The History of Lamia

Having recently watched Neil Gaiman's television mini-series Neverwhere, and Stardust, the motion picture based on his story, I was quick to notice a recurring character: Lamia. I decided to further research this character, and with one trip to Wikipedia, I became enthralled with the origin of this fascinating character.

Mythologically, Lamia was a Greek demoness who was described as half-woman, half-shark. She was Queen of Libya, but eventually became known as a devourer of children. Many mothers used to tell their children the tale of Lamia in an attempt to get them to behave. While she was generally depicted as female, she possessed a giant phallus that added to her monstrosity. In Basque mythology, the lamia was said to be a man who walked around after dark, with a cane that he used to beat children who weren't home by their curfew.

The Greek demoness Lamia

The name "Lamia" also refers to a city in Greece, a rodent native to New Guinea, and a genus of beetles.

Other authors have capitalized on the lore as well. For example, the lamia are a race of vampire-like creatures in the Tim Powers novel, The Stress of Her Regard. In L.J. Smith's young adult series, The Night World, the lamia are also vampires, but they possess the ability to stop aging and have children whenever they please, unlike traditional vampires.

In gaming, Lamia is a character in Dungeons and Dragons, Everquest II, Vampire: The Masquerade, and Final Fantasy, among others. In these roles, she is generally depicted as either a vampire, a snake-like monster, or a succubus.

In Neverwhere, Lamia is enlisted as a guide for Richard and Door's journey through underground London. When she brings the characters to their desired destination, she sucks the warmth out of Richard. She is soon chastised by a stronger male character, Marquis, who forces her to give Richard back his life-force. Lamia is portrayed as a vampire-like seductress who is dark and mysterious, and viciously evil.

Gaiman's Lamia in Stardust is the more interesting of the two characters, in my opinion. In this story, Lamia is a witch who happens to see a falling star. She sets out to find the star, which is personified as a young human woman, and cut out her heart so that she may obtain her beauty and youth. Lamia, played by Michelle Pfeiffer, throws around vanity spells, attempting to beautify herself and the world around her, but in turn, actually begins to drain the life out of herself. In the end, she sets the star free, rather than killing her, because she realizes she has lost everything she once had in the quest to become more beautiful. She ends up a wretched, lonely old hag thanks to her vanity.

Michelle Pfeiffer as Lamia in Stardust

Many of Gaiman's female characters, especially in The Sandman graphic novel series, seem to be based on Lamia. It's likely, with Gaiman such a budding talent in the entertainment industry today, that we will see her pop up again soon.

Mirrored Images in "Labyrinth" and "Pan's Labyrinth"

A true child of the 80s, there are several films that I grew up with which I hold near and dear to my heart. Jim Henson's "Labyrinth" is one of these films. I've seen "Labyrinth" quite possibly over 100 times, and it never fails to enthrall me. Henson's captivating labyrinth, combined with the outstanding performances by Jennifer Connelly and David Bowie, combine for a magnificent film that I'm proud to have carried with me since childhood.

Twenty years later, Mexican film-maker Guillermo del Toro brought the fantasy classic back to life with his award-winning "Pan's Labyrinth," a tale not based on the former, but bearing striking similarities. While "Labyrinth" utilized Henson's Muppets and child-like lore to captivate viewers, del Toro spiced up his version with horror and graphic violence. A deeper plot is the only difference between these two films. It cannot be denied that del Torro must've drawn from Henson's bag of tricks when creating "Pan's Labyrinth." It's impossible for a fan of Henson's "Labyrinth" to not compare del Toro's film with the 1986 version, and, while I enjoyed the stunning visuals of "Pan's Labyrinth," I have to agree that if something isn't broken, you shouldn't fix it. "Pan's Labyrinth" merely takes "Labyrinth" and gives it a stylized twist, embedding a much darker, harrowing tale that detracts from the original film's innocence.

First and foremost, both films star a young girl who is obsessed with fairy tales. Sarah, of "Labyrinth," reads her books and plays with her dolls, shrugging away from the real world around her. Ophelia, of "Pan's Labyrinth," carries her fairy tales alongside, as well. Both girls find it easier to follow the rules of fairy tales than to follow the rules of authority. Regardless of how fantastical their tasks, they are harder to swallow in a make-believe world than in one that is real and stagnant.

Both girls are plagued by evil step-parents. In the opening scene of "Labyrinth," Sarah arrives home late for her babysitting duties. She has a confrontation with her step-mother, who Sarah obviously disrespects, most likely because she is the replacement for Sarah's real mother. This hatred fuels Sarah's anger and dislike for her step-brother, Toby. Ophelia, from the beginning of "Pan's Labyrinth," is told to respect her step-father by calling him "father," although she detests this idea. No child agrees to replacing a beloved parent (and a late one, at that), and the captain, Ophelia's step-father, is anything but a loving father.

At this point in both Sarah and Ophelia's tales, choice becomes a primary topic. This is when a labyrinth is introduced to both girls, a maze with many paths to select from. It is odd that both children are handed the task of mastering their own destinies at such a tender age, but it is this challenge that viewers of all ages relate to.

Both Sarah and Ophelia have the obstacle of saving their step-brothers from questionable figures. Sarah is faced with retrieving Toby from the Goblin King, and Ophelia is directed to bring her baby brother to the faun. The girls each, through their own trials and tribulations, learn the importance of self-sacrifice and save their siblings from destruction.

There are many scenes in the two films that mirror each other. For example, both Sarah and Ophelia are faced with the task of choosing a door. Although other characters attempt to fool each girl into choosing the wrong door, Sarah and Ophelia both think better of it, use their intuition, and choose the correct door. Another interesting component of "Pan's Labyrinth," is that the faun tells Ophelia to "draw a door" when she needs to escape. This is not necessarily reflected in "Labyrinth," but it is in another favorite of mine, the 1988 film, "Beetlejuice," when the Maitlands read in The Handbook for the Recently Deceased that they can travel into the afterlife.

I also found similarities in Ophelia's journey into the tree and Sarah's trip through the Bog of Eternal Stench. Ophelia crawled into a nasty, slimy tree to face off with a giant toad, and Sarah had to cross a muddy bog that erupted with foul-smelling gas bubbles. Both instances took prim-and-proper femininity away from each girl for at least a scene, showing us the characters were willing to get their hands dirty.

Temptation is another theme of both films. In "Labyrinth," Sarah is tempted with toys by an Agnes, a junk lady goblin. She nearly loses track of her journey through the labyrinth to rescue her baby brother because of this. In "Pan's Labyrinth," Ophelia is tempted by food when she attempts to retrieve the Pale Man's dagger. Ophelia falls to this temptation, eating two grapes from the feast. This wakes the Pale Man, who pursues Ophelia, causing her more trouble than the grapes were likely worth. Temptation by fruit occurs in "Labyrinth," as well, when Sarah takes a bite of a poisoned peach. She hallucinates that she is as a masquerade with the Goblin King, and wastes precious time slumbering in her dream-induced state.

Time and methods for keeping track of it are also similar in both films. From Sarah's late arrival in the beginning of "Labyrinth," to the captain's obsession with his father's watch, time proves to be a very important factor in these fairy tales. Hourglasses appear in both films as time-keeping devices, and Sarah is given one round on a thirteen-hour clock to find her brother.

As with any fairy tale, wild and mysterious characters are bound to appear. Both films rely heavily on special effects to generate their characters, from The Fire Gang, Hoggle, Ludo, and Sir Didymus in "Labyrinth," to the faun, the fairies, and the Pale Man in "Pan's Labyrinth." Both films offer up friends and foes alike, and Sarah and Ophelia, who accept the strange and peculiar without question, compliment these fairy tale creatures beautifully.

In the end, both girls learn a powerful lesson. Sarah learns that material possessions aren't everything, and Ophelia learns that reality cannot be avoided, no matter how harsh it is. They both mature and realize they can let go of their fairy tales, because when it comes right down to it, life itself is enough of an adventure.

NOTE: This article was originally written as a paper for Reading and Writing: Gender, a course taught by Dr. Kathleen Davies at Ohio University - Chillicothe.

Vanity in "Stardust"

I just watched "Stardust" Saturday night, an incredible film based on the story by Neil Gaiman, and couldn't help but notice vanity as the recurring theme of the tale. Each character possesses his/her own vanity complex, and as the story draws to a close, their misconceptions are exposed and the characters learn their true place in the sun.

Tristan
Tristan is the only character in the story worthy of vanity, yet he lacks it entirely. His humbleness guides him through his journey, and in the end, his meekness is exchanged for royalty.

Yvaine
Yvaine (as if the name doesn't say it well enough) possesses an unsuspecting sort of vanity. While she seems less vain than certain characters in the tale, she is still very full of herself. She's a star, therefore she thinks she should be worshiped like a member of the heavens. By the end of the story, she has absorbed Tristan's modesty, and has realized that she cannot shine without him.

Lamia
It is no surprise that Lamia's extreme vanity is reflected by the horridness she ends up as. My favorite Lamia moment is when she is first made young. She turns around, looks at her homefront, and immediately uses a vanity spell to create a palace. These vanity spells are used by Lamia and her sisters throughout the entire tale, and Lamia's appearance dwindles increasingly. She is finally humbled in the end when she realizes she has lost everything she wanted to "appear" to have.

Captain Shakespeare
Captain Shakespeare's vanity is that he is afraid to appear to be himself. He poses as a despicable dictator, when in fact, he's a flamboyant cross-dresser. It isn't until his comrades tell him they always knew he was a "whoopsie" that he beckons to his reality.

Lord of Stormhold's Sons
Vanity plays the sole role in the search for a new king. From pushing each other out windows to poisoning each other, these sons put up many a front to attempt to lead themselves to the throne. As they are picked off one by one, their vanity diminishes. And when Tristan turns the ruby red, all vanity is relinquished and the sons have no more unfinished business.

These are just a few instances of vanity in Stardust. Being enrolled in a Reading and Writing: Gender course is causing me to analyze every piece of fiction I see. I couldn't resist writing about this excellent film.