Scientists predict that in the next twenty years, they will have figured out how to keep us alive and young for 150-200 years. What will this longer life span mean for vampires? Will they become obsolete as we enjoy our own extended long lives? They are slowly being undermined as sexual creatures as more an more people live out their fantasies in a less strict society. Will we ever see a day when humans don't need a vampire?
Vampires have evolved as successfully as humans have. After the fall of the Roman Empire the domination of Islam and Christianity over the previously pagan world should have marked the end of bloody rituals and dark gods. But superstitions– most of them originating from pagan beliefs– and a Church's crafty use of demons and vampires as conversion tools evolved the vampire into the walking corpse, a step closer to humanity. With the loss of control by the Church, education increasing and the industrial and scientific revolution, the vampire again faced extinction. But with the sexual repression of the Victorian Era in full swing, the vampire fell into its new role easily. Now, with a new step in human evolution approaching, the vampire will have to again adapt.
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The vampire will most likely fall back into the role of a deity again. We can already see this happening in our disenchanted and faithless society. People, unhappy with their choices of religion, which can't seem to keep up with science and society, are making their own religion, which sometimes involves old-style pagan rituals and sharing blood as a way to bond members together. Vampires will survive, because, after all, they are immortal.
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Sex with a Vampire :
Of all the monsters of fiction, the only one primaly associated with sex is the vampire
Nonetheless, the vampire of folklore was not a sexually attractive figure; he was a dead man who fed on blood, a monster about as attractive as a zombie. Bram Stoker changed all that with his novel, Dracula.
Stoker used the vampire as a metaphor for the Victorian view of sex as innately dangerous. In Dracula, sex with the Count transformed women into seductive sirens and horrific baby killers – the opposite of the Victorian ideal of chaste and nurturing womanhood. Originally, only female vampires were especially beautiful. Lamias and other such spirit-like vampires were always ugly in their true form, but had the ability to shift their appearance to that of a beautiful maiden, in order to lure men to them.
With the coming of the Victorian age, both the male and female vampire became beautiful and both exhibited a sexual appetite, though both vampire and vampiress retained the beauty as only a facade. The penetration of skin by sharp canine teeth easily evokes both violence and eroticism. In anger or distress the vampire still revealed its ugly, more corpse-like side.
In the modern psyche, women have unconsciously adopted vampires as an archetype for the dangerous male. When a woman has sex with a mortal man, she risks pregnancy and social shame.When she has sex with a vampire, she risks actual death. In both cases, women take the chance in trusting men who may not be trustworthy. In the vampire, so many male attributes are exaggerated, from physical strength to sexuality. Today our vampires still retain those traits, played up even more. But still the vampire can show that evil, ugly side. The vampire, while always a nuisance and a evil to society, has grown even more callous in his vanity, perhaps to show the evil associated with pride and absolute power.
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Perhaps the single most notorious characteristic of the vampire is his penchant for drinking blood. Most dead creatures (ghosts, demons …) in the Indo-European and Semitic world are considered thirsty, not just vampires. While some dead were content with any liquid offered, vampires almost always choose blood.
Alan Dundes suggests that aging and dying are correlated to dehydrating; the same way a ripe plum shrivels into a prune. He further hypothesizes that people, therefore, assumed that the dead would be thirsty since they are dried out. This belief led to the practice of pouring libations on graves to appease the dead. This belief was later applied to vampires who went looking for their offerings.
Another answer is that the dead's craving for liquids is not merely to regain the appearance of youth, but to give them life again, blood being the supreme elixir of life.
Blood both fascinates us and repulses us; it simultaneously represents purity and impurity, the sacred and the profane, life and death. Little wonder then that it is heavily used in religious, magic rituals as well as art creation.
When shamanism is associated with women, blood letting during menstruation is an important part of 'walking with the spirits'. Followers of the cult of Kali in India often drink blood. Sisir Das, a practitioner of Hindu occult rituals, drank the goats' blood of 207 sacrificed goats at the Kali temple in Bengal's Midnapore district over the course of four days.
Throughout history the many liquid substances (milk, honey and wine) offered in sacrifice to the dead, to spirits and to gods, were symbols of blood. Sacrificial blood was itself obtained from animals in classical times, and from human sacrifice among Asians, Africans, aboriginal Americans, and from prehistoric Europeans.
In a similar fashion, the history of art is full of images of blood, from the representations of wounded animals in the cave paintings of Lascaux to the most recent representations of extreme Body Art.
In his book 'Violence and the Sacred', Rene Girards' theory of sacrifice states,
"The physical metamorphoses of spilt blood can stand for the double nature of violence...Blood serves to illustrate that the same substance can stain or cleanse, contaminate or purify, drive men to fury and murder or appease their anger and restore them to life"
