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Analysis of character of dracula
Analysis of character of dracula
Elements of gothic literature
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In 1897, Bram Stoker had Dracula published for the first time. Dracula is considered, by many, Stoker’s best work. It is an exemplary example of Gothic literature. In Dracula, three essential motifs of Gothic literature are revenants, cemeteries, and shapeshifting. Revenants is an essential Gothic literature motif; it allowed there to be a force of evil in this eerie novel. Revenants is the most important Gothic literature motif in Dracula. Revenants is when deceased creatures return to invoke fear in the living. In Dracula, an example of the deceased returning to invoke terror would be the vampires. Most of the novel revolves around the effort of trying to kill the vampires; it started when Dracula killed Lucy. When Lucy was killed, she became …show more content…
This cemetery is also where the large canine disappeared after exiting the “Demeter”. The assumption can be made that the dog was Dracula. It was also there, that the reader can definitely assume that a vampire has been feeding on Lucy, due to Mina’s observations. These realizations cause the ominous feelings about this cemetery. Lucy was summoned to the cemetery by Dracula and it was there that he sentenced her to becoming another member of the Un-dead. After Lucy’s death, her friends got together to form a team to hunt Dracula down. It was not until after Mina had organized every detail about their experiences chronologically, that everyone realized that the dog from the Demeter was Dracula in another …show more content…
The ship’s Captain’s records informed the audience that the ship was experiencing an abnormal amount of mist. The mist was causing the ship to be difficult to sail. Dracula was also seen in the form of mist when he visited Renfield for the first time. Renfield tells Dr. Seward, Dr. Van Helsing, Arthur, and Quincey about the visit. Renfield claims that Dracula reached his window in the mist. The second time he visited, he entered Renfield’s room as mist and then began to leave the room. Then, after his struggle with Renfield the mist began to seep under the door into the hallway. Dracula went to the Harker’s room to seek revenge against the men who are trying to capture him. He got revenge by forcing Mina to drink his blood. By drinking Dracula’s blood, Mina became at risk for becoming a member of the Un-dead. As the Count was leaving the Harker’s room, the other men, Dr. Seward, Dr. Van Helsing, Quincey, and Arthur, saw the remaining mist slip out beneath the door. Traveling as mist allowed Dracula to evade capture after terrorizing
As she sits at the “churchyard” we can almost see her reflecting the ideas of the Victorian gentleman whose morals are based on religion, and as a male you had the right to go anywhere or do anything you please as long as you keep your gentlemanly status. The setting of the “churchyard” is also ironic to the acts that follow as there was something “long and black, bending over the half-reclining white figure.” Dracula is our demon character in “black,” physically dominating over Lucy while Lucy is portrayed as innocent in “white.” This is much like “The nightmare” painting by Henry Fuseli, which portrays a demon sitting on top of an unconscious woman. The resemblance to Dracula is seen with the demon hiding in the shadows, but still controlling the woman by putting himself in a position on top of her while she is unaware. When Mina finally wakes up Lucy “she trembled a little, and clung to me.” This reaction could indicate that Lucy was unable to stop Dracula from biting her and was terror-stricken from the
In the novel Dracula, by Bram Stoker, there is much evidence of foreshadowing and parallels to other myths. Dracula was not the first story featuring a vampire myth, nor was it the last. Some would even argue that it was not the best. However, it was the most original, using foreshadowing and mood to create horrific imagery, mythical parallels to draw upon a source of superstition, and original narrative elements that make this story unique.
It is precisely the point that Hollywood distorts and corrupts serious literature for the entertainment pleasures of a mass audience. In the task of comparing and contrasting the novel of "Dracula" to film extracts of "Bram Stoker’s Dracula", values, meaning and context discovered lie between discrepancy and similarity. The change from differing mediums, novel and film, reveal characteristics and possibilities of narratives. Through the advancement of technology, modern writers have gained a cinematic approach to their writing. However Dracula, written in 1987 by Abraham Stoker, where the introduction of technology was gradual, forging inventions such as the typewriter and phonograph, made reference to in the novel, had no anticipation of what technology would have an effect on such writings. With society’s fascination with the supernatural, and love of technology, Dracula’s many adaptations, film, stage, have ensured its survival through the passage of time.
Once Jonathan arrives at the castle, he is met by the mysterious Count Dracula, a man described as strong and pale, with bright ruby lips and sharp white teeth. Although Jonathan is unaware of what Dracula truly is, he can already sense that something is amiss, and he gets worr...
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.
It can be argued that the theme of light VS darkness is used to good
Bram Stoker and Sheridan Le Fanu’s texts, Dracula (1898) and “Carmilla” (1872), use gothic tropes in similar ways to captivate readers with horror and terror. This essay will illustrate how, in comparison, both texts include gothic tropes: the New Woman, sexuality and setting, in order to provoke emotions and reactions from the readers. To achieve this, this essay will focus on the women that challenge traditional gender roles and stereotypes, and deconstruct each text in regards to the very strong undertones of homosexuality; specifically between Carmilla and Laura, and Dracula and Harker. By discussing the harshness and darkness of the environments described, including ruined castles and isolated landscapes; this essay will also explore the
Stoker has rendered the reader to see the Count as physically strong and powerful, through Jonathan Harker and his confinement and Lucy Westenra and her failing health. Although the reader does not understand all the omniscient powers and control that Count Dracula possesses over people, they are brought to light through Dr Steward’s accounts of his patient R.M. Renfield. The ‘strange and sudden change’ (Stoker, 86), that has happened in Renfield evokes the reader to contemplate the Count’s influence over people. Dr Steward suggests it is as though a ‘religious mania has seized’ Renfield (Stoker, 87), and is controlling him. The reader is aware that Renfield can feel the Counts presence and that there is a connection between them. This eventually leads Van Helsing to recognize the bond between Mina Harker and the Count, which helps them to find Dracula and finally kill him. Dracula’s invasion over Renfield also reveals a weakness in the Counts power. Renfield, an obedient servant of Dracula, claims he is ‘here to do Your bidding, Master. I am Your slave’ (Stoker, 88). Renfield’s devotion is quickly reversed when he sees that the Count is taking life from Mina. It is his care for her that causes him to turn against Dracula and try to fight for her. Again Renfield’s actions mimic that of the other men as it becomes their goal to save Mina from the invasion running through her body. The key to this invasion is the blood.
The vampire had been depicted as the epitome of offensive and seductive behavior in their early representations. It has suffered an enduring image of something inhuman and monstrous that feeds and thrives at the expense of others. As David Punter and Glennis Byron have asserted, “Confounding all categories, the vampire is the ultimate embodiment of transgression” (The Gothic 268). The transgressive behavior of the vampire was first observed with Stoker’s Dracula. Although this figure is attractive to us in many ways, with his intelligence and immortality, the Count is primaril...
Dracula, the most famous vampire of all time, which readers were first introduced to by Irish author Bram Stoker in 1897 with his novel Dracula, which tells the story of the mysterious person named Count Dracula (Stoker). The book is an outstanding masterpiece of work, which is why it has been a prototype for various movie releases over the decades. Whenever a film director decides to make a movie on behalf of a novel the hope is that the characters concur from the novel to the movie, which leads to the exploration of the resemblances and modifications between the characters in Dracula the novel by Bram Stoker and Bram Stoker’s Dracula 1992 movie directed by Francis Ford Coppola.
That morning he is to leave, a crowd is awaiting him and muttering strange things. Harker says, "I could hear a lot of words often repeated, queer words" (Stoker 6) to address his confusion about what was going on around him. He Count Dracula, a hermit who lives on a cliff, detached from society, strikes at night to find anyone alone--whom he considers easy prey. A prime example of one of these victims is Lucy Westenra, who ends up outside in the middle of the night after she sleeps walks to the town square. When Mina Murray finds her, she describes the discovery, “There was undoubtedly something, long and black, bending over the half-reclining white figure.”
Bram Stoker wrote his infamous novel, Dracula, during the turn of the century in 1897, and the Victorian era novel is heavily influenced by the time in which it was written. Francis Ford Coppola’s Dracula is influenced by the period in which it was produced, and it diverges from the novel in the sexualisation of women, the humanization of Dracula, the representation of friendship, and the depiction of science. Dracula is a classic story that can represent the current era’s fears and desires. Although the story changes in Coppola’s Dracula, in comparison to the original, it is not the first time Dracula has been adapted according to the era, and it will not be the last.
Dracula, by Bram Stoker, is a classic tale of Gothicism. Traditionally, gothic tales only carried single theme of horror. Through Dracula, Stoker breaks this single theme barrier. The theme throughout Dracula is clearly displayed through the characters as they step from ignorance to realization in this tale of horror.
Gothic imagery and themes include castles, coffins, monsters and strange lands and pose the background of the classic Gothic novel. The Gothic element is synonymous with the horror and uncanny- a feeling rather than form, in which transgression is the central topic (Wisker 7). The vampire is a figure that transgresses society’s limits to form the central dynamic of the Gothic. “We enjoy seeing the limit transgressed- it horrifies us and reinforces our sense of boundaries and normalcy” (Halberstam 13). Assuming that Bram Stoker’s Dracula sets the archetype of the vampire, it is clear that modern vampires have demonstrated a decrease in the Gothic horror despite similarities in the Gothic imagery
An Atmosphere of Fear and Horror in the Opening Chapter of Dracula by Bram Stoker