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| Elizabeth Báthory, Lady of Cachtice |
Countess Elizabeth Báthory was born in the Kingdom of
Hungary, Habsburgh Monarchy, in 1560. She was a member of the Báthorys, one of
the most powerful dinasties in the region. She was the niece of Stephen Báthory,
the king of Poland and grand duke of Lithuania as well as prince of
Transylvania. Despite this aristocratic background and wealth, the clan was
feared for its cruelty, and some of Elizabeth’s relatives created a dark legend
around their figures. For instance, Lady Klára Báthory, Elizabeth’s aunt on her
father’s side, ‘‘has been remembered in the histories as an insatiable bisexual
adventuress’’ (Thorne 147), and the person who may have introduced Elizabeth
into sadomasochism. When Klára was caught red-handed with one of her lovers,
legend has it that ‘‘Klára’s punishment was to be raped by every member of the
Turkish garrison in turn’’ (Thorne 147). Therefore, the brutal violence of the
age did not soften the Countess’s future cruel behaviour which this post will
examine. Another grim tale narrates how Elizabeth’s brother, Stephen, was
thought to be an alcoholic, a lecher and a lunatic (Thorne 149).
Mental disorders in the family may be the result of the
inbreeding among the kin, since they did not wish their blood to be fused with that
of others. Elizabeth is thought to have suffered from epilepsy and to have been
deranged. As the Countess is the most notoriously remembered of the Báthorys,
this blog post will analyse her figure from a vampiric perspective. This general
approximation to her persona focuses on the belief that she murdered more than
650 young girls. The reason allegedly given as justification for her atrocious
crimes was to obtain blood from the
virgins in order to restore her youthfulness. She was condemned for her crimes
and imprisoned in her own castle, where she died in 1614. Her character has
inspired many varied narratives, yet my text will focus on three literary
sources which will help to study the Countess from a Jungian viewpoint: the
stepmother of Brother Grimm’s ‘‘Little Snow White’’ (first published in 1812),
the vampire Carmilla in Sheridan Le Fanu’s eponymous novella (1871-1872), and Argentinian
poetess Alejandra Pizarnik’s La Condesa
Sangrienta (The Bloody Countess) (1965).
Elizabeth
in the Bloodthirsty Stepmother of ‘‘Little Snow White’’
In the famous fairytale of ‘‘Little Snow White’’, the
Grimm Brothers depict the consequences extreme vanity can trigger. Both the
stepmother as well as Snow White emphasise the relevance of being young and
beautiful. Vanity is a trait present in Countess Báthory, and this first
section of the blog post will explore the existing connection between the tale
and the aristocrat’s life.
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| Illustration of Snow White's stepmother by P.J.Lynch |
The stepmother embodies jealousy and envy towards the
young girl for her beauty. With her continuous demanding ‘‘Mirror, mirror on
the wall, who in this land is fairest of all?’’ (Jacob and Wilhem Grimm) and
her contempt towards the young princess, the adult woman personifies what,
according to Jung’s theory, is named the ‘‘Shadow’’. Swiss psychiatrist and
psychoanalyst Carl Jung considered that humans share a ‘‘collective
unconscious’’ in which instincts and archetypes are common to different cultures.
Thus, concepts such as hell appear in distinct traditions. Jung’s archetype of
the ‘‘Shadow’’ stands for the ‘‘dark side’’ of a person, the unconscious
negative aspects of the self. Jungian expert June Singer differentiates between
the ‘‘Great Mother’’ of the Ego from the ‘‘Terrible Mother’’ in the ‘‘Shadow’’.
Consequently, Grimm’s stepmother embodies the evil side of motherhood
attempting to control the virtuous Snow White. Elizabeth Báthory is also
associated with vanity and mirrors. During the trial against the Countess which
Palatine of Hungary George Thurzó arranged, Ficzkó, one of her loyal
assistants, described his mistress ‘‘as using her mirror to ‘beseech’ – to call
up spirits , cast spells or ask for supernatural help, and gives details of the
ritual preparation of the deadly cake, although he does not explain how
Elisabeth could have sent it to the intended victims or persuaded them to eat
it’’ (Thorne 44). If we consider the stepmother summoning the spirit of the
looking glass to verify who the most beautiful female is, and how she employs
an apple to lure her victim and destroy her, a parallel between the stepmother
and the Countess is clearly drawn.
Furthermore, Shuli Barzilai explains how professors
Sandra Gilbert and Susan Gubar argue that both characters in the fairy tale
represent ‘‘dissociated parts of one psyche. In terms of the Jungian symbology
suggested by their analysis, Snow White and the queen constitute a house
divided against itself: ‘‘Shadow fights shadow, image destroys image in the
crystal prison, as if the ‘fiend’…should plot to destroy the ‘angel’ who is
another one of her selves’’’’ (Barzilai 520). In the Countess’s case, her
basement at her Čachtice castle is
unmistakably her space of action. Her prey were mutilated, tortured and drained
of their blood in this location with the aid of her servants. On the one hand,
she may have chosen her basement to torture her victims as a means to hide her
misdeeds; on the other hand it is significant that an underground room
corresponds to her ‘‘underworld’’, a journey into her excessive subconscious. Elizabeth,
aided by her servants, was able to mistreat the girls she wished to since she
was isolated in her castle too. She lured them to her fortress as ‘‘it was a
great honour for a girl to be given a position in her (Elizabeth’s) household,
even that of a humble seamstress or chambermaid, and all her servants had come
recommended for a particular skill’’ (Thorne 31). However, the rumours of her
cruelty spread and ‘‘poor families around Čachtice hid their daughters when they heard that the Lady was
approaching’’ (Thorne 31).
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| Carlos Schwabe's illustration for Charles Baudelaire's Les Fleurs du Mal, 1900 |
In time, the Countess became bolder, and she began to
attack noblewomen, which led her to her final destruction. Married to Count
Francis Nádasdy at the age of 15, her husband left for the war and was hardly ever
with his family. Therefore, Elizabeth was unreservedly in charge of their state,
which she managed perfectly. This function was mainly undertaken by men at her
time. Notably, in the Grimm’s tale Snow White’s father is mainly absent; he
only appears at the beginning of the story, when his wife dies and a year later
he takes a new wife. Therefore, the non-appearance of the father figure to
protect Snow White facilitates her stepmother’s assault.
Nonetheless, it is remarkable that in the first
versions of the tale, it is the real mother and not Snow White’s stepmother who
aims to eliminate her. ‘‘Only with the nineteenth-century German reworking and
editing of the tale was the mother definitely recast as a stepmother’’
(Barzilai 526). This means that the stepmother is seen as an Other inside the
family circle. ‘‘The stepmother represents feared social forces that threaten
to destabilize imaginary family and national bonds established through an
ideology of biological sameness’’ (Hewitt-White 121). It is due to the
Christian values of their time, that the Grimm brothers recognise virtue as
inherent in natural lineage. Elizabeth was not the mother of the youngsters she
murdered, yet ‘‘she was related by blood or marriage to nearly all the victims
named in the testimonies’’ (Thorne 31). Therefore, the idea of evil inside the
family bond emerges in the Countess’s massacres.
Some authors do not only describe this link of ‘‘blood’’
as a means to illustrate anxieties between mother/stepmother and daughter; they
also perceive ‘‘considerable kinship with vampire lore, including that of
Elizabeth Báthory’’(Kord 76). Furthermore, the Grimms had written a fragment named
‘‘Nach Einem Wiener Fliegende Blatt’’, ‘‘a play on words which can mean ‘‘a Flying
Leaf’’, ‘‘a Handbill’’ or ‘‘a Rumour on the Wind…from Vienna’’, with which ‘‘the
Brothers Grimm referred to a seventeenth-century folktale telling of an unnamed
Hungarian lady who murdered eight to twelve maidens’’ (Thorne 205). Certain scholars consider Snow White to be the
vampire since she is ‘‘as white as snow, as red as blood, and as black as ebony
wood’’ (Grimm) as well as her condition of sleeping in a coffin and not aging,
yet the figure of the wicked queen can also evoke vampirism. Various versions
of the tale emerge in different cultures previous to the famous adaptation by
the Grimms, and they depict ferocious actions. When the stepmother orders the
hunter to slaughter the princess, the reworkings of the story become gory:
Whilst in the Grimm’s edition the hunter must bring Snow White’s lungs and
liver to the stepmother, ‘‘in Spain, the queen is even more bloodthirsty,
asking for a bottle of blood, with the girl’s toe used as a cork. In Italy, the
cruel queen instructs the huntsman to return with the girl’s intestines and her
blood-soaked shirt’’ (Tatar). These signs of cruelty also occur in Báthory’s cannibalism,
as narrated by Ponikenus, a reverend known to Elizabeth: ‘‘We heard from those
maids who are still living that they were forced to eat their own flesh, which
was fried on an open fire. The flesh of other maids was chopped and mashed, as
with mushrooms in the preparation of a meal’’(Thorne 73).
Nevertheless, torture was not the only treatment the
Countess meted out to her young victims. She is famous for her bisexual affairs
and the following section of the blog will focus on Elizabeth’s sexuality and
how it may have influenced one the most relevant novellas in Gothic fiction:
Sheridan Le Fanu’s ‘‘Carmilla’’.
Carmilla
as an embodiment of Elizabeth
In 1872 Irish Gothic writer Sheridan Le Fanu published
his story ‘‘Carmilla’’ in a serial
titled The Dark Blue. The tale is
narrated by Laura, a young motherless girl who lives in isolation in a castle in Styria with her father, some governesses, and some
servants. The girl is disappointed when an expected visit by her father’s
friend General Spielsdorf and his niece is postponed. The General, whose
intention was to stay with the family, explains to Laura’s father that his
young relative had suddenly become ill and died. Therefore, Laura’s wish to
gain a friend is thwarted. Nevertheless, an accident occurs, and a youngster
enters their lives: the apparently naïve Carmilla, who in truth is a vampire.
Carmilla lures Laura to her by means of her beauty: ‘‘Her complexion was rich
and brilliant; her features were small and beautifully formed; her eyes, large,
dark and lustrous; her hair was quite wonderful’’ (Le Fanu 26). Le Fanu’s
choice of setting of his novella as well as the accentuated allure of his
predator echo Báthory’s persona, although the Countess is not presented as an
innocent creature, but as a seductress whose aim is to murder. R. A. von
Elsberg is the first author to describe Elizabeth’s appearance in his 1894 Die Blutgräfin when he refers to Báthory’s portrait:
‘‘She is Elisabeth Báthory, but is she at the same
time the tigress? She is a lady of high rank with a cultivated mind, but her
great eyes let us see deeper within to her devilish passion. Her finely
chiselled nose, her wilful and obstinate lips show her siren-like personality,
her wild heart…long white hands and in contrast to her white skin, her black
hair: these are the features which definitely define her difficult nature’’
(Thorne 120).
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| Illustration for ''Carmilla'' by David Henry Friston |
The eponymous Carmilla also belongs to the
aristocracy, and her hidden bloodthirst emerges as the plot develops. Besides, the
story relates how Carmilla and Laura belong to the same lineage. Le Fanu
‘‘makes vampirism, incest and homosexuality resonate’’ (Leal 38-39) in his
tale. Whilst ‘‘several critics have noted how Carmilla is a rendition of Coleridge’s fragment ‘‘Christabel,’’
which also features a female vampire, a motherless victim, obscure familial
ties, and same-sex desire’’ (Leal 39), Coleridge names one of his characters
from his play Zápolya ‘‘Bethlen
Báthory’’, ‘‘an amalgam of Elisabeth Báthory’s nephew Prince Gábor and his
successor, Gábor Bethlen’’ (Thorne 8). Therefore, the Romantic poet may also
have been aware of the figure of the Hungarian Countess and her legend.
Jung ‘‘reasons that within the collective unconscious
(that part of the unconscious that is inherited and identical in all humans) of
both males and females there lies an element of the opposite sex’’ (Stupaks 1).
Males possess a feminine element named ‘‘anima’’ and females a masculine
element called ‘‘animus’’. According to Jung, animus-inflated women tend to
develop an exceptional rational instinct. Carmilla, as well as Elizabeth,
represents the Jungian archetype of the fatal seductress, the Temptress; they
both embody an active ‘‘shadow’’ of the personality, which needs to have power
over their prey by using their physical presence until they no longer maintain
any interest in their victim, who is male. Both Carmilla and Báthory are, thus,
manipulative and methodical, yet the main difference is that the victims are
young girls. In reality, Elizabeth’s sexual behaviour is not reported, yet,
from her position of complete power after the death of her husband in 1604, she
was able to obtain whatever she wanted (Thorne).
When Carmilla attacks Laura, she turns into a cat:
‘‘But I (Laura) was equally conscious of being in my room, and lying in bed, precisely
as I actually was… I saw something moving round the foot of the bed, which at
first I could not accurately distinguish. But I soon saw that it was a
sooty-black animal that resembled a monstrous cat’’ (Le Fanu 45). Carmilla here
echoes Báthory, since shapeshifting was believed to be real during the
Countess’s time, and the Countess was credited with the ability to summon evil
creatures in order to defeat her powerful enemies. Pastor Ponikenus, the
Palatine’s ally, claimed that Elizabeth was a sorceress and noted these words
as hers: ‘‘God help! God help! You little cloud! God help little cloud! God
grant, God grant health to Elizabeth Báthory. Send, send me little cloud ninety
cats, I command you, who are the lord of the cats… send them away to bite King
Matthia’s heart, to bite my lord Palantine’s heart…’’ (Thorne 71).
Interestingly, the King owed Elizabeth money, and the Palatine
Thurzó initiated the trial against her, accusing her of mass murder, witchcraft
and high treason. Báthory was walled up in her castle till her death and her lineage
ended once her nephew Gábor Báthory was murdered. Similarly, vampire Carmilla,
whose real name is Countess Mircalla Karnstein, is finally defeated in her
coffin full of blood and, consequently, her direct dinasty, although present
with descendants such as Laura, becomes extinct.
The fact that Mircalla rests in her blood-filled tomb
and maintains her youth resembles Widow Nadashy’s legend of her notorious gore
baths: ‘‘Two old women and a certain Fitzko assisted her in her undertaking.
This monster used to kill the luckless victim, and the old women caught the
blood, in which Elizabeth was wont to bathe at the hour of four in the morning.
After the bath she appeared more beautiful than before’’ (Sabine Baring-Gould
139-140). In reality, Báthory’s blood-bathing first appeared in Jesuit Turóczi
László’s Tragica Historia in 1729.
There is no mention of this practice in the trial against the aristocrat.
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| Báthory depicted by Hungarian Impressionist István Csók, 1893 |
There are more similarities between Le Fanu’s vampire
and the Countess: where Báthory is aided by her servants, Carmilla has the support
of two women: the so-called Countess who introduces the vampire to her victims,
and the mysterious woman of the carriage who does not get out of it (Le Fanu
18-19). This lady resembles Báthory’s confidante Anna Darvulia, ‘‘the Lady’s
guide and inspiration in her torturing’’(Thorne 98), who was in charge of
Elizabeth’s domestic arrangements from around 1595 and who died before the
trial against the aristocrat.
The association between sorcery and vampirism is
significant in Carmilla: Countess
Karnstein instantly purchases ‘‘oblongs slips of vellum, with cabalistic
ciphers and diagrams upon them’’ (Le Fanu 32) as an ‘‘amulet against the
oupire’’ (32). Similarly, in Hungary, aristocratic women such as Elizabeth,
even though they were not be sorceresses themselves, they could act as
protectors of the crones known for their healing skills. Nevertheless, when one
of the remedies did not work and disease spread uncontrollably, hysteria ruled
and between 1529 and 1768 witchcraft trials took place in Báthory’s country.
Besides, in her case, it is worthy of notice that she was a Protestant, and she
created enemies with other faiths, especially Catholics. Religion also relates
Carmilla’s lack of prayers to her scorn towards her labourer victims. When the
funeral of a young girl occurs in front of Laura and Carmilla, the vampire
claims: ‘‘She? I don’t trouble my head about peasants. I don’t know who she
is…’’, and she continues… ‘‘Well, her funeral is over, I hope, and her hymn
sung; and our ears shan’t be tortured with that discord and jargon’’ (Le Fanu
30-31).
Similarly, Báthory despises peasant girls to the point
of torturing them to death. Or so does her notorious legend declare. Alejandra
Pizarnik’s dark collection of poetic prose on the Countess describes in detail
the alleged torment the Lady imposed on her prey. The last section of the blog
will examine The Bloody Countess.
Elizabeth’s Torture in Alejandra Pizarnik’s La Condesa Sangrienta (The Bloody Countess)
Alejandra Pizarnik narrates Báthory’s life in her
short book The Bloody Countess. Following French surrealist author Valentine Penrose’s 1962 Erzsébet Báthory la Comtesse sanglante, the Argentinian combines
poetic prose, dark fantasy and journalism to depict the legend of the notorious
Countess. Pizarnik focuses on the alleged torture which the aristocrat perpetrated
to obtain eternal youth through blood from the very beginning of her narrative.
Pizarnik briefly analyses how Penrose describes the Countess as a ‘‘gorgeous’’
criminal : ‘‘she (Penrose) inscribes the subterranean kingdom of Elizabeth
Báthory in the torture room of her medieval castle : there, the sinister beauty
of the night creatures summarises itself in a silent woman of a legendary
paleness, of demented eyes, of hair with the luxurious colour of the crows ’’[i] (Pizarnik). Although
Báthory employed different methods of torture, such as placing girls inside a
cage with spikes, or throwing frozen water at their naked bodies outdoors in
winter until they died, this last section will examine Pizarnik’s allusion to
the Iron Virgin.
Pizarnik begins each of her chapters with quotes which
give a hint of the subject treated in her narrative. Yet there is an author
whom she not only cites, but whom she also comments on at the end of her work,and
mentions alongside the Baron and serial killer of children Gilles de Rais:
French writer and libertine Marquis de Sade.
Sadism was named after the French author, and definitively
established as a term by Freud in his 1905 Three
Essays on the Theory of Sexuality. For French philosopher Michel Foucault,
‘‘Sadism is not a name finally given to a practice as old as Eros; it is
a massive cultural fact which appeared precisely at the end of the eighteenth
century, and which constitutes one of the greatest conversions of Western
imagination: unreason transformed into delirium of the heart, madness of
desire, the insane dialogue of love and death in the limitless presumption of
appetite’’(Foucault 199).
Consequently, Pizarnik wisely compares the Countess to
Sade and de Rais, since Báthory may have suffered from Sadistic personality
disorder, as it was named in an appendix of the Diagnostic and Statistical
Manual of Mental Disorders (DSM-III-R), yet removed from later versions of the
manual. The disorder involves obtaining sexual pleasure from the discomfort or
pain of others (Myers 2006).
The Argentinian author first explains the Iron Virgin:
‘‘There
was a famous automat in Nuremberg named ‘‘the Iron Virgin’’. Countess Báthory
acquired a copy for the torture room of her castle in Csejthe’’ (Pizarnik). The
‘‘Nuremberg Virgin’’, also known as ‘‘the Iron Maiden’’, ‘‘is often linked to
the Middle Ages, though there is reason to believe that, in fact, it was not
conceived until the end of the XVIII century’’ (Torture Museum). The most
famous one is the one in Nuremberg, Germany. It consists of a womanlike sarcophagus
‘‘with a virgin Mary placed on top by the inquisitors’’ (Torture Museum) and
with spikes which stab the arms, legs, stomach, eyes, shoulders and buttocks of
the person placed inside. Pizarnik describes the beauty of the automat,
‘‘naked, with jewellery on, with blonde hair which reached the floor’’
[ii]and compares it to the one
of the virgins: ‘‘the automat holds her (the victim) and thus nobody will be
able to untie the living body from the iron one, both equal in beauty’’[iii]. Meanwhile, the
aristocrat, sitting on her throne, observes (Pizarnik).
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| Santiago Caruso's illustration for Alejandra Pizarnik's The Bloody Countess |
The use of the Iron Virgin can be associated with
Irish writer Bram Stoker’s short story ‘‘The Squaw’’, first published in 1893 in the British
magazine Holly Leaves the Christmas Number of the Illustrated Sporting
and Dramatic News. In this tale, a couple go for their honeymoon to Germany, where they
meet an American tourist, Elias P. Hutcheson. They decide to visit the
Nuremberg castle together. On the way there, they see a cat with her kitten.
Hutcheson decides to throw a pebble near them to see their reaction, but the
stone hits the kitten’s head and kills it. Its mother enraged starts following
the protagonists. Even though Amelia, the protagonist’s wife, suspects that the
cat’s intention may be to kill Hutcheson if it could, the American jokes about it
and narrates to them a similar situation he experienced in the USA, where an
Apache woman’s child was killed by a soldier and she tortured him to death.
There is a moment in the story, when the three main characters enter the
Torture Tower of the castle in which an Iron Virgin is placed. The American
tourist claims that he wishes to enter the automat as the people who suffered
it did, and he pays the custodian some money to allow him to get inside it with
his hands and feet tied. The narrator remarks how ‘‘he seemed to really enjoy
it’’ (Stoker 10), and Hutcheson boasts how he ‘‘spent a night inside a dead
horse’’ (Stoker 9). The cat emerges, attacks the custodian maintaining the rope
of the machine, the man drops it and the American dies. Consequently, ‘‘he who
killed the mother cat’s baby is killed by the mother cat when he is the baby inside
of the Virgin’’ (Bierman 171). Elisabeth may have murdered more than 650 babies
this way, yet none of her victims had previously harmed her.
Not only the Iron Virgin, but also the use of cats as agents of murder connect Báthory to Stoker’s story. Also, the aforementioned detail of the American sleeping inside a horse echoes the execution of a gypsy Elisabeth witnessed as a pubescent, in which ‘‘a horse was disembowelled and the gipsy forced into its stomach, which was then sewn up, leaving him to die slowly inside the putrefying carcass’’ (Thorne 4). There may be, thus, echoes of the Countess in this story apart from in Stoker’s Dracula (1897), a novel in which the vampire is a Count, not a Prince as Romanian Vlad III Dracula (1428/31- 1476/77) was, and he lives alone in his castle, as Báthory did. Báthory was an admirer of Vlad the Impaler’s methods of torture (Thorne), though impalement has never been mentioned as a technique of hers.
The
beauty of the criminal and her machine to torture clashes with the hideousness
of Báthory’s servants. Pizarnik explains how Elisabeth was helped by ‘‘her two old maids, both
escaped from a painting by Goya: the dirty, smelly, incredibly ugly and
perverse Dorkó and Jó Ilona’’[iv]
(Pizarnik). Moreover, the witch Darvulia was the cruellest of them.
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| Goya's Pretty Teacher!, Capricho 68, 1797-1799 |
Goya emerges in Foucault’s theory
of madness in which the abovementioned Sade is also present: ‘‘ They (the Caprichos, etchings and aquatints by the Spanish painter done in 1797 and 1798)
are premissed on the describabilty of madness. Madness here is a nightmare. ’’
(Boyne 25). Foucault compares Goya’s images to Sade’s 1791 novel Justine, which narrates the harsh life of the eponymous protagonist from the
age of twelve until she is twenty-six, and which emphasises sexual perversions and
abuse. Boyne analyses how ‘‘Just as Goya’s Caprichos illuminate the horror of natural multiplicity, so in de Sade’s Justine
we are presented with the vicissitudes of a hydra-headed desire which, after
all, was given to humankind by nature itself’’ (25-26). Pizarnik agrees with
this conclusion since at the end of her work, she states that ‘‘she (Báthory) is another proof that the total
freedom of the human creature is horrible’’[v] (Pizarnik).
It is probable that we will never
be able to know what really occurred at Čachtice castle due to the
difficulties in finding documents, and the language barrier that emerges for
most scholars, yet fiction and non-fiction continue to depict and analyse the
haunting figure of the mysterious Countess. This blog has studied her presence
in various narratives, beginning with the popular fairytale of ‘‘Little Snow
White’’ by the Brothers Grimm, to
afterwards illustrate Sheridan Le Fanu’s vampire novella ‘‘Carmilla’’ and,
finally, examine Alejandra Pizarnik’s rough text about Báthory’s torture. A
Jungian approach has been introduced in the first two sections of the post to
capture Elizabeth’s personality as well as why she has been so present in vampire literature.
[i] Original texts: '‘Inscribe el reino subterráneo de Elizabeth Báthory en la sala de
torturas de su castillo medieval: allí, la siniestra hermosura de las criaturas
nocturnas se resume en una silenciosa palidez legendaria, de ojos dementes, de
cabellos del color suntuoso de los cuervos'’.
[ii] ‘‘Desnuda, maquillada, enjoyada, con rubios
cabellos que llegaban al suelo’’
[iii] ‘‘La autómata la abraza y ya nadie podrá
desanudar el cuerpo vivo del cuerpo de hierro, ambos iguales en belleza’’.
[iv] ‘‘Sus dos viejas sirvientas, dos
escapadas de alguna obra de Goya: las sucias, malolientes, increíblemente feas
y perversas Dorkó y Jó Ilona''.
[v] ‘‘Ella es una prueba más de que la
libertad absoluta de la criatura humana es horrible’’.
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‘‘Carl Jung, Feminism, and Modern Structural Realities’’, International Review of Modern Sociology, Vol. 20, No. 2 (Autumn 1990), pp. 267-276 https://www.jstor.org/stable/41421571?seq=1#page_scan_tab_contents
(Accessed 1st April 2018)
Tatar, Maria, The
Classic Fairy Tales (Second Edition) (Norton Critical Editions) (New York:
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(Accessed 4th April 2018)
IMAGES:
Portrait of Elizabeth Báthory, http://crimefeed.com/2016/12/crime-history-countess-elizabeth-bathorys-blood-crimes-come-to-light/
Illustration of Snow White’s Stepmother by P.J.Lynch http://www.pjlynchgallery.com/book-illustration/mirror-mirror-on-the-wall/
Illustration
by Carlos Schwabe for Baudelaire’s Les Fleurs du Mal, https://commons.wikimedia.org/wiki/File:Fleurs-du-mal_tonneau.jpg
Illustration from Sheridan Le Fanu’s ‘‘Carmilla’’ by
D.H.Friston, https://en.wikipedia.org/wiki/Carmilla#/media/File:Carmilla.jpg
Elizabeth Báthory by István Csók, https://www.paintingstar.com/item-erzsebet-bathory-sketch-s116598.html
Illustration by Santiago Caruso for Alejandra Pizarnik’s
text, http://birthofparadise.tumblr.com/post/67902937149/countess-erzs%C3%A9bet-b%C3%A1thory-de-ecsed-born-august
Goya’s etching, Pretty
Teacher!, https://www.museodelprado.es/en/the-collection/art-work/pretty-teacher/50d8b8e8-61c8-4e83-ab16-3efc9dedf0f9
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