The French Revolution constituted for the conscience of the dominant aristocratic class a fall from innocence, and upturning of the natural chain of events that resounded all over Europe; the old regime became, in their imaginary, a paradise lost. This explains why some romantic poets born in the higher classes were keen on seeing themselves as faded aristocrats, expelled from their comfortable milieu by a reverse of fortune or a design of destiny. Byron and Shelley are the prime instances of this vital pose. In The Giaour he writes on a sexy video vampiric character: ?The common crowd but see the gloom/ Of wayward deeds and fitting doom;/ The close observer can espy/A noble soul, and lineage high.?
Byron departed from England leaving a trail of scandal over his marital conduct and since then saw himself as an exiled expatriate. Shelley was expelled from Oxford and he fell in disgrace by marrying an in-keeper?s daughter; he always struggled to reconcile his origin with his political ideas: ?Shelley could find no way of resolving his own contradictory opinions? (Cronin, 2000).
This icon of the fallen aristocrat is rooted on another character revered by romantic poets: the fallen angel. As Mario Praz proves, miltonic Satan became the rebel figure of choice among romantic poets. Milton reversed the medieval idea of a hideous Satan and wrapped its figure with the epic grandeur of an angel fallen in disgrace. Many of the byronic heros share with Milton?s Satan this fallen-from-grace condition, such as Lara: “There was in him a vital scorn of all:/
As if the worst had fall’n which could befall,/ stood a stranger in this breathing world,/An erring spirit from another hurl?d” ( Lara XVIII 315-16)
There is another social factor that is behind the formation of the romantic myth of the vampire. In the early nineteen century, the foundations of what would later become a mass society were laid; the expansion of the press and of the reading public produced an increased diffusion for literary works and fostered movements such as the gothic and the sensation novel. Byron himself experienced the event of being turned into a proto-bestseller. The unification of literary taste and preferences that was a correlate to this social changes could not be more alien to the romantic notion of individual gusto and original sensibility. In order to combat this unifying forces, romantic poets revered the individual who stands outside society and is free from common concerns. Many of Byron?s heros look down on the masses from above, even though they walk among them and do not lean towards wordsworthian escapades into nature; they achieve to remain untainted by the masses in a sort of exile within the world akin to that of a ghost or a dammed spirit.