Bram Stoker’s Dracula
(1897)
Bram Stoker’s Dracula (1897)
"Film-makers and writers continually resurrect the count, infusing him with fresh blood, producing and reproducing new variations that simultaneously feed and create a seemingly insatiable public appetite. No other monster has endured, and proliferated, in quite the same way – even if we now seem to prefer interviewing, rather than staking, our vampires."
bourgeois point of view |
Dracula’s point of view |
Dracula as a manic individualist |
promise of true union which transcends death |
he stands for sexual perversion and sadism |
his victims experience joy at the moment of consummation |
the group defeats him through hard work and diligent application à the weapons of a class which derives its existence from labour |
Dracula exists and exerts power through right immemorial |
IN SHORT:
Punter argues in favour of Freudian and Marxist theses
à the power of Dracula derives from its dealings with taboo, which sets up boundaries that enable the society to function smoothly
à Dracula blurs these boundaries, echoing society’s fears of degeneration
à the core fantasy of the text is emerging from the Oedipal complex and the efforts of the vampire hunters to destroy Dracula as the battle of the sons against the father for the affections of the mother
in Freudian terms: Dracula as the endless desire of the unconscious for gratification |
in Marxist terms: Dracula as the final aristocrat set against the bourgeois late Victorian family |
IN SHORT:
à early Freudian reading of the text à Roth argues that the hostility towards the sexualised woman suggest that the driving fantasy may actually be pre-Oedipal and the primary desire is to destroy the threatening mother
à description of the emerging hostility towards the ‘New Woman’ in late Victorian society à Roth moves towards a feminist reading
Marx thesis in comparison to Dracula: |
|
‘Capital is dead labour which, vampire-like, lives only by sucking living labour, and lives the more, the more labour it sucks.’ |
a ‘dead’ person who yet manages to live thanks to the blood he sucks from the living |
‘the capitalist gets rich, not, like the miser, in proportion to his personal labour and restricted consumption, but at the same rate as he squeezes out labour-power from others, […].’ |
Dracula’s victims’ strength becomes his strength à the stronger the vampire gets, the weaker the living become |
appearance relation to money/ gold parasitism degeneracy femininity
lack of allegiance to a fatherland
IN SHORT:
Halberstam shows how the Gothic novel produces monstrosity as an aggregate of race, class and gender, in order to demonstrate their cultural positions as ‘meaning machines’
these ‘meaning machines’ can represent varying social, political and sexual threats and become perfect figure for negative identity against which the human as white, male, middle class and heterosexual can be constructed
in this poststructuralist reading of Dracula, she identifies the vampire as analogous to the 19th century construction of the monstrous Jew
Dracula belonged to a difficult historical moment in which the beginning of Britain’s decline was signalled politically by setbacks during the First Boer War (1880-81), economically by the Great Depression between 1873 and 1896 and culturally by a pervasive sense that the high point of the Victorian era was no past and the signs if decadence were plainly visible for anyone to see à these anxieties are condensed in the threat the vampire poses to London, heart of the empire |
the novel’s topicality is displaced onto an external struggle between good and evil, repeatedly embodied in fears of sexual possession through the flagrantly sexualised motivations of the vampire’s actions |
undying appeal of Dracula depends upon a confusion of temporalities in which ancient folktales, medieval legends and modern obsessions may all be instantaneously present
Byron, Glennis, ed. Dracula. New York: St. Martin's, 1999.
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Jonathan Harker, a young English lawyer, travels to Castle Dracula in the Eastern European country of Transylvania to conclude a real estate transaction with a nobleman named Count Dracula. As Harker wends his way through the picturesque countryside, the local peasants warn him about his destination, giving him crucifixes and other charms against evil and uttering strange words that Harker later translates into “vampire.”
Frightened but no less determined, Harker meets the count’s carriage as planned. The journey to the castle is harrowing, and the carriage is nearly attacked by angry wolves along the way. Upon arriving at the crumbling old castle, Harker finds that the elderly Dracula is a well educated and hospitable gentleman. After only a few days, however, Harker realizes that he is effectively a prisoner in the castle.
The more Harker investigates the nature of his confinement, the more uneasy he becomes. He realizes that the count possesses supernatural powers and diabolical ambitions. One evening, Harker is nearly attacked by three beautiful and seductive female vampires, but the count staves them off, telling the vampires that Harker belongs to him. Fearing for his life, Harker attempts to escape from the castle by climbing down the walls.
Meanwhile, in England, Harker’s fiancée, Mina Murray, corresponds with her friend Lucy Westenra. Lucy has received marriage proposals from three men—Dr. John Seward, Arthur Holmwood, and an American named Quincey Morris. Though saddened by the fact that she must reject two of these suitors, Lucy accepts Holmwood’s proposal.
Mina visits Lucy at the seaside town of Whitby. A Russian ship is wrecked on the shore near the town with all its crew missing and its captain dead. The only sign of life aboard is a large dog that bounds ashore and disappears into the countryside; the only cargo is a set of fifty boxes of earth shipped from Castle Dracula. Not long after, Lucy suddenly begins sleepwalking. One night, Mina finds Lucy in the town cemetery and believes she sees a dark form with glowing red eyes bending over Lucy. Lucy becomes pale and ill, and she bears two tiny red marks at her throat, for which -neither Dr. Seward nor Mina can account. Unable to arrive at a satisfactory diagnosis, Dr. Seward sends for his old mentor, Professor Van Helsing.
Suffering from brain fever, Harker reappears in the city of Buda-Pest. Mina goes to join him. Van Helsing arrives in Whitby, and, after his initial examination of Lucy, orders that her chambers be covered with garlic—a traditional charm against vampires. For a time, this effort seems to stave off Lucy’s illness. She begins to recover, but her mother, unaware of the garlic’s power, unwittingly removes the odiferous plants from the room, leaving Lucy vulnerable to further attack.
Seward and Van Helsing spend several days trying to revive Lucy, performing four blood transfusions. Their efforts ultimately come to nothing. One night, the men momentarily let down their guard, and a wolf breaks into the Westenra house. The shock gives Lucy’s mother a fatal heart attack, and the wolf attacks Lucy, killing her.
After Lucy’s death, Van Helsing leads Holmwood, Seward, and Quincey Morris to her tomb. Van Helsing convinces the other men that Lucy belongs to the “Un-Dead”—in other words, she has been transformed into a vampire like Dracula. The men remain unconvinced until they see Lucy preying on a defenseless child, which convinces them that she must be destroyed. They agree to follow the ritual of vampire slaying to ensure that Lucy’s soul will return to eternal rest. While the undead Lucy sleeps, Holmwood plunges a stake through her heart. The men then cut off her head and stuff her mouth with garlic. After this deed is done, they pledge to destroy Dracula himself.
Now married, Mina and Jonathan return to England and join forces with the others. Mina helps Van Helsing collect the various diary and journal entries that Harker, Seward, and the others have written, attempting to piece together a narrative that will lead them to the count. Learning all they can of Dracula’s affairs, Van Helsing and his band track down the boxes of earth that the count uses as a sanctuary during the night from Dracula’s castle. Their efforts seem to be going well, but then one of Dr. Seward’s mental patients, Renfield, lets Dracula into the asylum where the others are staying, allowing the count to prey upon Mina.
As Mina begins the slow change into a vampire, the men sterilize the boxes of earth, forcing Dracula to flee to the safety of his native Transylvania. The men pursue the count, dividing their forces and tracking him across land and sea. Van Helsing takes Mina with him, and they cleanse Castle Dracula by killing the three female vampires and sealing the entrances with sacred objects. The others catch up with the count just as he is about to reach his castle, and Jonathan and Quincey use knives to destroy him.
Character List: Count Dracula - A centuries-old vampire and Transylvanian nobleman, Count Dracula inhabits a crumbling castle in the Carpathian Mountains. Beneath a veneer of aristocratic charm, the count possesses a dark and evil soul. He can assume the form of an animal, control the weather, and he is stronger than twenty men. His powers are limited, however—for instance, he cannot enter a victim’s home unless invited, cannot cross water unless carried, and is rendered powerless by daylight.
Van Helsing - A Dutch professor, described by his former pupil Dr. Seward as “a philosopher and metaphysician, and one of the most advanced scientists of his day.” Called upon to cure the ailing Lucy Westenra, Van Helsing’s contributions are essential in the fight against Dracula. Unlike his comrades, Van Helsing is not blinded by the limitations of Western medicine: he knows that he faces a force that cannot be treated with traditional science and reason. Knowledgeable about vampire folklore, Van Helsing becomes Dracula’s chief antagonist and the leader of the group that hunts Dracula down and destroys him.
Jonathan Harker - A solicitor, or lawyer, whose firm sends him to Transylvania to conclude a real estate transaction with Dracula. Young and naïve, Harker quickly finds himself a prisoner in the castle and barely escapes with his life. He demonstrates a fierce curiosity to discover the true nature of his captor and a strong will to escape. Later, after becoming convinced that the count has moved to London, Harker emerges as a brave and fearless fighter.
Mina Murray - Jonathan Harker’s fiancée. Mina is a practical young woman who works as a schoolmistress. Eventually victimized by Dracula herself, Mina is also the best friend of the count’s first victim in the novel, Lucy Westenra. Mina is in many ways the heroine of the novel, embodying purity, innocence, and Christian faith—virtues she maintains despite her suffering at the vampire’s hands. She is intelligent and resourceful, and her research leads Van Helsing’s men to Castle Dracula.
Extract 1:
The castle is on the very edge of a terrible precipice. A stone falling from the window would fall a thousand feet without touching anything! As far as the eye can reach is a sea of green tree tops, with occasionally a deep rift where there is a chasm. Here and there are silver threads where the rivers wind in deep gorges through the forests.
But I am not in heart to describe beauty, for when I had seen the view I explored further; doors, doors, doors everywhere, and all locked and bolted. In no place save from the windows in the castle walls is there an available exit.
The castle is a veritable prison, and I am a prisoner!
Taken from the end of Chapter II, this passage exemplifies the dark and ominous tone Stoker creates in the novel. The tone of Harker’s journal changes with amazing rapidity as his stay in Castle Dracula progresses.
Extract 2.
I was afraid to raise my eyelids, but looked out and saw perfectly under the lashes. The girl went on her knees, and bent over me, simply gloating. There was a deliberate voluptuousness which was both thrilling and repulsive, and as she arched her neck, she actually licked her lips like an animal. . . . Lower and lower went her head as the lips went below the range of my mouth and chin and seemed about to fasten on my throat. . . . I closed my eyes in a languorous ecstasy and waited—waited with beating heart.
Things go from bad to worse rather quickly during Harker’s stay with the count. In this passage from Chapter III, three beautiful vampires visit the Englishman and come dangerously close to draining him of his blood before Dracula halts them, claiming that Harker belongs to him.
The Gothic novel took shape mostly in England from 1790 to 1830 and falls within the category of Romantic literature. It acts, however, as a reaction against the rigidity and formality of other forms of Romantic literature. The Gothic is far from limited to this set time period, as it takes its roots from former terrorizing writing that dates back to the Middle Ages, and can still be found written today by writers such as Stephen King. But during this time period, many of the highly regarded Gothic novelists published their writing and much of the novel's form was defined.
The gothic novel was invented almost single-handedly by Horace Walpole, whose The Castle of Otranto (1764) contains essentially all the elements that constitute the genre. Walpole's novel was imitated not only in the eighteenth century and not only in the novel form, but it has influenced the novel, the short story, poetry, and even film making up to the present day.
1. Setting in a castle. The action takes place in and around an old castle, sometimes seemingly abandoned, sometimes occupied. The castle often contains secret passages, trap doors, secret rooms,trick panels with hidden levers, dark or hidden staircases, and possibly ruined sections.
The castle may be near or connected to caves, which lend their own haunting flavor with their darkness, uneven floors, branchings, claustrophobia, and mystery. And in horror-gothic, caves are often seem home to terrifying creatures such as monsters, or deviant forms of humans: vampires, zombies, wolfmen.
Translated into modern filmmaking, the setting might be in an old house or mansion--or even a new house--where unusual camera angles, sustained close ups during movement, and darkness or shadows create the same sense of claustrophobia and entrapment. The house might be already dark, perhaps because it was abandoned, or it might begin light and airy, but either night comes and people turn off the lights to go to bed, or at some dramatic point the lights will fail (often because of a raging storm).
The goal of the dark and mysterious setting is to create a sense of unease and foreboding, contributing toward the atmosphere element.
2. An atmosphere of mystery and suspense.The work is pervaded by a threatening feeling, a fear enhanced by the unknown. This atmosphere is sometimes advanced when characters see only a glimpse of something--was that a person rushing out the window or only the wind blowing a curtain? Is that creaking sound coming from someone's step on the squeaky floor, or only the normal sounds of the night? Often the plot itself is built around a mystery, such as unknown parentage, a disappearance, or some other inexplicable event. People disappear or show up dead inexplicably. Elements 3, 4, and 5 below contribute to this atmosphere.
In modern novels and filmmaking, the inexplicable events are often murders. The bodies are sometimes mutilated in ways that defy explanation--"What kind of monster could do this?" or "Here's the body, but there's no blood." When the corpses start to mount, suspense is raised as to who will get killed next. (In filmmaking, the atmosphere can be created largely by the music. Anyone who has watched a horror movie with the sound off or very low knows this.)
3. An ancient prophecy is connected with the castle or its inhabitants (either former or present). The prophecy is usually obscure, partial, or confusing. "What could it mean?" In more watered down modern examples, this may amount to merely a legend: "It's said that the ghost of old man Krebs still wanders these halls."
4. Omens, portents, visions. A character may have a disturbing dream vision, or some phenomenon may be seen as a portent of coming events. For example, if the statue of the lord of the manor falls over, it may portend his death. In modern fiction, a character might see something (a shadowy figure stabbing another shadowy figure) and think that it was a dream. This might be thought of as an "imitation vision." Sometimes an omen will be used for foreshadowing, while other writers will tweak the reader by denying expectation--what we thought was foreshadowinig wasn't.
5. Supernatural or otherwise inexplicable events. Dramatic, amazing events occur, such as ghosts or giants walking, or inanimate objects (such as a suit of armor or painting) coming to life. In some works, the events are ultimately given a natural explanation, while in others the events are truly supernatural.
6. High, even overwrought emotion. The narration may be highly sentimental, and the characters are often overcome by anger, sorrow, surprise, and especially, terror. Characters suffer from raw nerves and a feeling of impending doom. Crying and emotional speeches are frequent. Breathlessness and panic are common. In the filmed gothic, screaming is common.
7. Women in distress. As an appeal to the pathos and sympathy of the reader, the female characters often face events that leave them fainting, terrified, screaming, and/or sobbing. A lonely, pensive, and oppressed heroine is often the central figure of the novel, so her sufferings are even more pronounced and the focus of attention. The women suffer all the more because they are often abandoned, left alone (either on purpose or by accident), and have no protector at times. (In budget horror-gothic, when the guy tells the girl, "Stay here; I'll be right back," you pretty much know that one of them will soon be dead.)
8. Women threatened by a powerful, impulsive, tyrannical male. One or more male characters has the power, as king, lord of the manor, father, or guardian, to demand that one or more of the female characters do something intolerable. The woman may be commanded to marry someone she does not love (it may even be the powerful male himself), or commit a crime.
9. The metonymy of gloom and horror. Metonymy is a subtype of metaphor, in which something (like rain) is used to stand for something else (like sorrow). For example, the film industry likes to use metonymy as a quick shorthand, so we often notice that it is raining in funeral scenes. Note that the following metonymies for "doom and gloom" all suggest some element of mystery, danger, or the supernatural.
wind, especially howling |
rain, especially blowing |
doors grating on rusty hinges |
sighs, moans, howls, eerie sounds |
footsteps approaching |
clanking chains |
lights in abandoned rooms |
gusts of wind blowing out lights |
characters trapped in a room |
doors suddenly slamming shut |
ruins of buildings |
baying of distant dogs (or wolves?) |
thunder and lightning |
crazed laughter |
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