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Analytical essay of the novel dracula
Dracula literary analysis
Dracula literary analysis
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Bram Stoker’s novel, Dracula, as well as, Hayao Miyazaki’s animated feature, Princess Mononoke, deal with the prevalent theme of good verses evil. On the surface, both stories seem like typical hero verses villain tales, but once their plots are more closely analyzed it is evident that there is not a bold line between the two extremes. Both pieces explore the idea of evil being in the eye of the beholder and being interpreted completely differently from contrasting perspectives.
Princess Mononoke is the tale of a young prince, Ashitaka, who battles a demon bore, only to become possessed with its evil spirit. Ashitaka then travels to Irontown, seeking to find the reason for the bore’s anger and thus, a cure for himself. When he arrives, he finds that the citizens of the town, under the rule of Lady Eboshi, have been mining iron from nearby mountains and, in turn, disturbing the animal Gods of the forest. The animals and the humans have been in a constant battle over who has the right to the land and both have been lead to believe that the other species is purely evil. Ashitaka believes that the humans and the animals can get along peacefully through compromise and finds himself in the middle of their conflict. From each side’s perspective, the other seems inherently evil, but from Ashitaka’s perspective, and the perspective of the audience, neither side is truly corrupt and they are both just feeding off of each other’s anger. Although the animals seem evil and barbaric to the humans, they are just being protective over their land and are acting off of their fear of the humans. On the other hand, the humans are seen as evil by the animals because of their selfish use of resources, but they are just trying to financially support their community. For example, Lady Eboshi, the leader of Irontown, is seen as evil for orchestrating this exploitation of resources from the animals, but the humans see her as a compassionate, God-like figure. She does many positive and kind things for the human community, such as taking in women from the streets and brothels and giving them a place to live and work. Even though she is, in essence, destroying the animal’s habitats, she is saving the lives of many humans while doing it. The animal characters are also portrayed as compassionate in many respects. For example, when the leader of the wolves finds an abandoned baby, she takes her in and raises her as if she were her own daughter.
In most novel and movies monsters are known to be evil, committing numerous crimes against humanity and are normally the ones that we don’t sympathize with. However, this novel carefully shows the reader that monsters can be good creatures, with a decent heart and act based on the actions of others. The novel shows how the monster should be pitied, rather than criticised. Mary Shelley's “Frankenstein” manages to create sympathy for the creature through speech, actions and mistreatment the creature suffers.
Since the 19th Century, Bram Stoker’s Dracula has entertained its readers taking them to heights of excitement in the climax
Batman beats the Joker. Spiderman banishes the Green Goblin. For centuries story tellers have used the basic idea of good beats bad to guide their tales. Stories of blood sucking, human possessions and other tales have been passed down generations and vary between cultures. Among the creators of the famous protagonists is, Bram Stoker, the creator of Dracula. This fictional character was soon to be famous, and modified for years to come into movie characters or even into cereal commercials. But the original will never be forgotten; a story of a group of friends all with the same mission, to destroy Dracula. The Count has scared many people, from critics to mere children, but if one reads betweens the line, Stoker’s true message can be revealed. His personal experiences and the time period in which he lived, influenced him to write Dracula in which he communicated the universal truth that good always prevails over evil.
What if in between good and evil did not exist? Where would you stand? Today, it is believed that everyone was born with the slightest bit of evil in them. In the Victorian Era, this theory would be considered very wrong, because one would either be all good, or all evil. In Dracula, by Bram Stoker, good versus evil was symbolised throughout the book as two antithetical forces without an in between. By clearly demonstrating the relationship between the dualistic ideas of intuition versus logic, good characters facing figures comparable to the devil, and symbolism within the natural world, Bram Stoker effectively recounts a “holy war” between the antagonistic forces of good and evil.
A noticeable difference in the way movies have changed over the years is evident when comparing and contrasting two films of different eras which belong to the same genre and contain the same subject matter. Two vampire movies, Dracula and Bram Stoker's Dracula, present an interesting example of this type of study.
Everyone remembers the nasty villains that terrorize the happy people in fairy tales. Indeed, many of these fairy tales are defined by their clearly defined good and bad archetypes, using clichéd physical stereotypes. What is noteworthy is that these fairy tales are predominately either old themselves or based on stories of antiquity. Modern stories and epics do not offer these clear definitions; they force the reader to continually redefine the definitions of morality to the hero that is not fully good and the villain that is not so despicable. From Dante’s Inferno, through the winding mental visions in Shakespeare’s Hamlet, spiraling through the labyrinth in Kafka’s The Trial, and culminating in Joyce’s abstract realization of morality in “The Dead,” authors grapple with this development. In the literary progression to the modern world, the increasing abstraction of evil from its classic archetype to a foreign, supernatural entity without bounds or cure is strongly suggestive of the pugnacious assault on individualism in the face of literature’s dualistic, thematically oligopolistic heritage.
Tragedy shows no discrimination and often strikes down on those undeserving of such turmoil. In Mary Shelley’s Frankenstein, a creature more repulsive than one can imagine is brought to life by a young scientist. Although this creature is horrifying in sight, he is gentle by nature. Unfortunately, the softer side of the creature is repeatedly overlooked and the so called “monster” is driven to a breaking point. Even though the Creature committed many crimes, Mary Shelley’s Creature was the tragic hero of this story because of his efforts rescue the life of a young girl and helping destitute cottagers.
The conflict of good and evil presents itself in “The Most Dangerous Game” and “The Child by Tiger” in two completely different ways. One story being commercial fiction and the other being literary fiction, there are many ways of viewing variables such as good versus evil, realistic versus unrealistic stories and moral significance. The stories have different voices and are meant for different audiences, but in viewing the overall moral importance of both fictional works, the story with a greater moral significance is “The Child by Tiger”.
In most works of literature there is an “evil” character that has conflicting interests with the protagonist. This issue may arise in multiple forms including, but not limited to, abuse and manipulation. In this paper we will be discussing the similarities and differences between Shakespeare’s character Iago from Othello and J.K. Rowling’s character Voldemort from the Harry Potter series.
Not everyone that goes to the cinema wants to have complex moral dilemmas in every movie they see. With a good and bad side, it is easy to sit back and relax. It is simple, traditional, and fun. Sometimes this is just a result of bad directing and one dimensional characters. According to Brandi Reissenweber, one-dimensional characters are seen only when “one side of their personality comes through.” For this context, a one-dimensional villain would have no redeeming qualities to contrast is evilness. Similarly, a hero would have no flaws and would be the absolute image of good. As Omer Bartov mentions in his “Anti-Hero as Hero” article, “absolute goodness may remain so totally divorced from reality.” But even one dimensional characters are not the full problem. A character could be an elaborate and complex character yet still be portrayed by the director as someone who is evil and always will
Similar to almost every piece of literature ever created, Dracula by Bram Stoker has been interpreted many different ways, being torn at from every angle possible. Just as one might find interest in interpreting novels differently, he or she might also find interest in the plot, prose, or theme, all of which ultimately lead to the novels overall tone. Throughout the novel, it becomes blatant that the novel contains an underlying theme of female incompetence and inferiority. Through a true feminist’s eyes, this analysis can clearly be understood by highlighting the actions of Mina and Lucy, the obvious inferior females in the book. Through Stoker’s complete and utter manipulation of Mina and Lucy, he practically forces the reader to analyze the co-existence of dominant males and inferior females in society and to simultaneously accept the fact that the actual text of Dracula is reinforcing the typical female stereotypes that have developed throughout the ages.
While the character of Renfield is ostensively extraneous to the central plot of Dracula, he fulfils an important role in Stoker’s exploration of the central themes of the novel. This paper will examine how Renfield character is intertwined with the three central themes of invasion, blood and otherness. Firstly, through Renfield’s inner struggle we learn that he is ‘not his own master’ (Stoker, 211). The theme of invasion is revealed by the controlling and occupying powers of Count Dracula. Secondly, the recurring theme ‘the Blood is the Life’ (Stoker, 121), is portrayed throughout the novel and has been interpreted through Stoker’s character Renfield. Then finally, a look at the social construction of the ‘other’ in Dracula and how, through Renfield, who is ‘unlike the normal lunatic’ (Stoker, 52), the Count emerges as the ‘other’ of all ‘others’.
Bram Stoker and Oscar Wilde characterized evil as pervasive and cruel. Yet each author had his own specific interpretation. For Stoker, evil was tangible. A person could see it with their eyes and touch it with their hands. Wilde saw evil as illusory, any act, no matter how innocuous ran the risk of becoming something outside anyone’s control. Garrard’s regards “evil acts are ones which produce an enormous amount of disvalue in
In the book, Dracula by Bram Stoker there are many characters that display qualities of good verse evil. The Count Dracula is a mysterious character who appears as an odd gentleman but the longer the story goes on Dracula shows his true self. Dracula started infiltrating the lives of anyone who crossed his path and he was not stopping his destruction of others’ lives. Many people were affect by Dracula’s actions but there were two people that Dracula caused an impact on during his rampage. Dracula is an evil, cunning, and selfish character who harms the life of a young man and ruins the future of an innocent woman.
‘Dracula’, by shake& stir is a gothic horror play that explores a story of a vampire and his quest to find true love. The play focuses on themes such as; love, violence, relationships and supernatural creates. Through these themes, the performance generates extreme contrasts on stage such as light vs dark, abandonment vs entrapment and good vs evil. These contrasts manipulated the elements of drama such as space, time, place and movement. All in all this generated meaning around the themes of the play and the hidden meaning in a formerly emotionless vampire’s search for true love. This created the contrasts on stage which created an effective impact on the audience.