Vampires Quotes
A curated collection of the best quotes about Vampires.
Top Quotes
“Vampire”
“vampires”
“The world is coming down around our ears and you're sticking at a few vampires.”
“She [Susan] is very lovely, Mr. Mears — very toothsome if I may be permitted a small bon mot.”
“Van Helsing: The strength of the vampire is that people will not believe in him.”
“The reason good women like me and flock to my pictures is that there is a little bit of vampire instinct in every woman.”
“Most vampires, I’ve discovered, are men, for some reason. I guess it’s because Dracula, people are kind of feeding off that.”
“You must understand that it is little rest a vampire gets on earth, with so many fine young fellows like yourself going about everywhere eager to be destroyed.”
“When AIDS was at its most brutal, frightening, my-God-what-are-we-going-to-do era, that was when vampire stories and stories about blood and trust swept the literary world.”
“Dio Brando: What a simple thing, the food chain. As pigs feed on grass, so does man feed upon them. And I, at the top of it all, feed upon the humans. They exist to serve me and quell my thirst.”
“You're [a vampire], right? Can't stand sunlight or smelly vegetables, or silver things. The masters of the night, which for some reason have tons of weaknesses...”
“[Italian socioreligiologist Massimo] Introvigne maintains that the vampire inhabits countries devoid of the liberating notion of Purgatory.
…Perhaps dealing with the myth of the vampire today is a practical and even ascetic exercise.”
“Grappling with the representations of puberty and adolescent body as abject spaces-in-between and intertwining the figures of the innocent and the evil child, these chapters problematise the ideas of liminality, age of consent, (im)maturity, child's agency and child abuse.”
“Through the figures of lesbian vampress and her human romantic interest, the author examines the promises of female empowerment and agency, transformations of class and gender relations, release from the bonds of patriarchy and a consequent quest for women's liberated identity.”
“So again Coth parted with his son in anger, and Jurgen returned again toward Barathum; and, whether or not it was a coincidence, Jurgen met precisely the vampire of whom he had inveigled his father into thinking. She was the most seductively beautiful creature that it would be possible for Jurgen's father or any other man to imagine: and her clothes were orange-coloured, for a reason sufficiently well known in Hell, and were embroidered everywhere with green fig-leaves.”
“And I need you now tonight
And I need you more than ever
And if you only hold me tight
We'll be holding on forever
And we'll only be making it right
'Cause we'll never be wrong
Together we can take it to the end of the line
Your love is like a shadow on me all of the time
I don't know what to do and I'm always in the dark
We're living in a powder keg and giving off sparks
I really need you tonight
Forever's gonna start tonight”
“Using as a lens the concepts of rape myths and patriarchal terrorism, the chapter reveals the ways in which the mistreatment of human females by their male vampire intimate partners is rationalised and presented as forgivable and or beneficial to both the victims and broader society. As the narrative frequently disguises transgressive and evil acts of abuse as desire and romantic love, and places male protagonists in positions of power, the urgent problem of female consent becomes trivialised.”
“The following chapter, "Breach of Consent: Jean Rollin and Le Viol du Vampire", by David Baker, considers the exploitation of women and of male voyeurism through the figure of female vampire. The author articulates the complex ways in which Rollin's 1968 production serves to disrupt the traditional binary logics of an aggressive vampire Other and a human victimised Self, problemarising and bringing to the fore the relationship between hospitality, victimhood, female body, rape and consent.”
“Through the analysis of Sheridan le Fanu's novella Carmilla (1872) and Bram Stoker's novel Dracula, (1897), Green points to the ways in which the figure of the vampire becomes a terrain of confused and uncertain temporalities, where the continuity of the past into the present produces unexpected constraints and raises the question of consent, simultaneously bringing the vampiric body liberation from the tyranny of time.”