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Chapter XV — Ordeal and Execution

Chapter Summary

A mysterious scholar known as the Baron arrives at the ruined chapel and, consulting a plan and an old manuscript, helps the General and Laura's father locate the long-hidden tomb of Mircalla, Countess Karnstein. The commissioner is summoned for the following day, and the party recruits a local priest to watch over Laura through the night with unusual precautions. Carmilla has vanished without explanation.

The next day the formal inquisition is held. Mircalla's coffin is opened to reveal a body perfectly preserved after a century and a half, immersed in blood and showing faint signs of respiration and heartbeat. Following ancient custom, a stake is driven through the heart, the head is severed, and the remains are burned and scattered on the river. Laura's nightly sufferings cease immediately, and her father retains the official Imperial Commission report as documentary proof.

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Original Text
As he spoke one of the strangest looking men I ever beheld entered the chapel at the door through which Carmilla had made her entrance and her exit. He was tall, narrow-chested, stooping, with high shoulders, and dressed in black. His face was brown and dried in with deep furrows; he wore an oddly-shaped hat with a broad leaf. His hair, long and grizzled, hung on his shoulders. He wore a pair of gold spectacles, and walked slowly, with an odd shambling gait, with his face sometimes turned up to the sky, and sometimes bowed down towards the ground, seemed to wear a perpetual smile; his long thin arms were swinging, and his lank hands, in old black gloves ever so much too wide for them, waving and gesticulating in utter abstraction. “The very man!” exclaimed the General, advancing with manifest delight. “My dear Baron, how happy I am to see you, I had no hope of meeting you so soon.” He signed to my father, who had by this time returned, and leading the fantastic old gentleman, whom he called the Baron to meet him. He introduced him formally, and they at once entered into earnest conversation. The stranger took a roll of paper from his pocket, and spread it on the worn surface of a tomb that stood by. He had a pencil case in his fingers, with which he traced imaginary lines from point to point on the paper, which from their often glancing from it, together, at certain points of the building, I concluded to be a plan of the chapel. He accompanied, what I may term, his lecture, with occasional readings from a dirty little book, whose yellow leaves were closely written over. They sauntered together down the side aisle, opposite to the spot where I was standing, conversing as they went; then they began measuring distances by paces, and finally they all stood together, facing a piece of the sidewall, which they began to examine with great minuteness; pulling off the ivy that clung over it, and rapping the plaster with the ends of their sticks, scraping here, and knocking there. At length they ascertained the existence of a broad marble tablet, with letters carved in relief upon it. With the assistance of the woodman, who soon returned, a monumental inscription, and carved escutcheon, were disclosed. They proved to be those of the long lost monument of Mircalla, Countess Karnstein. The old General, though not I fear given to the praying mood, raised his hands and eyes to heaven, in mute thanksgiving for some moments. “Tomorrow,” I heard him say; “the commissioner will be here, and the Inquisition will be held according to law.” Then turning to the old man with the gold spectacles, whom I have described, he shook him warmly by both hands and said: “Baron, how can I thank you? How can we all thank you? You will have delivered this region from a plague that has scourged its inhabitants for more than a century. The horrible enemy, thank God, is at last tracked.” My father led the stranger aside, and the General followed. I know that he had led them out of hearing, that he might relate my case, and I saw them glance often quickly at me, as the discussion proceeded. My father came to me, kissed me again and again, and leading me from the chapel, said: “It is time to return, but before we go home, we must add to our party the good priest, who lives but a little way from this; and persuade him to accompany us to the schloss.” In this quest we were successful: and I was glad, being unspeakably fatigued when we reached home. But my satisfaction was changed to dismay, on discovering that there were no tidings of Carmilla. Of the scene that had occurred in the ruined chapel, no explanation was offered to me, and it was clear that it was a secret which my father for the present determined to keep from me. The sinister absence of Carmilla made the remembrance of the scene more horrible to me. The arrangements for the night were singular. Two servants, and Madame were to sit up in my room that night; and the ecclesiastic with my father kept watch in the adjoining dressing room. The priest had performed certain solemn rites that night, the purport of which I did not understand any more than I comprehended the reason of this extraordinary precaution taken for my safety during sleep. I saw all clearly a few days later. The disappearance of Carmilla was followed by the discontinuance of my nightly sufferings. You have heard, no doubt, of the appalling superstition that prevails in Upper and Lower Styria, in Moravia, Silesia, in Turkish Serbia, in Poland, even in Russia; the superstition, so we must call it, of the Vampire. If human testimony, taken with every care and solemnity, judicially, before commissions innumerable, each consisting of many members, all chosen for integrity and intelligence, and constituting reports more voluminous perhaps than exist upon any one other class of cases, is worth anything, it is difficult to deny, or even to doubt the existence of such a phenomenon as the Vampire. For my part I have heard no theory by which to explain what I myself have witnessed and experienced, other than that supplied by the ancient and well-attested belief of the country. The next day the formal proceedings took place in the Chapel of Karnstein. The grave of the Countess Mircalla was opened; and the General and my father recognized each his perfidious and beautiful guest, in the face now disclosed to view. The features, though a hundred and fifty years had passed since her funeral, were tinted with the warmth of life. Her eyes were open; no cadaverous smell exhaled from the coffin. The two medical men, one officially present, the other on the part of the promoter of the inquiry, attested the marvelous fact that there was a faint but appreciable respiration, and a corresponding action of the heart. The limbs were perfectly flexible, the flesh elastic; and the leaden coffin floated with blood, in which to a depth of seven inches, the body lay immersed. Here then, were all the admitted signs and proofs of vampirism. The body, therefore, in accordance with the ancient practice, was raised, and a sharp stake driven through the heart of the vampire, who uttered a piercing shriek at the moment, in all respects such as might escape from a living person in the last agony. Then the head was struck off, and a torrent of blood flowed from the severed neck. The body and head was next placed on a pile of wood, and reduced to ashes, which were thrown upon the river and borne away, and that territory has never since been plagued by the visits of a vampire. My father has a copy of the report of the Imperial Commission, with the signatures of all who were present at these proceedings, attached in verification of the statement. It is from this official paper that I have summarized my account of this last shocking scene.
Source text: Project Gutenberg #10007. Public domain worldwide.
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Chapter XV functions as the novel's ritual climax, translating months of Gothic dread into bureaucratic and ecclesiastical procedure. Le Fanu is careful to frame the destruction of Carmilla within layers of institutional authority — an Imperial Commission, medical attestation, a priest's rites, and a signed official report — because the chapter's deeper argument is about epistemological legitimacy. Laura's narrator-self insists that "if human testimony, taken with every care and solemnity, judicially, before commissions innumerable… is worth anything, it is difficult to deny… the existence of such a phenomenon as the Vampire." The accumulation of legal and scientific language works to domesticate the supernatural, yet the very need to argue so strenuously reveals the fragility of that domestication.

The Baron's entrance is rendered with conspicuous grotesque characterisation: stooping, abstracted, gesticulating "in utter abstraction," he is a figure of arcane learning who exists slightly outside ordinary social reality. His yellow-leaved manuscript and architectural plan literalise the idea that the past must be decoded through specialised knowledge before it can be confronted. He is, in structural terms, the expert-deliverer — a type Le Fanu will pass on to Bram Stoker's Van Helsing — whose function is to convert occult threat into manageable problem.

The exhumation scene is Le Fanu's most explicit engagement with the erotics of vampirism. Mircalla lies "tinted with the warmth of life," her flesh elastic, her coffin flooded with blood to a depth of seven inches. The language of medical examination — respiration, cardiac action, flexibility — is applied to a body that is simultaneously a corpse and a living woman, collapsing the boundary between death and desire that the novel has sustained throughout. The "piercing shriek" at the moment of staking and the "torrent of blood" from the severed neck are rendered with a violence that exceeds mere pest-control; the execution reads as a punitive response to transgressive female sexuality as much as to supernatural predation.

Laura's narrative position in this chapter is notably passive and excluded. She watches the men decode the tomb, is led away by her father, is kept ignorant of explanations, and learns the full truth only retrospectively — "I saw all clearly a few days later." This structural exclusion mirrors her earlier vulnerability: the patriarchal and clerical apparatus that destroys Carmilla also manages and withholds information from Laura, suggesting that the protection of innocence and the suppression of female knowledge are twin operations of the same system.

The chapter closes with a gesture toward documentary authentication — the Imperial Commission report with its attached signatures — that echoes the epistolary and testimonial structures of Gothic fiction more broadly. By grounding the supernatural in official paperwork, Le Fanu both satisfies the reader's desire for resolution and quietly undermines it: no document, however solemnly attested, can fully account for what Laura experienced in her bedroom at night. The final sentence, noting that the territory "has never since been plagued," offers communal relief but cannot restore the intimacy, however dangerous, that Carmilla represented.

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✎ Mr. Shifflett's Note
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