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Essays on Dracula

What makes a good dracula essay topic.

When it comes to writing an essay on Dracula, it's important to choose a topic that is both interesting and relevant. A good Dracula essay topic should be thought-provoking, engaging, and offer the opportunity for in-depth analysis. Here are some recommendations on how to brainstorm and choose a strong essay topic:

First, consider the themes and motifs present in the novel. Dracula is rich with themes such as the battle between good and evil, the fear of the unknown, and the struggle for power. Choose a topic that allows you to explore these themes in depth.

Next, think about the characters in the novel. There are complex and multi-dimensional characters in Dracula, from the eponymous vampire to the brave vampire hunters. Consider how you can analyze and interpret these characters in your essay.

Finally, consider the historical and cultural context of the novel. Dracula was written in the late 19th century, a time of significant social and technological change. How does the novel reflect the anxieties and fears of this period? Choose a topic that allows you to explore these historical and cultural aspects of the novel.

In general, a good Dracula essay topic should be specific, focused, and offer the opportunity for original analysis and interpretation. It should also be relevant to the themes and motifs present in the novel, as well as the historical and cultural context in which it was written.

Best Dracula Essay Topics

When it comes to choosing a Dracula essay topic, it's important to think outside the box and choose a topic that is unique and engaging. Here are some creative and thought-provoking Dracula essay topics to consider:

• The role of gender in Dracula: How does the novel challenge traditional gender roles and expectations?
• The use of symbolism in Dracula: Analyze the use of symbols such as blood, the cross, and the stake in the novel.
• Dracula as a commentary on colonialism: How does the novel reflect the anxieties and fears surrounding the British Empire?
• The portrayal of mental illness in Dracula: Analyze the representation of madness and sanity in the novel.
• Dracula and the fear of the Other: How does the novel explore the fear of the unknown and the Other?

These prompts are designed to inspire creativity and originality, and to encourage you to think critically and imaginatively about the novel. Have fun with them, and let your imagination run wild!

Evil Against Good - Perpetual Conflict in Dracula

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The Influence of Stoker’s Descriptions of Settings in Dracula

Two new women in bram stoker’s novel, gender in gothic literature, feminine features of count dracula, elements of gothic literature in bram stoker's dracula, the fears of the victorian era that were highlighted in dracula's novel, gender roles and religion culture as the main elements in dracula's novels, the representation of victorian era in dracula's novel, the religious connotations of the novel dracula: vlad tepes, antichrist, vampire, the phenomenon of american xenophobia in dracula, bram stoker's exploration of gender roles in dracula's novel, gender roles as a prominent topic in the novel 'dracula', dracula as an image of the merge in the society, dracula character: numerous binaries throughout the novel, the absenteeism of amsterdam: confounding principles in dracula, the phenomenon of cognitive dissonance of the protagonist in dracula, the issue of meta-textuality within dracula, the display of unreal in dracula, count dracula vs. vlad the impaler , mechanical reproduction in dracula and art in the age of mechanical reproducibility.

26 May 1897, Bram Stoker

Horror, Gothic

Count Dracula, Van Helsing, Jonathan Harker, Mina Murray, Lucy Westenra, John Seward, Arthur Holmwood, Quincey Morris, Renfield, Mrs. Westenra

1. Halberstam, J. (1993). Technologies of Monstrosity: Bram Stoker's" Dracula". Victorian Studies, 36(3), 333-352. (https://www.jstor.org/stable/3828327) 2. Craft, C. (1984). Kiss me with those red lips: Gender and inversion in Bram Stoker's Dracula. Representations, 8, 107-133. (https://online.ucpress.edu/representations/article-abstract/doi/10.2307/2928560/82590/Kiss-Me-with-those-Red-Lips-Gender-and-Inversion?redirectedFrom=PDF) 3. Hughes, W. (2008). Bram Stoker: Dracula. Palgrave Macmillan. (http://researchspace.bathspa.ac.uk/705/) 4. Hatlen, B. (1980). The return of the repressed/oppressed in Bram Stoker's Dracula. Minnesota Review, 15(1), 80-97. (https://muse.jhu.edu/pub/4/article/427122/summary) 5. Wyman, L. M., & Dionisopoulos, G. N. (2000). Transcending the virgin/whore dichotomy: Telling Mina's story in Bram Stoker's Dracula. Women's Studies in Communication, 23(2), 209-237. (https://www.tandfonline.com/doi/abs/10.1080/07491409.2000.10162569) 6. Kuzmanovic, D. (2009). Vampiric Seduction and Vicissitudes of Masculine Identity in Bram Stoker's Dracula. Victorian Literature and Culture, 37(2), 411-425. (https://www.cambridge.org/core/journals/victorian-literature-and-culture/article/vampiric-seduction-and-vicissitudes-of-masculine-identity-in-bram-stokers-dracula/8C5957AAE79F1018DA8A089A32F78F88) 7. Almond, B. R. (2007). Monstrous infants and vampyric mothers in Bram Stoker's Dracula. The International Journal of Psychoanalysis, 88(1), 219-235. (https://onlinelibrary.wiley.com/doi/abs/10.1516/0EKX-38DF-QLF0-UQ07) 8. Rosenberg, N. F. (2000). Desire and Loathing in Bram Stoker's Dracula. Journal of Dracula Studies, 2(1), 2. (https://research.library.kutztown.edu/dracula-studies/vol2/iss1/2/)

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Bram Stoker’s Dracula in Context

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This chapter explores the genesis of Stoker’s novel and how it relates to the wider contextual issues of the period such as theories of degeneration. The chapter also outlines a number of critical approaches to Dracula enabling an analysis of the representations of gender, colonialism, medicine, and forms of technology. The novel is also related to the Gothic context of the period and the chapter examines how ideas about doubling, drawn from that context, influenced the representation of the relationship between vampire and vampire hunter. In summary, the chapter provides an important critical overview of the novel and the principal approaches taken to it. It also outlines how Dracula can be related to the social and literary contexts of the time.

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Arata, Stephen D. 1990. The occidental tourist: “Dracula” and the anxiety of reverse colonization. Victorian Studies 33 (4): 621–645.

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Smith, A. (2023). Bram Stoker’s Dracula in Context. In: Bacon, S. (eds) The Palgrave Handbook of the Vampire. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-82301-6_10-1

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Dracula by Bram Stoker: Comprehensive Analysis Research Paper

Introduction, “dracula”: a synopsis, “dracula”: structure and setting, analysis of themes, “dracula”: symbolism and subjectivity, works cited.

“Dracula” is a horror novel by Bram Stoker. It was first published in 1897. Over the years, the book has been translated and revised several times. In this paper, the author explores the structure and setting of the novel, themes, characters, as well as symbolism and subjectivity.

An analysis of other scholarly writers and their arguments about the novel will also be provided (Belsey 34). A critical evaluation of “Dracula” reveals that it is an epistolary novel with a number of intertwining themes. The plot of the story is supported by symbolism and subjectivity as literary techniques.

The book tells a horror story. It portrays events taking place in England and Transylvania. The story is set in the 1890s. It begins with John Hacker, a solicitor visiting Count Dracula (Stoker 2). The Count lives in Carpathian Mountains. The solicitor intends to provide legal support. He is working on his employer’s real estate.

While at the Count’s castle, the solicitor encounters three female vampires. Dracula comes to his rescue. Afterwards, Dracula moves away from Transylvania. In the meantime, Mina is writing to her friend. The girl is Harker’s fiancée. Three men approach Mina’s friend for marriage. She accepts Holmond’s proposal and rejects those from Seward and Quincey (Schaffer 385).

Mina decides to visit Lucy at Whiteby. A ship has been wrecked. The whereabouts of the crew remain unknown. In addition, the captain died. After a while, Lucy starts to sleepwalk. Mina finds her in the cemetery. She sees an object bending over her. She falls sick and Dr. Seward sends for his mentor, Professor Helsing. The professor determines her condition but refuses to disclose it (Stoker 45).

Mina and Jonathan join others in destroying Dracula. They go through journals and diaries to trace the Count. Dracula is able to access the asylum. He starts nagging Mina. Mina is transformed. She becomes a vampire. Dracula is forced to go back to Transylvania.

His trail is followed over land and sea. Meanwhile, Heising and Mina come into contact with the vampires. They manage to kill them. Finally, they use sacred objects to block access to the building. The people catch up with the Count as he gets into the castle. Jonathan and Quincey use knives to kill him (Schaffer 390).

“Dracula” is an epistolary novel. It is composed of journals, letters, and diary entries. It also uses telegrams and newspaper clippings. A number of people have made contributions to the novel. They include Jonathan Harker, Mina Murray, and Seward. Lucy Westerna and Abraham also made major contributions. The book is largely journalistic (Dittmer 240).

Modernity is evident in the novel. For example, Harker is uncomfortable with the lodgings provided by his host at the castle. In addition, Stoker moves the story from the old castle to modern Victorian London. Helsing brings together modern and ancient schools of thought. For example, in chapter 17, he warns Seward that they should get rid of the monster. The move illustrates modernity (Byron 50).

Female Sexuality and Homosexuality

Stoker addresses the issue of sexuality in the book. A Victorian woman in “Dracula” has two options. She is either ‘pure’ or a mother. If she is neither of these, she is regarded as a whore and a useless person. In addition, homosexuality is regarded as an indecency in the society (Yu 150).

Reverse Colonization

Even though it is a minor theme, reverse colonization gives the reader an understanding of ‘eastern’ and ‘western’ cultures. A case in point is how the British view Transylvania. They regard it as a society full of social and political instabilities. Dracula travels to London. His shift depicts Britain as the scene of the conflicts. One can argue that the Count represents conquerors and vampires. The ‘animals’ colonize their victims instead of killing them. Consequently, they subvert the host’s culture while strengthening theirs (Arata 636).

The novel has several characters. The first is Jonathan Harker. He plays a number of roles. For example, he is a solicitor. In addition, he is engaged to Mina. He is also held captive in Dracula’s castle. Count Dracula is another character. He is from Transylvanian. He owns a residence in London. Westerna is Mina’s best friend. Holmwood is Lucy’s suitor and fiancée. John Seaward is a doctor. Helsing is a Dutch professor (Senf 4).

Stoker uses symbols to enhance the flow of the plot and to make it more captivating (Dittmer 241). A case in point is the depiction of the three sisters. They appear in Hacker’s dreams. They illustrate sexual proficiency, but they are evil. Another use of symbolism involves the stake driven through Lucy’s heart. It is meant to kill the devil in her and purify her. The use of the name Czarina Catherina is also symbolic. It is the name of a ship. It was derived from a Russian empress known for her promiscuity (Yu 154).

Subjectivity is also used in “Dracula”. It relates to how a person experiences things. A case of subjectivity is seen when Jonathan moves into Count’s castle. He shifts from the known to the unknown. On his way, he encounters people with conspicuous features and customs. However, he views his experiences as adventure (Senf 3). He also acknowledges the superstitious nature of people in this region. Gradually, he sees some truth in these superstitions.

“Dracula” is an interesting epistolary novel. It is set in Victorian London. Stoker addresses a number of themes, including modernity, sexuality, and reverse colonization. Symbolism and subjectivity are used to develop the plot of the story and bring to life the various characters.

Arata, Stephen. “The Occidental Tourist: ‘Dracula’ and Anxiety of Reverse Colonization.” Victorian Studies 33.4 (1990): 621-645. Print.

Belsey, Catherine. Critical Practice (New Accents). 2nd ed. 2002. New York: Routledge. Print.

Byron, Glennis, Bram Stoker’s Gothic and the Resources of Science . 2015. Web.

Dittmer, Jason. “Dracula and the Cultural Construction of Europe.” Connotations: A Journal of Critical Debate 12.2-3 (2003): 233-248. Print.

Schaffer, Talia. “‘A Wilde Desire Took Me’: The Homoerotic History of Dracula.” English Literary History 61.2 (1994): 381-425. Print.

Senf, Carol. “Rethinking the New Woman in Stoker’s Fiction: Looking at the Lady Athlyne.” Journal of Dracula Studies 7.1 (2007): 1-8. Print.

Stoker, Bram. Dracula, New York: Dover Publications. Print.

Yu, Eric. “Productive Fear: Labor Sexuality and Mimicry in Bram Stoker’s Dracula.” Texas Studies in Literature and Language 48.2 (2006): 145-170. Print.

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Bram Stoker’s Dracula

How it works

Although inspired by previous stories, Bram Stoker’s Dracula is an acclaimed piece of work in vampire fiction, in which the author details Jonathan Harker’s encounter with the notorious Count Dracula, and the attempts Harker and his acquaintances take in an effort to kill him. Throughout the novel, Stoker relies heavily on the implementation of multiple Gothic Elements in order to create a sense of fear, anguish, excitement, and suspense within his audience. For example, Stoker focuses on providing a specific atmosphere throughout his novel, so he utilizes the aspect of mystery, suspense, visions, portents, overwrought emotions, and supernatural events.

Ultimately, the elements utilized within this tale are key points that contribute heavily in classifying Dracula as a piece of Gothic Literature.

In regard to Stoker’s efforts in building and sustaining a specific atmosphere, the setting choices by Stoker play a huge part in effectively creating a sense of mystery, suspense, gloom and terror throughout the novel. Although the novel has multiple setting changes, nearly all of them contain traditional Gothic Elements. For example, when describing the surroundings of Dracula’s castle in Transylvania, the text states, “The castle is on the very edge of a terrible precipice. A stone falling from the window would fall a thousand feet without touching anything! As far as the eye can reach is a sea of green tree tops, with occasionally a deep rift where there is a chasm. Here and there are silver threads where the rivers wind in deep gorges through the forests” (Stoker 22). This demonstrates that the castle is completely isolated from and surrounding towns, and with it being located in far off Eastern Europe, the castle is therefore an incredibly mysterious place for Harker, where normal conventions and logic do not apply.

Furthermore, through the implementation of multiple warnings from superstitious locals, mysterious nocturnal noises, and the howling of wolves, the audience is thoroughly on edge by the time Harker first reaches Dracula’s castle. This leads to Harker having to adapt to Dracula’s nocturnal habits as the routines of day and night are reversed, thus making the nighttime the primary setting for the story. Subsequently, this reversal adds to the atmosphere because nighttime is traditionally the hour at which most supernatural events occur. This is particularly true in Stoker’s novel due to the fact that Dracula is nowhere near as deadly during the day as he is at night. Additionally, although they are not depicted in such vivid detail as the castle, the Carfax estate, Dr. Seward’s lunatic asylum, and Whitby Abbey are also a part of Dracula and all resemble the stereotypical Gothic setting. For example, the Carfax estate is described as permeating an evil odor, lunatic asylums are conventionally places of imprisonment, and Whitby Abbey “is highly reminiscent of the corrupt monasteries and convents which were an essential part of the novels of Anne Radcliffe, Matthew Lewis, and Charles Robert Maturin” (Gow). Ultimately, as Stoker ties the elements of his setting into the atmosphere of the novel, the atmosphere develops into a terrifying place where the reader is entirely on edge.

Another factor that affects Stoker’s desired atmosphere is portrayed through the technique of writing the novel as an epistolary piece. Through journal entries, letters, and newspaper articles, Stoker is able to create a more believable and authentic story. However, despite the fact that the novel revolves around Dracula and his actions, his point of view is omitted from the story. Hence, making his character all the more frightening and mysterious due to the fact that the reader does not know what to expect from him. Furthermore, the reason this specific style of writing adds to the novel’s believability, and contributes heavily to the gloom, horror, anxiety, and realism of the piece lies within the fact that the idea of a discovered journal filled with multiple harrowing entries is pervasive throughout a number of Gothic stories.

Concerning the Gothic Element of visions and portents, the most obvious piece of evidence Stoker has included in his novel is seen within Mina Harker’s connection to Dracula towards the end of the novel. After being bitten by Dracula, Mina develops a telepathic link to him in which she is seemingly able to connect to the vampire’s spirit and witness exactly what Dracula does. Henceforth, with Mina’s consent, Van Helsing is able to hypnotize her and therefore obtain information on Dracula’s whereabouts. For example, the text states, “‘I can see nothing; we are still; there are no waves lapping, but only a steady swirl of water softly running against the hawser. I can hear men’s voices calling, near and far, and the roll and creak of oars in the rowlocks… All is dark. I hear lapping water, level with me, and come creaking as of wood’” (Stoker 296). This piece of text demonstrates that although Mina and her companions are all disturbed about her connection with Dracula, they have ultimately discovered an element of this connection that proves useful in their endeavor to murder Dracula. Another example of the utilization of these elements is seen when an old lady tries to get Harker to postpone his journey by stating, “‘It is the eve of St. George’s Day. Do you not know that tonight, when the clock strikes midnight, all the evil things in the world will have full sway? Do you know where you are going, and what you are going to?’” (Stoker 4). This statement represents the first warning to both Harker and the audience that horrible events are to be endured in the foreseeable future. Later, when mentioning the people at Bistritz, Harker also states, “… the crowd round the inn door, which had by this time swelled to a considerable size, all made the sign of the cross and pointed two fingers towards me. With some difficulty I got a fellow-passenger to tell me what they meant; he would not answer at first, but on learning that I was English, he explained that it was a charm or guard against the evil eye” (Stoker 5). Essentially, these examples of Stoker utilizing the Gothic Element surrounding visions and portents are not only found throughout the entire novel, but they also play an important role in effectively keeping the audience properly engaged and scared for what is to come.

Stoker also relies heavily on the Gothic tradition when developing the characters he has included in Dracula, as many of them represent the element of “women in distress” and “overwrought emotions.” The women that are featured prominently in Dracula are Mina Harker, and Lucy Westenra. When analyzing these female characters, the audience can begin to understand the way in which Stoker represents his female characters; some as overly sexual beings, and others as pure and chaste beings. Mina Harker for example, embodies Stoker’s “ideal woman.” This is because throughout the novel, the audience envisions her as a very loyal and intelligent woman. However, although Mina is depicted this way, she also contributes to the Gothic element of women in distress because of her inability to resolve the situation she is put in without her male counterparts assisting her. For example, the text states,

“Stoker’s heroines are also much like the traditional Gothic heroines from which they are derived. Mina, as one of the heroine’s in this novel… is a persecuted maiden who, as a vulnerable female, needs to be protected. Mina is to be menaced and threatened by the Count, and she nearly dies, but ultimately is saved by the hero, who she happens to be a perfect match for” (Gow).

This statement effectively supports the fact that although Mina is considered an “ideal woman,” she still remains vulnerable and in no way a threat to the male superiority present in the Victorian Era. Portraying Mina as a “woman in distress” does not only intensify the entire novel, but it also helps develop a sense of suspense and mystery in regard to what Mina’s male acquaintances will do in order to protect her. Conversely, while Lucy possesses similar qualities to Mina, she is presented as somewhat sexual. For example, as the novel progresses, Lucy is seen less as an ideal Victorian woman after Dracula turns her into an extremely sexual vampire. She is then described by the quote, “The sweetness was turned to… heartless cruelty, and the purity to voluptuous wantonness” (Stoker 187). Therefore, because she has become a vampire, the only way for Lucy to return to her previous self is by stabbing a stake through her heart, thus classifying her as a woman in distress. Furthermore, by essentially providing Lucy with two personalities in Dracula, Stoker is demonstrating the ease in which a character can be so quickly converted into something seen as evil, unchaste, and unable to be relieved of such distress without tragedy. Ultimately, the impressive representation of both Mina and Lucy as women in distress adds to the overall character development, storytelling, and concept of the novel.

Concerning the concept of “overwrought emotions” within the novel, Stoker has decided to completely disregard that element, and instead focuses on displaying the behaviors expected of Victorian era gentlemen. This means that instead of the emotional outbursts of tears or anger that is commonly found in earlier pieces of Gothic Literature, Stoker’s male characters remain stoic empiricists. Furthermore, this differentiation to those found in other Gothic works leads to the reader becoming engrossed with the predicament in which these one-dimensional characters find themselves in, rather than the character and their virtues. Ultimately, although there is no male character development, the lack of overwrought emotions effectively contributes to the believability and realism of the novel. If Stoker were to have written characters that did not act accordingly in regard to the century in which the novel was written, Dracula would not be known as a 21st century classic.

The last element Stoker has included in Dracula is supernatural or otherwise inexplicable events. These prominently manifest in the form of Count Dracula himself, as some characteristics he has include feeding on the blood of the living, eternal life, and weakness to ordinary items. In addition to these characteristics, Dracula also has many notable supernatural powers, in which he has the ability to control animals, transform into a bat as well as mist, and crawl along vertical walls, “just as a lizard moves along the wall” (Stoker 49). However, although Dracula may seem to be enigmatic and a definite threat because of his abilities, they are fortunately limited. For example, Dracula cannot bear to be exposed to garlic, wooden stakes, and, as mentioned previously, is nowhere near as deadly during the day as he is at night. Furthermore, with Dracula being the focal point of the novel, the inclusion of these supernatural abilities and characteristics becomes an asset in strengthening the novel’s horrific yet intriguing atmosphere. Ultimately, as many supernatural events occur throughout the novel, it is clear that Dracula is the embodiment of the supernatural characteristics that are so prevalent in many popular examples of Gothic Literature.

As Stoker draws on literary traditions to define critical aspects, such as the atmosphere, and characters of his novel, the Gothic tradition is on full display. Through the effective utilization of multiple Gothic Elements, Stoker’s Dracula has become a definitive vampire novel, inspiring many writers to draw upon it in their own pieces of work. Furthermore, with these elements being utilized effectively throughout Dracula, they therefore help create a sense of fear, anguish, excitement, and suspense within the audience during the entire novel.

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• Bram Stoker’s Dracula: Essay

One of the human’s most distinct emotions is fear, specifically that in which surfaces as the result of the unknown. Fear is an emotion generally associated with anxiety – a powerful feeling that is brought upon by worry, dread and trepidation. To dread something that is unknown is often the result of foreshadowing, which is a dominant literary component of the novel Dracula by Bram Stoker.

Stoker’s effective use of foreshadowing has an influence on the most evident effect in his novel: the effect of anxiety. As the multiplicity of the characters increases, the story itself thickens with the underlying emotion of fear.

Therefore, as the story continues through a one-person narrative, the reader becomes equipped with the capability of predicting certain fears through evidently frightening circumstances prior to the character’s ability to do so.

It becomes evident that the novel operates on fear quite early on. Within the first chapter of the book – Jonathan Stoker’s leading journal entry – distress begins to surface throughout his journey to his initial encounter with Dracula.

Jonathan is an English solicitor who is embarking on his first professional venture, in hopes of selling real estate to Count Dracula. Originally, Jonathan keeps his journal in order to later be able to tell his fiancée Mina Murray of his journeys. However; it soon becomes the primary text responsible in large parts for keeping him sane.

The final means of transportation liable for getting Jonathan to the Count’s castle is that of a carriage. Upon boarding it, Jonathan notes how “[he] felt a little strange, and not a little frightened. [He thought] had there been any alternative [he] should have taken it, instead of prosecuting that unknown night journey” (Stoker, p.12).

This is a point in which the feeling of anxiety surfaces within the reader and this feeling is intensified when Jonathan writes “…a dog began to howl somewhere in a farmhouse far down the road – a long, agonized wailing, as if from fear” (p.12), and in response to the realization that such howling was created by a pack of wolves, transcribes that “[he] grew dreadfully afraid” (p.13).

It is evident to the reader that this is foreshadowing for a series of events yet to come – a series of events with seemingly negative associations or consequences. Jonathan accentuates his fear for the unknown when he writes that “all at once the wolves began to howl as though the moonlight had had some peculiar effect on them” (p.14) and by noting that the effect was out of the ordinary, it is made obvious that the reasoning behind the acting out of the wolves is both unclear to Jonathan, as well as uncommon.

Another primary factor associated with the surfacing of anxiety is that of confusion. Confusion is a constituent that often leads to stress and stress to worry – all stepping stones toward the more intensified emotions of fear and anxiety.

Upon the conclusion of Jonathan’s worrisome journey to the Count’s Castle, he shook Dracula’s hand and noted that “the strength of the handshake was so much akin to that which [he] had noticed in the driver, whose face [he] had not seen, that for a moment [he] doubted if it were not the same person to whom [he] was speaking” (p. 17).

Jonathan’s brief – yet seemingly important – contemplation about the possibility of Dracula holding the position of both the operator of the carriage and the Count himself ignites the emotion of worry within the reader; and also equips the reader with the capability of now fearing for Jonathan’s overall safety.  

However, it is not until the physical description of the Count himself that the fear of Jonathan’s safety is solidified. Jonathan goes on to describe Dracula by writing “His face was a strong – a very strong – aquiline, with high bridge of the thin nose and peculiarly arched nostrils; with the lofty domed forehead, and hair growing scantily round the temples, but profusely elsewhere. His eyebrows were very massive, almost meeting over the nose, and with bushy hair that seemed to curl in its own profusion.

The mouth, so far as I could see it under the heavy mustache, was fixed and rather cruel-looking, with peculiarly sharp white teeth” (p.19). By regarding the Count’s teeth as peculiar – Jonathan emphasizes that his physical description deviates from what he and readers would now consider the norm, and such an abnormality stresses the anxiety supplementary to the unknown; resulting in the preliminary sense of fear toward the Count himself.

Jonathan records that the Count did say “You may go anywhere you wish in the castle, except where the doors are locked, where of course you will not wish to go” (p. 23). After spending a short amount of time within the Count’s castle – Jonathan reaches the realization which was in a small sense dreaded by readers all along; he comes to terms with the fact that “The castle is a veritable prison, and [he is the] prisoner!” (p.29).

Anxiety is at this point in the novel an extremely dominant emotion conveyed by the reader, as by this point it is accepted that Jonathan is in danger, yet the reasoning behind why it is he that has been placed in a seemingly horrific situation remains unclear. This steady lingering of the unknown could be considered responsible for the continuation of anxiety throughout the duration of the novel.

It is now in which the readers are asking the same questions as the character. Who is Dracula, and what is the reasoning behind Jonathan’s captivity? The audience’s fear of the Count himself is strengthened when Jonathan writes how “[his] very feelings changed to repulsion and terror when [he] saw the whole man slowly emerge from the window and begin to crawl down the castle wall over that dreadful abyss, face down , with his cloak spreading out around him like great wings” (p.38).

Jonathan refers to the Count’s actions as “lizard like” (p.38), and emphasizes his emotions when writing “I feel the dread of this horrible place overpowering me; I am in fear – in awful fear – and there is no escape for me; I am encompassed about with terrors that I dare not think of…” (p.38). Dracula’s now obvious deviations from that of both societal norms and human behavior leaves readers hypothesizing and theorizing Dracula’s capabilities and motives.

It also leaves the audience faced with the decision as to whether or not Jonathan is simply mad; as it is clear that such a circumstance is ostensibly impossible. The surfacing of such impossibility, again, heightens the emotion of fear in regards to the unknown. The readers are posed with the question of how could these impossibilities occur.

The reader’s equally intensified sense of worry in regards to Jonathan’s safety is solidified when Jonathan writes “Whilst I live on here there is but one thing to hope for: that I may not go mad, if, indeed, I be not mad already. If I be sane, then surely it is maddening to think that of all the foul things that lurk in this hateful place the Count is the least dreadful to me; that to him alone I can look for safety, even though this be only whilst I serve his purpose” (p.40).

It is throughout the duration of the initial introductory journal pieces, as documented by Jonathan Harker, that the reader’s sense of anxiety is developed.

Stoker’s effective use of foreshadowing has a persuasive influence on the dominant effect of anxiety throughout the novel; and the continuation of this theme is carried on throughout the multiplicity of characters that are presented, including Jonathan’s wife Mina Harker.

The theme of anxiety is derivative in large portions to both the reader and the character’s fear of the unknown – the accompanying theme that remains constant within the novel as well, which is a result of Stoker’s effective use of literary schematics.

In conjunction with this surface the reader’s evident distaste for Count Dracula; as such anxiety has ultimately resulted in fear of his character, accompanied by the audience’s lack of knowledge in regards to his capabilities.

It was said by Einstein “in time we hate that which we often fear” (Bartlett, 112), and such a statement is proven to be true through the reader’s interpretation of Dracula as seen through the eyes of Jonathan Harker.

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Author:  William Anderson (Schoolworkhelper Editorial Team)

Tutor and Freelance Writer. Science Teacher and Lover of Essays. Article last reviewed: 2022 | St. Rosemary Institution © 2010-2024 | Creative Commons 4.0

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Vampire as Christ: Antithesis and Religion in Bram Stoker’s Dracula Katrina Barnett

Within the pages of Bram Stoker’s <i>Dracula</i>, the author explores concepts of love, darkness, and sexuality as well as the theme of good versus evil. The most powerful theme surrounding the infamous vampire, however, is that of mortality. Death and the possibility of life after death permeate the novel in its most Gothic moments as the text draws attention to one central idea: what does it mean to live forever? That question is asked time and time again through the journey that each character takes and their fears of the strangeness that surrounds them; those fears all revolve around a single being in the shape of a man. Indeed, Count Dracula is in possession of miraculous powers, including access to everlasting life, and the effect of his presence on all those with whom he comes in contact is undeniable. He brings with him the realization that the afterlife may be even more frightening than death itself. In that way, it would at first appear that Dracula is portrayed as the devil, bringing revelations of darkness rather than light. Upon closer examination, however, Dracula’s essence is so specifically juxtaposed with that of the traditional perception of Christ that the Count’s representation may be read as...

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