The first mention of vampires in literature seeped through from European folklore. In the mid-1700s, a vampire panic swept the Serbian countryside. Victims reported being visited in the night by their recently deceased relatives or neighbors, who throttled the life from them. Those struck by these visions died within days.
When panicked townspeople exhumed the offending corpses, they found "tell-tale" signs of vampirism: hair and nails that continued to grow after death, blood in the mouth, a lack of decomposition.
The panic worked its way into poetry. Heinrich August Ossenfelder 's 1748 poem "The Vampire" (available in the original German), was one of the first to speak about the nocturnal horror:
And as softly thou art sleeping To thee …show more content…
Fifty years later, Sheridan Le Fanu gave the world its first favorite female vampire in Carmilla, which he published in 1872. In Carmilla, a young woman falls prey to a vampire in an isolated castle. Sound familiar? Scholars have noted many similarities between Carmilla and Bram Stoker 's vampire masterpiece, Dracula, which followed twenty-five years later. By the time Dracula was published, the reading public was steeped in vampire tales. Stoker drew on the existing tropes to create a lasting horror masterpiece that has become a cultural staple. The character of Count Dracula has since appeared in more than 200 …show more content…
Carmilla is the most obvious counter to the assumption that vampire horror stories began with Bram Stoker. In fact, Western Europe had been raking it in for at least a century before Count Dracula, thanks to terrors stemming from religious misgivings about the crazy amount of imperialism going on at the time. (More on that in a minute.) Remember that summer Mary Wollstonecraft Shelley spent in Lake Geneva with her baby-daddy/future husband Percy and several other writers in 1816, during which she wrote Frankenstein. Poet Lord Byron, also in attendance, and his physician John William Polidori both came away from the summer-long ghost story competition with vampire stories very similar to those later tales credited with the genre’s genesis. Carmilla in particular is notable for the progressive groundwork it laid for LGBT-centric and otherwise liberally sexual
Dracula is an 1897 gothic novel written by Bram Stoker that tells the story of an English solicitor named Jonathan Harker who takes a business excursion to the town of Transylvania where he stays at the castle of Count Dracula. The story is a mysterious and eerie tale with a multitude of quirky and peculiar characters that all add to the grotesque atmosphere. Nosferatu is a 1922 film directed by F.W. Murnau set in the fictional German city of Wisborg which follows estate assistant Thomas Hutter as he ventures to Transylvania to sell a house to Count Orlok. The extremely influential German expressionist silent film utilizes light and shadow to bring a bleak and desolate tone to the film and creates an atmosphere that is equally stunning as it
Sherry Yielding Karen Sanders English 1003 April 9, 2016 Vlad the Impaler and Bram Stoker’s Dracula Vlad the Impaler was a man who lived in and ruled Wallachia, a territory in modern-day Romania, in the 1400's. There are many differing myths and legends surrounding his life and also, his death. Was Vlad actually a vampire or simply a man with a figurative thirst for blood?
The essay I chose to compare Dracula with was “Kiss Me With Those Red Lips: Gender and Inversion in Bram Stoker’s Dracula” by Christopher Craft. The essay explains the sexuality in Dracula, desire, gender, and even homosexuality. Craft mentions his essay gives an account of Stoker’s “vampire metaphor” (Craft 108). He highlights certain and very valid points in the story of Dracula that breaks the Victorian gender role, writing, “a pivotal anxiety of late Victorian culture.” (Craft 108).
Doubtless he created a model for the classical vampire which was developed by the ages. In 21st century Stephanie Meyer composed a romantic book using modificated vamp creatures. Mixture of classical personality of the villain and born in her dream figures of perfection. Described earlier differences present how vampires changed during time. In spite of all I cannot deny both ‘Dracula’ and ‘Twilight’ turned out to be World phenomenon.
Bram Stoker’s Dracula, is a classic that has been enjoyed by readers for many years. It is one that involves fantasy, gore and even has the potential of scaring readers. It is a story that has been enjoyed and feared by readers for centuries. With that said, even though it is commonly known as a classic horror novel, it can also be seen as an erotica. Throughout the novel, Stoker incorporates sexual scenes, and scenes of desire that may or may not capture readers’ attention due to the presence of horror.
Bram Stoker, describes one of the verbal taboos of the Victorian era, violence, through the representation of vampires as “monsters” through the point of view of their victims in his novel Dracula. Stoker portrays violence in three distinct categories- physical, visual and psychological. Each one of these categories is described by one of the antagonists in the Novel, with Count Dracula as the physical aspect of violence, his underlings, the female vampires as the visual and Renfield, the patient at Dr. Seward’s mental asylum, as the psychological aspect of violence. This essay looks at the portrayal of such Categorical violence as different renditions of a “monster” and considers why Stoker would segregate violence in such a manner.
Throughout the novel, Dracula is described through biblical terms. An example is when Dracula is crawling up the wall Jon asks “What manner of man is this?” and this is the same scenario and question from the disciples when Jesus calms the seas in Matthew 8. Another biblical example is when Mina describes Dracula as a “pillar of cloud” when she sees him in her bedroom, this is the form God took when guiding Israelis into the wilderness. Mina is picturing Dracula as a godly figure which pushes the evil representation of Dracula back causing the reader to not see him so fiercely as the anti-god.
The four pieces of literature to be compared in this comparison are Dracula by Bram Stoker, Bram Stoker’s Dracula (1992) by Francis Ford Coppola, Nosferatu (1922) by F.W. Murnau, and Dracula (1931) by Tod Browning. In these works of fiction, there are answers to what it would have felt like to be a vampire, what it would have felt like to have a vampire in one’s life,
At first glance, the novel Dracula by Bram Stoker appears to be a typical gothic horror novel set in the late 1890s that gives readers an exciting look into the fight between good and evil. Upon closer inspection, it becomes apparent that Dracula is a statement piece about gender roles and expectations for men and women during the Victorian age. Looking at the personalities, actions, and character development of each of the characters in Dracula bring to light startling revelations about Victorian society and how Stoker viewed the roles of men and women during this time period. To really understand Dracula, it is important to note that this novel was written during a time “of political and social upheaval, with anxieties not just about the
Dracula's kind of the James Bond of the vampire world: He's super sexy, super quotable, and has had so many faces and identities over the years that it can be a little hard to keep track(ula) of which one's the “best” of the lot. Even within the Castlevania series Dracula himself has taken a few twists and turns, moving from the realm of generic evil end boss to sympathetic hero. And don't forget Kid Dracula, which is 100% not canon but definitely, definitely should be. Dracula could definitely stand to have a little more impish charm in his
The major theme in the novel Dracula by Bram Stoker is the threat of female sexual expression. During this time period, female sexual behavior was frowned upon. Women were said to have to be either a virgin or a wife and mother. Social standards were very strict during this time, making it unheard of for women to show sexual expressions. In is era, the main concern was the role women had in society.
Dracula is about vampires in general, the myth, the mystery and the horror. Even though Dracula wasn’t the first vampire story, it was the first really popular one. Throughout the novel, the author, Bram Stoker, portrays many different aspects of women's roles in the 19th century. With the use of imagery and symbolism, the theme of sexuality and gender roles has an enormous presence in the novel. Social gender roles of women and men during the Victorian Era were very strict and looked upon differently than any other time period.
“Fear can challenge our sense of humanity and understanding of the world” This is a broad statement and in a book with over 300 pages, I will be focusing on certain parts in each of the books. Proving that fear can and really does challenge our sense of humanity and understanding in the world, from the start of the book where they tried to make up a rational solution to make this all seem like it wasn’t real, to actively fight against the evil they had so vehemently protested against existing. Bram stokers 19th-century fictitious Gothic novel 'Dracula ' is incredibly complex with many different characters from the meek and underestimated Mina, to the courageous and respected Van Helsing.
Seeing is believing, especially when it comes to the supernatural. Throughout Dracula, by Bram Stoker, the clash between science and the supernatural is a recurring theme. At the time, London, England, was in the middle of modernizing society and the science behind it. This included the invention of the phonograph, typewriter, and the way people were thinking. Because of this new era, the English began to discharge the ideas of superstitions.
Gothic horror novel Dracula, the title character makes only several relatively short appearances, some of which are while in disguise. Throughout the novel, Stoker keeps Count Dracula in the shadows, both literally and figuratively. This essay will describe these appearances and analyze Stoker’s use of them to determine what effect they might have on the impression of the character and the novel overall. It will be claimed that by keeping his title character hidden for much of the novel, Stoker’s Dracula is made much more frightening to the reader. Human beings tend to fear the unknown, and by leaving Dracula to the imagination,