the enduring fascination with supernatural beings and frames the research goal of comparing traditional legends with modern interpretations in the Twilight series.
2. The Vampire: This chapter traces the origins of vampire legends globally and provides an in-depth analysis of the definitive classical portrayal in Bram Stoker's Dracula, followed by a comparative look at Edward Cullen.
2.1 Vampire legend: This section details the historical roots of vampirism, discussing ancient demonic concepts and the peak of European superstition around 1700.
2.2 The classic Vampire – Bram Stoker´s Dracula: This section examines how Stoker's seminal work established modern vampire tropes, including physical characteristics, lifestyle, and specific supernatural weaknesses.
2.3 The Vampire in the Twilight series: This section contrasts the predatory nature of traditional vampires with Meyer’s "vegetarian" protagonists, highlighting how she adapts these features to create a relatable romantic hero.
3. The Werewolf: This chapter covers the historical development of shape-shifting lore and the transition of the werewolf archetype from a horrific beast to a modernized fantasy character.
3.1. Werewolf legend: This section explores the historical distinction between voluntary and involuntary lycanthropy and the cultural stigma surrounding those accused of being werewolves during the Middle Ages.
3.2 The classic Werewolf – The Werewolf of Paris: This section analyzes Guy Endore’s 1933 novel as the literary benchmark for the classical werewolf, focusing on its themes of internal struggle and tragic fate.
3.3 The Werewolf of the Twilight series: This section explains how Meyer’s werewolves function as protectors within a specific tribal heritage, often resembling shape-shifters more than the traditional cursed beasts.
4. Conclusion: The conclusion synthesizes the findings, noting that while vampires in Twilight remain tethered to traditional tropes, the portrayal of werewolves represents a radical departure from folklore.
Keywords
Vampires, Werewolves, Twilight series, Bram Stoker, Dracula, The Werewolf of Paris, Folklore, Mythology, Supernatural, Literature, Shape-shifters, Stephenie Meyer, Lycanthropy, Cultural evolution, Modern adaptation
Frequently Asked Questions
What is the core focus of this research paper?
The paper explores the evolution of vampire and werewolf legends, focusing on how these figures move from historical and classical literary representations into modern pop culture via Stephenie Meyer's Twilight series.
What are the primary thematic areas?
The study focuses on supernatural folklore, the literary history of classic horror figures (specifically Stoker’s Dracula and Endore’s The Werewolf of Paris), and the adaptation of these myths for contemporary audiences.
What is the central research question?
The paper aims to answer how the portrayal of vampires and werewolves in the Twilight series differs from their historical and classical literary ancestors.
Which scientific methodology is applied?
The author uses a comparative literary analysis approach, tracing the history of the legends and contrasting the specific attributes of classic monsters with the protagonists in the Twilight novels.
What topics are discussed in the main body?
The body covers historical vampire and werewolf legends, in-depth character analyses of Count Dracula and Bertrand Aymar Caillet, and an examination of how Meyer modifies these traits to make her characters suitable for a social, romantic narrative.
Which keywords best characterize this work?
The work is defined by terms such as Vampires, Werewolves, Twilight, Bram Stoker, Folklore, and modern adaptation.
How does the Twilight series handle the traditional "sunlight weakness" of vampires?
The author notes that Meyer uses a humoristic approach, allowing her characters to dismiss sunlight weakness as a "myth," replacing it with the concept of skin that glitters like crystal.
Why does the author argue that the "werewolves" in Twilight should be called "shape-shifters"?
The author argues this because Meyer’s werewolves lack most traditional beastly characteristics; they are socially functioning, can transform at will, and act as protectors, which aligns more closely with the concept of shape-shifters than the traditional, uncontrollable werewolf.
What is the significance of the "vegetarian" vampire concept?
The author identifies this as a critical narrative shift that enables the vampire to serve as a romantic protagonist, overcoming the conflict between the monster's hunger and the necessity for social integration.
- Arbeit zitieren
- Lisa Günthner (Autor:in), 2013, Vampyres and Werewolfes. Legend, classical literature and the Twilight series, München, GRIN Verlag, https://www.hausarbeiten.de/document/276509
