Arthur is now referred to as Lord Godalming. Mina reads Jonathan's journal and is horribly upset by it. Van Helsing comes over to further explain how Lucy died. Mina decides that Van Helsing needs to read Jonathan's journal and gives it to him. Having read Jonathan's journal, Van Helsing remembers the things he did when he was in Transylvania and confirms the events entailed in John’s journal. Jonathan decides to journal again, and the story shifts back to his perspective. Renfield has returned to his pastime of eating flies. Van Helsing visits Seward, and they talk of the Bloofer Lady and the events surrounding her. After noticing a correlation between the bites found on the children and the bites on Lucy’s neck, they conclude that Lucy is
First example, John gets back at the woman that is rude to him at the beginning of the novel by seducing her. At the beginning of the novel when John/Nanabush is an old drunk indian he shouts out his apartment room window at a nice looking woman but she finds him creepy and flips him off. When John is in the shape of a young, well built blonde he goes back to the dry cleaners that he first saw that woman, finds her address and goes to her place of residence and seduces her. After they are finished having sex John leaves the woman without saying a thing to her leaving her behind. Next, John deceives Maggie into thinking that he is a trustworthy guy and takes advantage of her while she is drunk. One John offers to take Maggie on a picnic and she excepts. On the picnic John keeps giving Maggie more and more wine until she is drunk. He then asks her if she will go skinny dipping with him. Maggie thinks about the offer and finally says yes, by the end of the chapter they end up having sex. Lastly, John carves petroglyphs into Virgil’s rock making him believe that he is trying to take Virgils mother Maggie away. The first day Virgil meets John, John basically tells Virgil to stay out of his way. After John leaves Virgil notices petroglyphs on the rock that look like a man on a motorcycle, a woman, a sunset and a boy falling. This makes Virgil believe that John is trying to take his mother away from him for
Jake, Lucy’s neighbor was a well-educated kid. He was 15 years old and lives in an old timber house with his parents. Jake’s father was a farmer and had lived in the area since he was a lad. The area seemed to be haunted since creepy tales about all sorts of beasts was told. People even claimed that they were awakened some nights by a howling. Mostly people believed that it was a feral dog but Jakes father incised that it was a wolf, a ghost wolf. He was sure since he had seen a wolf in the forest when he was in Jake’s age, but none believed him. He kept telling his son about the wolf and Jake wanted to find out the truth. Lucy knew about Jake’s curiosity, at the same time as she decided to escape from her unbearable father. So she lied to get Jake by her side on the endless escape from the futureless community. She said that she knew where the wolf’s lair was. Jake got even more curious and joined her wolf hunting-adventure.
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
One of the main challenges to God's power is Dracula. God does nothing to help the character of Lucy. Why? She has not committed any great sin. Yet she still fall’s prey to Dracula. There are two possible explanations for this: First that God does not have the power to save her from Dracula. Dracula is almost outside of God’s power. Since Dracula has renounced God he (God) no longer has domain over Dracula. Or second, God feels that she is being justly punished for her sins (sins which the reader is never informed of). Lucy is very flirtatious, and possibly she is more promiscuous than we are led to believe. In Francis Ford Coppola’s film version when Lucy and Mina look at the book that shows sexual acts, Lucy states that "people can do that (sexual acts)". Mina then asks Lucy how she knows that people do those sexual acts, and Lucy replies "because I did that last night…..in my dreams." We assume that she did actually have a dream about the sexual acts, but what if she was not telling the truth? Lucy knew that no respectable woman would ever admit to have sexual relations out of wedlock in her time period. She may have been attempting to cover her reputation.
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.
Lucy is the Medusa archetype. She is physically attractive, and wins the heart of any man who comes near her (e.g. Arthur, Quincey, Jack, and Van Helsing). Her chief quality is sensual beauty, but her sexual desire is repressed and not allowed to communicate. And yet both the spiritual side and the sexual side are in her, and when the long repressed sexuality finds a vent, it explodes and takes over completely. In other words, she is transformed into the completely voluptuous female vampire precisely because her sexual side of personality had been completely buried by her Victorian education. Her repressed self needs such expression that when Dracula came along, she went out to greet him, and then invited him into the house (by opening her window to the bat). He is her vent for sexual expression.
This is juxtaposed with the various aspects of British culture imposed on Lucy’s home island. As a child, Lucy attended “Queen Victoria Girls’ School” (Page 18), a school...
In her journal, Mina recounts that there was “undoubtedly something, long and black, bending over the half-reclining white figure." Mina sees Lucy at the climax of Dracula's attack, and when she calls for Lucy, "something raised a head, and from where I was I could see a white face and red, gleaming eyes.” Unknown to Mina, the figure bending over Lucy is Count Dracula, and his attack on Lucy, in Victorian culture, is sexual assault. Stoker plays with the underlying sexual theme by positioning Lucy reclined on the seat with Dracula bending over her as he "penetrates" her neck with his teeth. Even the bite marks on Lucy’s neck serve as a sexual innuendo of a virgin’s first sexual encounter: Lucy escapes into the night and bleeds after a man penetrates her.
For the first half of Jane Eyre, Bertha is only known to the reader through her nearly phantasmal presence&emdash;the peculiar laugh, and the mysterious incident in which Rochester's bed was lit on fire. Only after the foiled wedding of Rochester and Jane, in which Mr. Briggs and Mr. Mason appear unexpectedly declaring that the wedding should not proceed, does Rochester explain to Jane that he has a living wife detained on the third floor of Thornfield Hall. "He lifted the hangings from the wall, uncovering the second door: this, too, he opened" (327). "In a room without a window" Bertha is found living as a wild animal sequestered from everyone but her caretaker Grace Poole. Like a ferocious beast, she is even tied down and bound.
Wheelwright's scream. The other screams present in the book are contemplated by Johnny several times. Irving slips his simile into the smallest scream to foreshadow the big change in Johnny’s life. The scream of a banshee predicts death. In the case of A Prayer for Owen Meany, Johnny’s Grandmother's banshee like scream predicts the death of her daughter, Tabitha. Irving uses multiple methods to foreshadow Tabitha’s death including Owen’s sighting of an angel and Johnny’s sorrowful remembrance of his childhood. A banshee is never seen as a good omen, unlike an angel. Irving cleverly uses a simile to connect a mythical creature that predicts death to encourage readers to make the same prediction regarding the death of Tabitha. Noramly Irving uses Owen to foreshadow events but in his simile with Mrs. Wheelwright and a banshee, Irving connects death and superstitions to his least superstitious character. Mrs. Wheelwright, although religious, dismisses all of the other predictions made, mostly by Owen, throughout the book. Irving’s connection exemplifies how death, and fear of the unknown are universal. Not one of his characters escapes the seeping effects of death. Irving's diverse character do show many examples of how people react to death, especially unexpected death. However because of Irving’s use of similes to foreshadow, the reader is keenly aware of the effect of Johnny’s mother’s death on other
Candy walked into the barn and found Curley’s wife on the floor. He thought she was sleeping but then realized that she was dead. It was Lennie who did this. He accidentally broke her neck when he was trying to get her to be quiet because she was screaming and Lennie did not want to get into trouble. Lennie did not know what he had done except
John Fowles The Collector explores the idea of developing an individual female character in a complex situation. Miranda is kidnapped at the prime of her life, and trapped in the cellar of Clegg, where she has to explore bother her old and new identities. Because she is trapped in the cellar, Miranda goes through stages of emotional and psychological states when finding herself within her situation. Because of all of her new experiences in the midst of her kidnapping, Miranda’s character development is significantly different than it would be if she was never trapped.
Lucy enjoys the attention of her male suitors and even indecently jokes about polygamy, expressing a hidden want for sexual autonomy. Once Dracula arrives in England, Lucy becomes his initial target. Lucy’s sleepwalking shapes her into an ideal victim, as she is exposed in a vulnerable state in which her subconscious yearnings are more accessible and she is also physically available to Dracula. For her break of social protocol, she is transformed into a vampire, characterized by “voluptuous wantonness” (Stoker 231). She becomes even more beautiful in her undeath, in a state where she can embrace her sexuality, which enforces the belief that visible sensuality in women is unorthodox. In addition, the traditional view of what a woman should be, a nurturer, mother, and wife, is drastically inverted for a woman who does not wish to stay confined. Lucy is denied the opportunity to be married and instead develops into a child-feasting fiend. Her susceptibility to seduction is punished with an unnatural, vulgar monstrosity. Subsequently, Lucy is finally killed and reverted to her original, pre-vampiric state, when her fiancee, the male figure she was to be subordinate to, stakes her. This action cements a patriarchal figure’s control over Lucy once again, who only then, can be returned to a peaceful state of purity, while the other two prospective suitors watch as Arthur exert his dominance over Lucy. Comparatively, the female character who survives the Dracula’s tactics is Mina who does not succumb by maintaining the socially demanded
When Van Helsing figured out what was happening to Lucy he told Dr. Seward and after Lucy passed away the men went to where she was buried and it had been weeks and her body. The sight they saw was “more radiant and beautiful than ever; and I could not believe that she was dead. The lips were red maybe redder than before” (Stoker 171). This line should that Lucy turned into a vampire because Dracula had been sucking her blood. Jonathan Harker was also a victim of Dracula’s games but he fought through his mental trauma with the help of his Wife, Mina. The rein of Dracula’s evil ways came to an end and although Lucy lost her future, all of her friends were finally safe from
When Van Helsing stakes the three women in Count Dracula’s castle, he almost succumbs to their seductive prowess, but he remembers Mina, who is infected with Dracula’s