The presentation of Good vs. Evil is one of the main themes in the novel, Dracula. The portrayal of good and evil is seen in each character throughout the book. The characters considered “evil” in the novel are Dracula and his vampire brides. Dracula converts humans into vampires and has immense power over certain individuals.
In Stoker’s novel Dracula, Renfield is a patient in Dr. Seward’s mental asylum who has a desire to gain the life of small, living organisms (e.g., flies, spiders, and rats) by consuming their souls. Although the purpose of Renfield’s character may be considered irrelevant to the central plot of Dracula, it is of utmost significance. To elaborate, the Renfield sub-plot functions as an “abstract representation for a better understanding” and in-depth knowledge to the character of Count Dracula through Renfield’s actions (Dracula). According to Gray, the character of Renfield “parallels aspects of Dracula 's livelihood,” such as his need to consume life. The dark relationship that Renfield and Dracula share is evident in the scene when Renfield
He uses crosses, communion wafers, garlic, and hypnosis to get to Dracula, none of which seem rational. In the case of hypnosis, Van Helsing hypnotizes Mina who is stuck in Dracula’s trance. The closer they get to the castle in Transylvania, the harder it is to find Dracula. The castle interrupts the hypnotism. This is because it is Dracula’s home; he can more effectively control Mina.
Mina and Lucy Bram Stoker’s gothic novel, Dracula, was written in the nineteenth century, where he uses the main two female characters to depict the varying role between man and woman. Dracula is set in the Victorian Era, where the man in the relationship has all the power. Stoker uses these female characters, Mina and Lucy, to offset these prejudices. Lucy, is your beautiful and innocent woman, who is defined by her sexuality and is left uninformed about the dangers of Dracula. Mina, who can be defined as pure and innocent, shows off her dedication to her husband by keeping up with his studies which ultimately saves her.
Heathcliff and Catherine have long been identified as inhuman, as a much quoted comment by Dante Gabriel Rossetti shows: “The action is laid in Hell – only it seems places and people have English names there” (qtd. in Krishnan 4). If one is willing to accept that Catherine's ghost haunts Heathcliff after her death, defining this ghost as a vampiric entity is anything but absurd, as long as one does not equal 'vampire' with Dracula as described in the first chapter. An impartial reading reveals a great number of similarities between the depiction of Catherine and Heathcliff and common vampire tropes. Wuthering Heights shares a type of anti-hero with the first vampire narrative, an archetype which was later imitated by the most influential vampire novels in history.
Another noteworthy example of the way Stoker’s lascivious thematic begins outside the immediate circle of ‘good’ characters and then worms its way within is Mina Harker’s decent into vampirism. After Dracula manages to get into Mina’s bedchamber her forces himself upon her, drinking of her blood and forcing her to drink of his. “I was bewildered and strangely enough, I did not want to hinder him” (305), Mina declares as she realizes that even while she had tried to fight against the Count’s urgings she found it difficult not to yield to his demands. This is an intense moment where a pure hearted, if not pious, character is defiled and forced to recognize their own very human, and lustful desires. It is the basis of these humanizing desires
This elevates the peruser 's general perception of the scene (like alternate types of symbolism). A case of symbolism, as far as smell, is: "At the base there was a dim, burrow like section, through which came a creepy, wiped out scent… " This sentence features the disgusting fragrance of Dracula 's tomb. Also the Count 's breath was "rank" and instigated queasiness in Jonathan Harker. A third type of symbolism that can be distinguished in Dracula is that of sound. This type of symbolism is utilized toward the start of the novel and all through, particularly while reporting the premonition nearness of wolves.
While parts of the novel take place in areas of continental Europe such as Switzerland and Germany while others take place in the Arctic region. This change of pace provides contrast and clearly separates the different sections of the book. Secondly, the buildings themselves are impactful, places such as Frankenstein’s laboratory …. Science experiments were not known to the average reader; thus this was an added element of mystery and gloom to the setting. The prospect of raising the dead would disgust the typical reader, causing terror and disbelief, Shelley takes full advantage of this to enhance the strange feelings that Frankenstein generates in its readers.
Later Jamie recruits a vampire named Larissa Kinley, who he found in a cell inside the Loop headquarters, to help them, however Frankenstein does not allow this because of his hates towards vampires. Jamie goes to the warehouse of a man known as “the Chemist”, a vampire developing the drug he called "Bliss". He later comes back to the van, and Larissa spills where they can find Alexandru Rusmanov (the person who tried to kill him at his home). They head north to Valhalla to a vampire
(Scarborough) His novel, Dracula, tells the tale of five people who encounter and have to deal with the evil undead vampire Count Dracula, who terrorizes them and even causes two out of the five to become undead like himself. Thankfully, the group eventually discovers a way to eventually vanquish Dracula once and for all, and by the end of the book they destroy him, preventing him from terrorizing the people of Europe once and for all. Stoker explores several significant themes in this book, including the theme of deception. In Dracula, Stoker uses the theme of deception with the characterization of Dracula,