History YMMV / Vampirismus

* OnceOriginalNowOverdone: Due to the genre's evolution, the vampires are fairly weak from what we see, lacking many of their iconic powers. Many of said powers did not appear until the release of ''Literature/{{Dracula}}'' in 1897, and even in that book most of the Count's powers are said to be derived from his studies of BlackMagic, not innate to vampires in general.

* SeinfeldIsUnfunny: Due to the genre's evolution, the vampires are fairly weak from what we see, lacking many of their iconic powers. Many of said powers did not appear until the release of ''Literature/{{Dracula}}'' in 1897, and even in that book most of the Count's powers are said to be derived from his studies of BlackMagic, not innate to vampires in general.

* ValuesDissonance: While the story makes it clear that RapeIsASpecialKindOfEvil and that the way the Stranger treated Aurelia was ''not'' okay, him being a distant relative wasn't seen as a complete dealbreaker at the time. Nowadays, the Stranger's affair with the Baroness reads like a case of VillainousIncest (Hoffmann portrayed a similar -- consensual -- relationship mostly positively in ''Literature/TheSandman'') though Aurelia is still rather disturbed by it. (However, it ''is'' possible that the Stranger was only pretending to be a relative as a cover.)

* AdaptationDisplacement: Not really a straightforward adaptation, but Literature/{{Carmilla}} was strongly influenced by this tale, and has since far eclipsed it in terms of both fame and popularity.

** Alternately, the FridgeLogic is a sign that Cyprian is an UnreliableNarrator who’s story is BasedOnAGreatBigLie.
* AntiClimaxBoss: Ultimately, Aurelia’s confrontation with her husband boils down to him pushing her to the floor after she bites him, which quickly kills her.
* CaptainObviousReveal: It’s not exactly hard for the reader to guess what is wrong with Aurelia and her mother. [[IntendedAudienceReaction Though in the story’s original context, this is pretty explicitly the point]], with Hippolytus’s ignorance being played as DramaticIrony.
* CultClassic: Not one of Hoffmann's more famous stories, but it ''did'' make enough of an impact to get a TV adaptation a whopping 161 years after release, and it inspired other works such as Literature/{{Carmilla}}.

* SeinfeldIsUnfunny: Can be an issue. Thanks to EarlyInstallmentWeirdness, the vampires are fairly weak from what we see, lacking many of their iconic powers. Many of said powers did not appear until the release of Literature/{{Dracula}} in 1897, and even in that book most of the Count’s powers are said to be derived from his studies of BlackMagic, not innate to vampires in general.
* ValuesDissonance: While the story makes it clear that RapeIsASpecialKindOfEvil and that the way the Stranger treated Aurelia was ''not'' okay, him being a distant relative wasn't seen as a complete dealbreaker at the time. Nowadays, the Stranger's affair with the Baroness reads like a case of VillainousIncest (Hoffmann portrayed a similar -- consensual -- relationship mostly positively in Literature/TheSandman) though Aurelia is still rather disturbed by it. (However, it ''is'' possible that the Stranger was only pretending to be a relative as a cover.)
* ValuesResonance: The story isn’t shy to call out abusers, whether physical, sexual or psychological. No attempts are made to justify the acts of the Stranger or the Baroness, who are treated as the monsters they are.
* TheyWastedAPerfectlyGoodCharacter: As creepy as they are, the vampiric coven only appear briefly and don’t really get to do anything except devour an already dead man.

** There is also the very human horror of the Stranger, a HandsomeLech who seduces the Baroness with the promise of financial security, enters into an UnholyMatrimony with her and sexually assaults her daughter Aurelia ([[IncestIsRelative both of whom he claims to be distantly related to]]). He is only arrested after he strips and beats up the aging woman, and is subsequently revealed to have commited murder in the past, making the fact that Aurelia lived with him for an extended peroid of time even more frightening.

* ValuesDissonance: While the story makes it clear that RapeIsASpecialKindOfEvil and that the way the Stranger treated Aurelia was ''not'' okay, him being a distant relative wasn't seen as a complete deal breaker at the time. Nowadays, the Stranger's affair with the Baroness reads like a case of VillainousIncest (Hoffmann portrayed a similar -- consensual -- relationship mostly positively in Literature/TheSandman) though Aurelia is still rather disturbed by it. (However, it ''is'' possible that the Stranger was only pretending to be a relative as a cover.)

* ValuesDissonance: While the story makes it clear that RapeIsASpecialKindOfEvil and that the way the Stranger treated Aurelia was ''not'' okay, him being a distant relative wasn't seen as a complete deal breaker at the time. Nowadays, the Stranger's affair with the Baroness reads like a case of VillainousIncest (Hoffmann portrayed a similar -- consensual -- relationship mostly positively in Literature/{{TheSandman}}) though Aurelia is still rather disturbed by it. (However, it ''is'' possible that he was only pretending to be a relative as a cover.)

* ValuesResonance: The story isn’t shy to call out abusers, whether physical, sexual or psychological. No attempts are made to justify the acts of the Hangman’s Son or the Baroness, who are treated as the monsters they are.

* JerkassWoobie: By the end of the story, Aurelia has become a [[FeralVampire monstrous vampire]] who attacks her own husband, but this is after fighting a drawn-out battle against said vampirism, desperately trying to cling onto her own humanity. And even this is merely the climax of an extended TraumaCongaLine she has suffered through for years by this point.

** Alternately, the FridgeLogic is a sign that Cyrian is an UnreliableNarrator who’s story is BasedOnAGreatBigLie.

* JerkassWoobie: By the end of the story, Aurelia has become a FeralVampire who attacks her own husband, but this is after fighting a drawn-out battle against the vampirism, desperately trying to cling onto her own humanity. And even this is merely the climax of an extended TraumaCongaLine she has suffered through for years by this point.

* SeinfeldIsUnfunny: Can be an issue,

* JerkassWoobie: By the end of the story, Aurelia has become a FeralVampire who attacks her own husband, but this is after fighting a drawn-out battle against the vampirism, desperately trying to cling onto her own humanity. And even this is merely the climax of an extended TraumaCongoLine she has suffered through for years by this point.

* NightmareFuel: The vampires are a OneSceneWonder, and the descrption of them feasting on a corpse counts as a WhamLine.

* AdaptationDisplacent: Not really a straightforward adaptation, but Literature/{{Carmilla}} was strongly influenced by this tale, and has since far eclipsed it in terms of both fame and popularity.

* TheyVastedAPerfectlyGoodCharacter: As creepy as they are, the vampiric coven only appear briefly and don’t really get to do anything except devour an already dead man.

* ValuesResonance: The story isn’t shy to call out abusers, whether physical, sexual or psychological. No attempts are made to justify the acts of the Hangman’s Son or the Baroness, who are treated as the monsters they are.

* CultClassic: Not one of Hoffmann's more famous stories, but it ''did'' make enough of an impact to get a TV adaptation a whopping 161 years after release, and it inspired other works such as Literature/{{Carmilla}}.

* CultClassic: Not one of Hoffmann's more famous stories, but it ''did'' make enough of an impact to get a TV adaptation a whopping 161 years after release, and it inspired other stories such as Literature/{{Carmilla}}.

* CultClassic: Not one of Hoffmann's more famous stories, but it ''did'' make enough of an impact to get a TV adaptation a whopping 161 years after release, and it inspiresd other stories such as Literature/{{Carmilla}}.