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Chapter VII — Descending

Chapter Summary

Laura struggles to recover from the terrifying nocturnal apparition of the previous chapter, confiding in Madame Perrodon and Mademoiselle Lafontaine rather than her father. Carmilla arrives late, describing her own frightening dream and crediting a purchased charm with her protection; she persuades Laura to use the charm, and both girls report peaceful sleep thereafter. Yet Laura begins to feel a creeping lassitude and melancholy she finds strangely pleasurable, refusing to acknowledge illness or summon a doctor even as her appearance visibly deteriorates.

Carmilla grows increasingly ardent and possessive as Laura weakens. Laura's dreams intensify into visions of darkness, a deep female voice, and a caress at her throat that ends in convulsion. After three weeks of this decline, a dream in which a voice warns her that "Carmilla was being murdered" and she sees Carmilla drenched in blood jolts Laura awake. The household forces Carmilla's locked door open, only to find her room empty and undisturbed.

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Original Text
It would be vain my attempting to tell you the horror with which, even now, I recall the occurrence of that night. It was no such transitory terror as a dream leaves behind it. It seemed to deepen by time, and communicated itself to the room and the very furniture that had encompassed the apparition. I could not bear next day to be alone for a moment. I should have told papa, but for two opposite reasons. At one time I thought he would laugh at my story, and I could not bear its being treated as a jest; and at another I thought he might fancy that I had been attacked by the mysterious complaint which had invaded our neighborhood. I had myself no misgiving of the kind, and as he had been rather an invalid for some time, I was afraid of alarming him. I was comfortable enough with my good-natured companions, Madame Perrodon, and the vivacious Mademoiselle Lafontaine. They both perceived that I was out of spirits and nervous, and at length I told them what lay so heavy at my heart. Mademoiselle laughed, but I fancied that Madame Perrodon looked anxious. “By-the-by,” said Mademoiselle, laughing, “the long lime tree walk, behind Carmilla’s bedroom window, is haunted!” “Nonsense!” exclaimed Madame, who probably thought the theme rather inopportune, “and who tells that story, my dear?” “Martin says that he came up twice, when the old yard gate was being repaired, before sunrise, and twice saw the same female figure walking down the lime tree avenue.” “So he well might, as long as there are cows to milk in the river fields,” said Madame. “I daresay; but Martin chooses to be frightened, and never did I see fool more frightened.” “You must not say a word about it to Carmilla, because she can see down that walk from her room window,” I interposed, “and she is, if possible, a greater coward than I.” Carmilla came down rather later than usual that day. “I was so frightened last night,” she said, so soon as were together, “and I am sure I should have seen something dreadful if it had not been for that charm I bought from the poor little hunchback whom I called such hard names. I had a dream of something black coming round my bed, and I awoke in a perfect horror, and I really thought, for some seconds, I saw a dark figure near the chimneypiece, but I felt under my pillow for my charm, and the moment my fingers touched it, the figure disappeared, and I felt quite certain, only that I had it by me, that something frightful would have made its appearance, and, perhaps, throttled me, as it did those poor people we heard of. “Well, listen to me,” I began, and recounted my adventure, at the recital of which she appeared horrified. “And had you the charm near you?” she asked, earnestly. “No, I had dropped it into a china vase in the drawing room, but I shall certainly take it with me tonight, as you have so much faith in it.” At this distance of time I cannot tell you, or even understand, how I overcame my horror so effectually as to lie alone in my room that night. I remember distinctly that I pinned the charm to my pillow. I fell asleep almost immediately, and slept even more soundly than usual all night. Next night I passed as well. My sleep was delightfully deep and dreamless. But I wakened with a sense of lassitude and melancholy, which, however, did not exceed a degree that was almost luxurious. “Well, I told you so,” said Carmilla, when I described my quiet sleep, “I had such delightful sleep myself last night; I pinned the charm to the breast of my nightdress. It was too far away the night before. I am quite sure it was all fancy, except the dreams. I used to think that evil spirits made dreams, but our doctor told me it is no such thing. Only a fever passing by, or some other malady, as they often do, he said, knocks at the door, and not being able to get in, passes on, with that alarm.” “And what do you think the charm is?” said I. “It has been fumigated or immersed in some drug, and is an antidote against the malaria,” she answered. “Then it acts only on the body?” “Certainly; you don’t suppose that evil spirits are frightened by bits of ribbon, or the perfumes of a druggist’s shop? No, these complaints, wandering in the air, begin by trying the nerves, and so infect the brain, but before they can seize upon you, the antidote repels them. That I am sure is what the charm has done for us. It is nothing magical, it is simply natural. I should have been happier if I could have quite agreed with Carmilla, but I did my best, and the impression was a little losing its force. For some nights I slept profoundly; but still every morning I felt the same lassitude, and a languor weighed upon me all day. I felt myself a changed girl. A strange melancholy was stealing over me, a melancholy that I would not have interrupted. Dim thoughts of death began to open, and an idea that I was slowly sinking took gentle, and, somehow, not unwelcome, possession of me. If it was sad, the tone of mind which this induced was also sweet. Whatever it might be, my soul acquiesced in it. I would not admit that I was ill, I would not consent to tell my papa, or to have the doctor sent for. Carmilla became more devoted to me than ever, and her strange paroxysms of languid adoration more frequent. She used to gloat on me with increasing ardor the more my strength and spirits waned. This always shocked me like a momentary glare of insanity. Without knowing it, I was now in a pretty advanced stage of the strangest illness under which mortal ever suffered. There was an unaccountable fascination in its earlier symptoms that more than reconciled me to the incapacitating effect of that stage of the malady. This fascination increased for a time, until it reached a certain point, when gradually a sense of the horrible mingled itself with it, deepening, as you shall hear, until it discolored and perverted the whole state of my life. The first change I experienced was rather agreeable. It was very near the turning point from which began the descent of Avernus. Certain vague and strange sensations visited me in my sleep. The prevailing one was of that pleasant, peculiar cold thrill which we feel in bathing, when we move against the current of a river. This was soon accompanied by dreams that seemed interminable, and were so vague that I could never recollect their scenery and persons, or any one connected portion of their action. But they left an awful impression, and a sense of exhaustion, as if I had passed through a long period of great mental exertion and danger. After all these dreams there remained on waking a remembrance of having been in a place very nearly dark, and of having spoken to people whom I could not see; and especially of one clear voice, of a female’s, very deep, that spoke as if at a distance, slowly, and producing always the same sensation of indescribable solemnity and fear. Sometimes there came a sensation as if a hand was drawn softly along my cheek and neck. Sometimes it was as if warm lips kissed me, and longer and longer and more lovingly as they reached my throat, but there the caress fixed itself. My heart beat faster, my breathing rose and fell rapidly and full drawn; a sobbing, that rose into a sense of strangulation, supervened, and turned into a dreadful convulsion, in which my senses left me and I became unconscious. It was now three weeks since the commencement of this unaccountable state. My sufferings had, during the last week, told upon my appearance. I had grown pale, my eyes were dilated and darkened underneath, and the languor which I had long felt began to display itself in my countenance. My father asked me often whether I was ill; but, with an obstinacy which now seems to me unaccountable, I persisted in assuring him that I was quite well. In a sense this was true. I had no pain, I could complain of no bodily derangement. My complaint seemed to be one of the imagination, or the nerves, and, horrible as my sufferings were, I kept them, with a morbid reserve, very nearly to myself. It could not be that terrible complaint which the peasants called the oupire, for I had now been suffering for three weeks, and they were seldom ill for much more than three days, when death put an end to their miseries. Carmilla complained of dreams and feverish sensations, but by no means of so alarming a kind as mine. I say that mine were extremely alarming. Had I been capable of comprehending my condition, I would have invoked aid and advice on my knees. The narcotic of an unsuspected influence was acting upon me, and my perceptions were benumbed. I am going to tell you now of a dream that led immediately to an odd discovery. One night, instead of the voice I was accustomed to hear in the dark, I heard one, sweet and tender, and at the same time terrible, which said, “Your mother warns you to beware of the assassin.” At the same time a light unexpectedly sprang up, and I saw Carmilla, standing, near the foot of my bed, in her white nightdress, bathed, from her chin to her feet, in one great stain of blood. I wakened with a shriek, possessed with the one idea that Carmilla was being murdered. I remember springing from my bed, and my next recollection is that of standing on the lobby, crying for help. Madame and Mademoiselle came scurrying out of their rooms in alarm; a lamp burned always on the lobby, and seeing me, they soon learned the cause of my terror. I insisted on our knocking at Carmilla’s door. Our knocking was unanswered. It soon became a pounding and an uproar. We shrieked her name, but all was vain. We all grew frightened, for the door was locked. We hurried back, in panic, to my room. There we rang the bell long and furiously. If my father’s room had been at that side of the house, we would have called him up at once to our aid. But, alas! he was quite out of hearing, and to reach him involved an excursion for which we none of us had courage. Servants, however, soon came running up the stairs; I had got on my dressing gown and slippers meanwhile, and my companions were already similarly furnished. Recognizing the voices of the servants on the lobby, we sallied out together; and having renewed, as fruitlessly, our summons at Carmilla’s door, I ordered the men to force the lock. They did so, and we stood, holding our lights aloft, in the doorway, and so stared into the room. We called her by name; but there was still no reply. We looked round the room. Everything was undisturbed. It was exactly in the state in which I had left it on bidding her good night. But Carmilla was gone.
Source text: Project Gutenberg #10007. Public domain worldwide.
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Chapter VII marks the structural pivot the title announces: Laura begins her descent, a word Le Fanu literalises through the allusion to Avernus, the volcanic lake Romans regarded as the entrance to the underworld. The chapter's architecture mirrors this movement — it opens with Laura seeking companionship and ends with a locked, empty room — tracing a trajectory from social comfort into isolation and supernatural entrapment. Le Fanu uses the chapter's temporal compression ("three weeks" condensed into a few paragraphs) to suggest that the vampire's influence operates below conscious perception, eroding the will before the victim can name what is happening to her.

Carmilla's rationalist deflection is one of the chapter's most sophisticated manoeuvres. Her explanation of the charm as a pharmacological antidote — "it is nothing magical, it is simply natural" — deploys the language of Victorian medical science to suppress supernatural interpretation. This is doubly ironic: the reader understands that Carmilla is herself the supernatural agent, and her insistence on naturalistic explanation actively prevents Laura from seeking help. Le Fanu thus implicates the era's faith in rational medicine in the heroine's vulnerability, a pointed commentary on the limits of empiricism when confronting the uncanny.

The eroticisation of illness is rendered with unusual explicitness for the period. Laura's lassitude is described as "almost luxurious," her melancholy as "sweet," and the idea of slow death as "not unwelcome." The dream sequence — cold thrill, warm lips, a caress that "fixed itself" at the throat — maps vampiric feeding onto the vocabulary of seduction, collapsing the boundary between violation and desire. Carmilla's "gloating" ardour, which increases as Laura's strength wanes, frames the relationship as one of predatory parasitism disguised as devotion, anticipating later Gothic and psychoanalytic readings of the vampire as a figure of dangerous intimacy.

The motif of concealment structures Laura's behaviour throughout the chapter. She withholds information from her father for contradictory reasons — fear of ridicule and fear of alarming him — a paralysis that the narrative retrospectively diagnoses as the "narcotic of an unsuspected influence." This self-censorship is not merely psychological realism; it is the mechanism by which the vampire sustains its hold. Le Fanu suggests that secrecy is not only a symptom of Carmilla's power but its primary instrument, making Laura complicit in her own destruction through the very social conventions — feminine reticence, filial protectiveness — that Victorian culture valorised.

The chapter's climax — the blood-drenched vision, the warning voice, the forced door, the empty room — deploys the conventions of Gothic uncanny space to maximum effect. The locked room, undisturbed yet vacant, is a formal impossibility that ruptures the domestic setting's pretence of safety. The maternal warning voice ("Your mother warns you to beware of the assassin") introduces a protective supernatural counter-force, hinting at a providential structure that will become more explicit later, while the image of Carmilla "bathed from her chin to her feet in one great stain of blood" is a visual emblem of the chapter's central revelation: the beloved companion and the monstrous predator are one.

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✎ Mr. Shifflett's Note
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