, theatre and scenic walks all available for its guests’, ignoring the town’s medical reputation. See: J. Bierman, ‘A Crucial Stage in the Writing of Dracula ’, in William Hughes and Andrew Smith (eds), Bram Stoker: History, PsychoanalysisandtheGothic (Basingstoke: Macmillan, 1998), pp. 151–72, at p. 153.
83 Pierce, People’s Commonsense Medical Adviser , p. 751.
84 Kellogg, Ladies’ Guide , pp. 150, 151.
85 After being vampirised, animal analogies are frequently evoked to describe
Conflicting signifiers of vice in The Picture of Dorian Gray and The Mystery of Edwin Drood
, as malignant as the Evil One’ (p. 279).
86 Browne, ‘Opiophagism’, p. 41.
87 Patricia Anderson, When Passion Reigned: Sex and the Victorians (New York: Basic Books, 1995), p. 57.
88 Robert Mighall, ‘Sex, History and the Vampire’ in William Hughes and Andrew Smith (eds), Bram Stoker: History, PsychoanalysisandtheGothic (Basingstoke: Macmillan, 1998), pp. 62–77, at p. 74.
89 Eve Kosofsky Sedgwick, Between Men: English Literature and Male Homosocial
Diamonds and curious collectables in the fin-de-siècle fiction of Richard Marsh
the White Worm’, in W. Hughes and A. Smith
(eds), Bram Stoker: History, PsychoanalysisandtheGothic (Basingstoke and
New York: Palgrave Macmillan, 1998), pp. 188–204; A. Worth, ‘Arthur
Machen and the horrors of deep history’, Victorian Literature and Culture,
40 (2012), 215–27; S. Forlini, ‘Modern narratives and decadent things
in Arthur Machen’s The Three Impostors’, English Literature in Transition,
1880–1920, 55:4 (2012), 479–98.
2 A notable exception is Aviva Briefel’s ‘Hands of beauty, hands of horror:
fear and Egyptian art at the fin de siècle’, Victorian