Examples Of Epistolary In Dracula

John Stoker’s Dracula is notoriously famous for its epistolary format. An epistolary novel is one that is written as a series of documents. In her article, Acocella states that, “This multiplicity of voices gives the book a wonderful liveliness” (Acocella 4). Stoker’s use of an epistolary format in Dracula brings the characters to life and builds a personal connection between the reader and the novel.

Stoker’s epistolary technique makes the plot easier to follow. His way of writing in diaries, newspapers, and letters allows him to show only the most important information to the reader, not just random details. For example, when Mina writes of her attack by Dracula, the reader knows immediately, as the storyline cuts to Dr. Steward’s journal entry regarding the instance. As a distraught Mina recalls the story, she shrieks, “He placed his reeking lips upon my throat!” (Stoker 310). Because Steward records this instance almost immediately

after it happens, the action and horror of the scene lingers on. In his book, American History throughout Literature (2005), Professor of Communication and Director of the Graduate Program for Cultural Studies, Ronald J. Zboray, claims that, “Literary letter-writing cameos unveils tensions and frustrations” (Zboray 3). Zboray continues by explaining that epistolary style makes the plot follow along much smoother, and allows the reader to understand tensions between characters, and to be able to spot upcoming conflicts and resolutions. The feelings are fresh with the narrator, and resonate strongly with the reader.
Not only does this technique make the plot easier to follow, but it keeps the reader interested as well. By using letters and journal entries to tell his story, Stoker is able to keep multiple storylines running simultaneously. In The Literary Newsmakers for Students, Elizabeth Kostova reflects on how the epistolary format enables Stoker to have multiple storylines flowing throughout the novel. “Because the letters and journal entries are usually dated, the reader is able to easily track the time period of the action, if not the setting too” (Kostova 13). Kostova’s simple entry reveals the genius behind Stoker’s masterpiece. At first, some newspaper clips and other articles may seem arbitrary, but as the book goes along, everything begins to fall into place. The reader becomes a detective, and begins to piece together different parts of the story together, like a mystery. They become their own Nancy Drew; uncovering new secrets and clues with every flip of the page. One example of this would be when Harker writes that he will be attempting to escape, but it is not known until a later chapter in which he writes Mina. “At least God’s mercy is better than that of these monsters… Good-bye, all! Mina!” (Stoker 57); Jonathan's last words until the scene cuts to Mina and Lucy, leaving the reader on the edge of their seat, wondering if he will make it out alive. Clearly, the epistolary format leaves room for added suspense, making the book similar to that of a mystery.
In addition to its suspense, this format makes the plot more believable, as it appears that the articles are legitimate historical documents. Kostova also analyzes the effects of the epistolary format on the realism of Dracula. She writes, “Because letters and journal entries usually are a more intimate form of communication, they do more than simply relate pertinent information to the reader” (Kostova 13). Making the events seem more believable helps to build a personal connection between the story and the reader. Author and editor David A. Galens assesses the connection between the style and realism of Stoker’s novel. Particularly, he comments that the mundane details of these journal entries are what make the story seem realistic. “These specific details… give the book a feel of realism… it also helps to counterbalance the supernatural aspects of the novel by making it to seem as if the book is true” (Galens 8). The use of an epistolary format allows Stoker to cancel out any supernatural elements that may be taking place throughout the story. Evidently, Stoker’s attention to detail in writing these journal and newspaper entries make the book much more believable.
First person accounts for a majority of the narration of in this novel.

Taking place in diaries and journal entries, the reader is able to see into the minds of several different main characters. This makes most misconceptions of the reader disappear, as the audience is able to see the motives behind a character's actions. It also helps add an insight to what societal standards were in place at the time. For example, as Mina recalls Lucy’s sleepwalking incident, she is more concerned about their potentially ruined reputation than about Lucy’s wellbeing. “The town seemed dead, for not a soul did I see; I rejoiced that it was so, for I wanted no witness of Lucy’s poor condition” (Stoker 98). As Mina rejoices in the fact that nobody is out on the town to see her, Stoker reveals Mina’s main source of worry, while simultaneously divulging the societal standards for women during the Victorian Era. Seeing first person from the eyes of many strengthens the novel, and ensures that all characters are able to show their true

personalities.
While there are only a few instances of third person view being used in Dracula, its effects are just as powerful. Newspaper articles stabilize the story and brings everything back to reality. In one instance, the chapter cuts to a newspaper article about a wolf that escaped the night before. “The wicked wolf that for half a day had paralyzed London and set all the children in the town shivering in their shoes, was there in sort of a pertinent mood, and was received and petted like a sort of vulpine prodigal son”, (Stoker 150). This miniscule scene is nonetheless powerful, as it shows the true powers of Dracula, and the effect that he has on even the minor characters. The use of third person in this epistolary novel gives Stoker the freedom to jump from place to place without interrupting any significant storylines. Third person and first person act as a ying and yang in this epistolary novel. While both are equally different, their combined force empowers the novel, and sets it to life.
It is arguable that the epistolary format of Dracula is ineffective, and takes away from the novel. Some could reason that this format leaves no room for imagination, since the viewpoint from every character is revealed. However, this trait of the novel could be seen as a strength, in that it increases the amount of dramatic irony, which makes the read much more intriguing and suspenseful. Another argument could be that it takes away space for direct interpretation. While this may be a valid claim, it is possible that Stoker may have done this intentionally, so that the reader may focus on other aspects of the book, such as uncovering historical and societal standards at the time. Furthermore, it could be said that Dracula’s epistolary formula makes it harder to see character growth, and causes almost all characters to seem the same. The nearly identical personalities in almost all characters perhaps were, once again, deliberately written by Stoker. By making nearly all characters, aside from Van Helsing appear to be the same, Stoker puts an emphasis on Van Helsing’s scientific approaches to defeat Dracula, and sheds light on western civilization. While these anti-epistolary arguments may be very valid, there is no denying the eternal success that Dracula has brought thus far, and will continue to bring for generations to come.
In conclusion, epistolary format in Dracula strengthens the novel. Its unique use of letters and journal entries to tell its story preoccupies the reader by adding suspense. Dracula becomes similar to a mystery novel, as the audience must uncover bits of clues with every turn of a page. Not only does this format provide insight into the motives of all characters, but it keeps the reader engaged and on the edge of their seat all the way through. The use of the epistolary style allows a window to open in the reader’s imagination that alludes to the potential of reality in the story line juxtaposed against the obviously outlandish plot. This is what makes this novel a timeless classic.