By Kim Newman
This sequel to "Anno Dracula" unearths Dracula in energy within the German courtroom, the place his wish for energy and domination ends up in global conflict I. Charles Beauregard remains to be operating for Intelligence and hears concerning the pink Baron flying ace and his "circus" of vampire fighters.
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Extra resources for Anno Dracula: The Bloody Red Baron (Anno Dracula, Book 2)
This same passage which extols Ianthe’s beauty also refers to another image from The Giaour, where we are told that often would ‘the unconscious girl, engaged in the pursuit of a Kashmere butterfly, show the whole beauty of her form, floating as it were upon the wind, to the eager gaze of him, who forgot the letters he had just decyphered upon an almost, effaced tablet, in the contemplation of her sylph-like figure’ (Polidori, p. 41). The image of the Kashmere butterfly was first employed to present the dangers of beauty to its possessor: As rising on its purple wing The insect queen of eastern spring, O’er emerald meadows of Kashmeer The Dangers of Philhellenism to Italian Liberation 29 Invites the young pursuer near, And leads him on from flower to flower A weary chase and wasted hour, Then leaves him as it soars on high, With panting heart and tearful eye: So beauty lures the full-grown child, With hue as bright, and wing as wild; A chase of idle hopes and fears, Begun in folly, closed in tears.
103). While noting the Byronic influence in the play (as well as that of Wieland and Shakespeare), Lorne Macdonald sees in it an inversion of 32 Dracula and the Eastern Question Polidori’s oedipal relation with (and murderous intentions on) his father, since Gaetano Polidori, like Anselmo, had embarked on a mixed marriage, and had never quite reconciled himself to this. He also understands Ximenes’s eventual suicide as constituting an introversion of the character’s former murderous intentions against Gustavus, and thus as a sublimation of John Polidori’s own suicidal tendencies as a result of introverting his patricidal feelings (Macdonald, pp.
209). While he may not have written this newspaper’s harsh critiques of Nationalist activity, they certainly would have passed through his hands. It is therefore tempting to see the politics of Unionist Ireland in Le Fanu’s tale set in mid-century Austria, whether as justification for the 44 Dracula and the Eastern Question ascendancy or sublimated guilt for its atrocities over the Catholic aristocracy, since the date of one of Carmilla’s final portraits before committing suicide is 1698. However, this date also points to the possibility of an interest on Le Fanu’s part in the politics of Austria and Hungary throughout the period, since it corresponds to the time in which the Austrian Emperor ‘regained’ his Hungarian lands.
Anno Dracula: The Bloody Red Baron (Anno Dracula, Book 2) by Kim Newman