Dracula’s Immortality No horror novel has achieved the fame of Dracula. Bram Stoker’s imaginative battle between a motley crew of characters and a centuries-old vampire is one that has captivated for over a century. This longevity cannot be attributed to the plot alone. Dracula is able to captivate because it contains many types of struggles, each one relatable to different social contexts. Aside from its hold as a horror novel, Dracula endures because it serves as a reminder of how society is constantly in flux: authority figures fall to the powerless, tradition is confined by progress, and human values are rediscovered somewhere in the midst.
A good answer is given by Carol A. Senf in his book The Vampire in the 19th Century English Literature where he notes that such beliefs go far beyond the place itself, and that “the vampire was simply one more example of a mysterious subject that appealed” (1988: 21) by virtue of its Orientalism. As he explains it Dracula symbolized an idea of the sensational that attracted the reader, and not the essence of Transylvania or its historical
The original template for a vampire has been created through Bram Stokers, Dracula. In this story, Count Dracula has a strange and refined way of communicating and behave strangely towards the protagonist Jonathan Harker; he also displays a wide collection of supernatural abilities, such as strength, the ability to shapeshift and his thirst for blood. Many authors have used this template in order to create their own vampiric creatures; each vampire having a special ability than the next within the realm of horror. As time moved on the vampiric creatures made their way into other genres; such as romance, comedy, science fiction and many more. An example of this evolution would take place in Stephenie Meyer’s Twilight.
However, it is apparent that this characterization of Dracula as a god figure is negative, a perversion of religion, because vampires are cast as abject monsters. Though they resemble God-like figures, they are considered “a blot on the face of God’s sunshine; an arrow in the side of Him who died for man” (Stoker 253), and thus are perverted parodies of religion. For example, as Mina begins to turn into a vampire, her unwitting consumption of vampire blood and the scar on her forehead, referred to as a
Is there such a thing as a dangerous clock? Apparently so. The 1961 Roger Corman film adaptation of Edgar Allan Poe's story "The Pit and the Pendulum" is not artistically valid because the film's storyline bears little resemblance to the original work. The Pit and the Pendulum is a gothic story, which is a horror genre that mainly uses the themes and ideas of death, gloom, fear, and death as well as some romantic era ideas such as nature, individuality, and high emotions. Edgar Allan Poe was a famous author of many novels of this time who became known as the "Father of the Detective Story," a pioneer of science fiction, and the first honest literary critic.
The gypsies, as well as other ethnicity who are seen as allying with Dracula, are altogether portrayed as representing uncivilisation, savageness, and barbarianism. It also suggests any form of resistance against the British Empire, including attempt of blood contamination, immortal sexual behaviors, and the marginal ethnicity themselves, will eventually be defeated. At the final battle to defeat Dracula, the gypsies were depicted as the escort of Dracula. Despite their strength and training, the army, surprisingly , is simply defeated by a young solicitors from the city London, whose“impetuosity, and
Count Dracula 's castle is an imprisoning and frightening place, it is remote and isolated, far from England, and in Transylvania, one of the "wildest and least known portions of Europe," (Stoker 10) according to Jonathan. Harker also can 't find the castle 's exact location on a map. Thus, from the beginning, we encounter hints of the supernatural and horror genres in the isolated, mountainous, mysterious location of Castle Dracula. When Jonathan tells local people where he is going, they cross themselves and look fearful. Furthermore, the locals who take Harker to the castle treat the location with fear and dread.
In the novel Dracula, author Bram Stoker creates a peculiar situation that pushes the main characters to decipher the supernatural from reality. Originally thought of as a myth, Dracula quickly becomes something more than the supernatural. By slowly building the conflict of Dracula himself, Stoker depicts all stages of the change from believing that Dracula is a fictitious character to being face to face with Dracula himself. As he terrorizes the lives of the characters in the novel, they soon come to the realization that Dracula is more than what they formerly believed, and in actuality he is their harsh reality. As Jonathan found himself lying in a hospital bed after being held prisoner by Dracula, he was thought to be delirious by his doctors and nurses.
Likewise, another story where the setting is integral to the plot is that of Bram Stoker’s Dracula. The Count is bound to his dwelling by his condition; he is forced to come back and replenish his strength in his grave. Consequently, the castle acts as both his home and his tomb; one which he controls completely and where he is exempt from danger. Dracula goes back to his castle in moments of distress and danger to store up his energies anew. This imposing castle is in a faraway place from civilization in very unforgiving terrain, Dracula’s castle cut the sky; for we were so deep under the hill whereon it was set that the angle of perspective of the Carpathian mountains was far below it.