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Dracula by Stoker essay
A brief summary of the dracula by Bram Stoker
A brief summary of the dracula by Bram Stoker
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Contrast Two Vampires Vampires have been viewed with fear and fascination for centuries. Of all the vampires in literature, Bram Stoker’s Count Dracula is probably the most prominent vampire. Recently, there has been an upsurge of public interest in socially acceptable vampires, like the Cullens in the Twilight series by Stephanie Meyer. This essay will contrast Stoker’s Dracula with Carlisle Cullen, one of the newer vampires from the Twilight series. They will be examined in terms of their origins and how they dealt with immortality. While Bram Stoker’s Dracula has been described as the “quintessence of evil creatures we meet in our everyday lives” and “the Darkness” in the hearts of men (Herbert, 2004, pp. 62), Stephanie Meyer’s Twilight …show more content…
In chapter 23, Professor Van Helsing mentions that Count Dracula was in life a “wonderful man,” a soldier, and a statesman, (Stoker, 1897/2001, pp.289). Although Stoker in his original book does not clarify how count Dracula became a vampire, there are references in the text that suggest it was the result of necromancy. In chapter 18, Van Helsing reveals that the Count was a student of alchemy, necromancy, and the occult (Stoker, 1897/2001). He further mentions that Dracula attended the “Scholomance,” a mystical school in the mountains, where the students are tutored by the devil himself (Stoker, 1897/2001; pp. 231). This point is taken further by Montague Summers (as quoted in Laycock, 2009, pp.19-20), through his words- “The vampire is believed to be one who has devoted himself during his life to the practice of Black Magic…”. These references in the book and interpretation in the Laycock’s work, lead to the conclusion that the Vampire-Dracula was the result of his deeds and practices during his lifetime. On the other hand, Cullen was the son of a pastor, who hunted monsters like “…witches, werewolves… vampires” (Meyers, 2005, pp. 331). When the pastor grew old, Cullen assumed the mantle of the monster slayer. Unfortunately, during a hunt, he was bitten by an old vampire he was chasing. After his transformation, Cullen, repulsed by what he had become, …show more content…
While Cullen chose the path of compassion and became a doctor (Meyers, 2005; pp. 339), the Count planned to invade the British empire (Stoker, 1897/2001; pp. 328). Healing or invading, both can get lonely with time. Cullen, as a physician had decided to turn a human into vampires only if he could save them from death. All the humans that Cullen changed, he called them as his family. They were part of his coven and moved with him wherever he went (Meyer, 2005). On the other hand, count Dracula took by force and against the will of his victims. He possessed the power to hypnotize and control his victims, as he controlled Mina when he forced her to drink his blood (Stoker, 1897/2001). He lives with three beautiful female vampires in his castle, but their relationship to the Count is not clarified in the book. In chapter 3, when they are scolded by the Count for attacking Harker, they taunt him that he does not love, Dracula responds that “Yes, I too can love; you yourselves can tell it from the past” (Stoker 1897/2001; pp. 39). Although they exist in the castle and are fed by the count as noted in Jonathan’s diary entry, Dracula has no apparent interest in them. Similarly, after he changes Lucy Westenra to a vampire he stops visiting her. He feels no need to connect or form relationships with the humans he changes. As immortals, both Cullen and Count Dracula are destined to
At first glance, Joss Whedon's "Buffy the Vampire Slayer," the hour-long TV series which premiered in 1997 and is now in its third season, bears little resemblance to the book which started the vampire craze -- Bram Stoker's Dracula, published a century earlier. And yet, looks can be deceiving. Although the trendy -- and often skimpy -- clothing and bandied about pop-culture references of "Buffy" clearly mark the series as a product of a far different culture than that of the Victorian England of Dracula, the underlying tensions of the two texts are far similar than one might think. Beneath the surface differences in the treatment of their heroines, the two texts converge in similarly problematic anxieties about gender and sexuality.
J. Gordon Melton, in the excerpt “Sexuality and the Vampire” published in his The Vampire Book: The Encyclopedia of the Undead (1998), explains that vampires have a sexual appearance that started from their origin in Dracula. Melton supports his statement by analyzing the monsters' transition to sexual beings through the stories of Dracula’s desires, multiple countries’ erotic tales revolving around vampire-like beings, the manifestation of sensual themes in literary, stage, and screen works, and their current evolution of the once terrified immortals to loved heroes. The purpose of this essay was to outline the seductiveness of the written immortal creatures in order to explain the fanged-mammals’ appeal beyond their terrifying monster abilities.
If one wants to be powerful, the only way is through the right path because with deceiving and tricking it only leads to problems, which is what happens to the count. Stoker life showed signs that he believed in this since he followed in his father’s footsteps and was very close to family, which was one of his keys to success. What Dracula was lacking was the trust between him and the other vampires. If he followed good practices like Helsing he would be all powerful, but then again ‘good’ Dracula, is an oxymoron. Stoker lived in a changing time period where there was a mix of different feelings and ideas coming about.
First off, in Stoker’s Dracula the reader’s suspension of disbelief is lower as compared to folklore tales. He is a tall creepy old person when first revealed, but later on in the novel he is shown to be more sinister. This creates a sense of mystery and confusion. Another reason is that he is a well developed antagonist. Often times he outsmarts the main characters creating a sense of suspense and irony because the readers know what is going to happen but the characters do not. But the most important reason of them all is the fact that Count Dracula takes elements from folklore and builds upon it. Stoker uses classic folklore to create a foundation for Dracula, for example; Dracula’s powers give him the ability to live forever, or shapeshift into other creatures as well. They also give him weaknesses such as: holy objects and daylight which mitigates his powers. These powers regularly add to the mysterious tone in the book. Count Dracula climbing down the castle wall upside down or moving slowly across a yard as a cloud of vapor makes the reader question what is happening. He has the ability to control the weather and animals as well. Stoker gives him powers from legend to make him a formidable force in the story. Although his appearance is unpleasant, he is quite the seductive character. He uses this to his advantage when trying to turn Mina and Lucy into vampires. Dracula preys on ‘weaker’ beings in a hierarchical system where he feasts on the women and once the women have turned to vampires, they feed on children. He can also use telepathy to tell where other vampires are, however, this works against him in the final chase of the book. In short his powers are unique and interesting and help to make the Count a powerful
The late nineteenth century Irish novelist, Bram Stoker is most famous for creating Dracula, one of the most popular and well-known vampire stories ever written. Dracula is a gothic, “horror novel about a vampire named Count Dracula who is looking to move from his native country of Transylvania to England” (Shmoop Editorial Team). Unbeknownst of Dracula’s plans, Jonathan Harker, a young English lawyer, traveled to Castle Dracula to help the count with his plans and talk to him about all his options. At first Jonathan was surprised by the Count’s knowledge, politeness, and overall hospitality. However, the longer Jonathan remained in the castle the more uneasy and suspicious he became as he began to realize just how strange and different Dracula was. As the story unfolded, Jonathan realized he is not just a guest, but a prisoner as well. The horror in the novel not only focuses on the “vampiric nature” (Soyokaze), but also on the fear and threat of female sexual expression and aggression in such a conservative Victorian society.
First a major difference is sunlight does not affect the vampires in Twilight. The only thing the sun does to them is making them glow like glitter is on them. In Dracula the vampires are very weak when they get into the sun. Next big difference that you usually do not see in vampires is in Twilight they show up in pictures and mirrors. In Dracula it is shown when Jonathan was shaving that Dracula could not be seen in the mirror (29-30). The final difference between Dracula and Twilight is Holy items do not harm the vampires in Twilight. In Dracula however the items either burn the vampires, they just do not go near them. They usually just try to find an alternate solution around the object. This is shown when Draula used the wolf from the zoo to break the window open to get inside to suck on Lucy’s blood
He is an undead centuries-old vampire who sleeps in a coffin in the basement, can assume the form of animals, control the weather and is stronger than twenty men, he cannot come into a house unless invited, he cannot walk in water and his favorite meal is human blood, which these traits are consistent with his portrayal in both the novel and the movie (Stoker). Although the novel and movie share many likenesses with Count Dracula’s character there are some unique qualities that are slightly different the book describes a shadow coordinated with Count Dracula’s body while in the movie his shadow works separately from his body movements (“Dracula (Universal Classics)”). Another feature of Count Dracula’s character in the novel is that he cannot be in or near the sunlight or it will kill him, but in the movie, he meets Mina in the daytime and it does not harm him (Bram Stoker’s). Nevertheless, in the book Dracula is a pure evil, terrifying blood hungry monster that wreaks havoc on anyone he meets and feels the need to take life or end life with his arch nemesis being with anyone who wants to preserve life (Stoker). But in the movie when he meets Mina on the streets of London, he pursues her, starts a courtship with Mina and he falls in love with her so when he
Count Dracula has been the frontrunner for the modern day vampire lore and legends since being printed back in 1897, pop culture took the vampire traits from Bram Stoker’s Dracula and twisted them. In modern portrayals of vampire lore, each author chooses an original aspect from Stoker but then creates a little bit of their own lore in the process. Count Dracula appears to be a walking corpse from the pale and gaunt visual aesthetics to the coolness of his undead skin (Stoker). In some cultures, the vampire is able to transform from the body of a human being to that of a fellow creature of the night, a bat. In the novel Dracula more than one town was easily visualized through the detailed descriptions throughout the novel, thus
From Transylvania to Hollywood, vampires have transformed from unfamiliar, mysterious personalities to one of the most dominant monsters in the horror genre today. Vampires are one of the oldest and most noted creatures in mythology, with many variations of them around the world. Although the most famous version is Bram Stoker’s Dracula, many variants have come before and after telling of the same legend with their own added ideas and modifications to relate to their cultures. Today, there is a multitude of literary and film works that convey and resurface peoples’ fear of vampires. As gothic works like Dracula, by Bram Stoker and Scooby-Doo! and the Legend of the Vampire directed by Scott Jeralds share certain traits reflective of the genre; These factors include setting, actions of each vampire, the initial reactions to news of them, and how their presence affects the people who live within the region the vampires inhabit.
For centuries, gothic authors depict the vampires as evil, repulsive, and socially secluded “creatures”, leaving the audience terrified by the gruesome details of the murdering and sucking the blood to kill the victims, in order for the vampire kind to survive. However, the modern vampire is drastically pulling away from that negative connotation, and becoming difficult to differentiate amongst the public. Since many Americans are struggling to make ends meet, they tend to seek out alternative methods of achieving money, such as donating blood for a payment. This not only helps struggling families in their time of need, but also helps people struggling with organ failure. This source of saving human blood is represented in Twilight, as the Cullen family of vampires, feed exclusively on animal blood in order to save human life. Though the gruesome murdering of the human victims from a vampire attack has been taken out of today’s stories, the general gloomy and eerie mystique of...
In Twilight, Edward Cullen presents the question; “ But what if I’m not the hero? What if I’m the bad guy?” The role of vampires is very controversial. Back in the day they were evil, soulless monsters and people genuinely feared them. However, in the present day it seems that we have grown to love them and even hope to one day be them. There are a plethora of vampire stories and many of them have become immense hits. With so many vampire stories, it is not uncommon that readers are able to identify a vast amount of similarities. Although similar in aspects, there are still many differences between the classic and modern day vampires. Two highly popular stories, in which we can easily identify similarities and differences, are Bram Stoker’s Dracula and Stephenie Meyer’s Twilight.
The “Otherness” Dracula possesses reinforces our own norms and beliefs through his transgression that separates him from society and the polarity to Western norms and ideals makes him an effective device for extorting revulsion and horror. Stoker’s novel employs Gothic tradition, providing “the principle embodiments and evocations of cultural anxieties” from which the very Gothic mood and horror is produced, establishing the baseline used to distinguish the modern vampires, as part of vampire mythology within the Gothic (Botting Aftergothic 280). Differences Between Dracula and Twilight The similarities between the two novels are namely Gothic imagery and theme, but the Gothic mood predominates in Dracula over Twilight and it is this difference that makes Twilight not belong in the vampire canon. Horror is the element that Dracula possesses that Edward does not, and it is crucial in the interplay between transgression and limit.
The novel Dracula by Bram Stoker has plentiful examples of key concepts we have examined in class including: Purity and impurity, magical thinking, strong emotions such as disgust and shame, , formalization, and myth. In this essay I will summarize events that take place within the novel when the protagonists deal with Dracula and then relate these events to the key concepts to demonstrate why the characters view him as dangerous, and therefore something to be avoided completely.
The author’s op-ed piece was published in 2009, the very peak of the vampire contagion, where one could find these creatures wherever they looked. This pandemonium that arose from vampires is what drove del Toro and Hogan to pen “Why Vampires Never Die.” Furthermore, the purpose behind this essay is to give an abridged description of the past of vampires for the people who had become fanatics of the creatures. Also, this essay showed how vampires have persisted in pop culture. They suggest that vampires have been remade by diverse cultures at different times, and this change echoes that society's angst and concerns. The novelist’s imply that Stroker’s Dracula may mirror an exaggerated human on a prim...
In 1987 The Daily Mail claimed Dracula as the classic of horror fiction " in seeking a parallel to this weird, powerful and ... story, our mind reverts to such tales as The Mysteries of Udolpho, Frankenstein and The Fall of the House of Usher - but Dracula is even more appalling in its gloomy fascination than any more of these"(Roberts, Livingstone and Baxter-Wright, 2014:p.73). The common film characteristics include vampires, ghosts, werewolves, bats, cobwebs, monsters, old dark houses, sublime castles, dungeons, graveyards and secret passages. The vampire embodies both life and death taking the life of others to sustain itself and in so doing living immortally, has been adopted by part of the Goth subculture as a cultural icon the Goth subculture is, metaphorically, if not actually, drawing power from others, with self-sustenance being the ultimate goal. Vampires in general have finessed their way from hideous ghouls however, such as Dracula and Nosferatu the Vampyre from 1979 however, in the 21st century there can become sensuous heartthrobs for example the Cullen's from the saga Twilight.