Bram Stokers Dracula is a novel that can be presented and interpreted in a number of different ways. Throughout the story, there are several themes that can be identified, such as womens rights, the importance of teamwork, and even the struggle between good and evil. However, considering Dracula to be a religious novel is quite debatable. Because of the several references and ties to religious thoughts and beliefs in the novel, Dracula should in fact be considered a religious novel, as the religious objects in the story are pivotal to the success of the protagonists, and Stoker is meaning to strengthen the power of these beliefs of the townsfolk.
It is important to consider Dracula a religious novel because of the importance
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As stated earlier in first chapter of the story, the townsfolk knew what was happening from the beginning. They knew that holy objects, such as the crucifix, had the potential of warding off evil demonic entities, such as vampires. Their knowledge of the situation could in part be due to the fact that they likely lived in Transylvania for the majority of their lives, and experience is key when it comes to knowledge and wisdom. Because Harker was the first to come into contact with the townspeople and he knew about their superstitions, it is a surprise that he did not attempt to return to Transylvania and ask for their help. They could have been of great assistance due to their prior knowledge that Dracula was a vampire himself.
The religious nature of Dracula was a driving factor behind the events that unfolded in the plot. Mainly through that of Dr. Van Helsing, the holy objects used by the characters helped ward off the damnation of the vampires, as they would recoil and refuse to go to places that contained these objects. This effectiveness of the objects prove that the author was not trying to mock the superstitions, but to prove them
Bram Stoker's Dracula is filled with interesting symbology and religious comparisons. Dracula is a gothic novel set in late 1800s Britain and Transylvania. Dracula is an epistolary, meaning it is told through a series of journal entries, news clippings, etc. It’s like the written version of found film. Dracula draws from many old myths for its villain and is the basis for the modern vampire.
The topic I have chosen for my essay is how Dracula is meant to remind society of the importance of religion, specifically Christianity, in Stoker’s time. I intend to do this through analyzing symbols in Dracula, drawing connections between these symbols and Christianity, and analyzing the implications Stoker attempts to make. I chose this topic because vampires and their sacrilegious implications, such as burning when touching a cross, have always been of interest to me, hence why I chose to study Dracula in the first place. My thesis is: Stoker uses Count Dracula as symbol to represent what society may become if they abandon religious beliefs.
The good believe that they can fight off the evil by believing that faith can win. They defeat Dracula by using a number of holy items. They use communion wafers, holy water, a crucifix, and more. Everyone has a conflict with the evil characters in the story. Dracula gets defeated in the end, we all knew this in the beginning because this is an obvious good versus evil kind of
Truth and Progress: Reconciling Religion and Rationalism to Defeat Dracula Bram Stoker's 1897 novel Dracula deals heavily with the theme of religion and faith, and, framed in the context of a fantastic struggle against an evil vampire, explores a controversy about religion which dominated its contemporary Victorian period—the debate between Christian religion and modern rationalism, an ideology fuelled by recent scientific advancements which provoked religious doubt. Literary critics tend to attempt to fit Dracula to one side or the other of this Victorian debate, but the novel’s position is difficult to discern, as instances of faith versus reason are not presented in binary opposition—neither side is marked as discernibly good or bad. What
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
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
The horror genre of Bram Stoker’s Dracula, combined with mild eroticism is able to draw in readers due to the fact that Stoker is able to intricately weave suspenseful sexual scenes/scenes of desire throughout the novel—making it clear that
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.
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.
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,
This sheds a light on Dracula as a figure who truly does feel homosexual affection towards Harker. When Harker disobeys Dracula he finds himself in a room where Dracula’s three wives are. Harker journal entry recalling this event describes it in very close details. He describes the women in a very erotic way, saying “I could feel the hot breath on my neck. Then the skin of my throat began to tingle” (Stoker, 48), and the “soft shivering touch of lips.
This can even allow the reader to possibly ‘fill in the blanks’ about the unknown character with her own fears, adding to the horror of the novel. Count Dracula’s first appearance takes place in his castle in the Carpathian Mountains of Transylvania when Jonathan Harker arrives to discuss a real estate transaction. When Harker arrives at the castle, he first hears Dracula approaching in an ominous manner before he actually sees the Count. “I heard a heavy step approaching behind the great door, and saw through the chinks the gleam of a coming light,” Stoker writes, “then there was the sound of rattling chains and the clanking of massive bolts drawn back. A key was turned with the loud grating noise of long disuse, and the great door swung back”.
The appearance and clothing of characters is not the only way of how good vs. evil is exemplified. Iconography is used many times throughout the novel as well. For example, the crucifix in the novel is a notable obstacle, which separates and saves good from evil a few times. A specific example early on in the novel is when Jonathan Harker is in his room within Dracula’s castle. After he cuts himself with his razor, Dracula springs on him at the sight of blood, but as soon as Dracula notices the crucifix hanging below Harkers neck, he backs away and leaves the room.
In Bram Stoker’s gothic novel, Dracula, the overall and fundamental theme of the book is given away the further you read, expressing Stoker’s view of religion. The novel is an account of the paths taken by many different characters such as Count Dracula, Van Helsing, Jonathan Harker, Mina Murray and Lucy Westenra. Since this poem was written with ideas focused primarily on the concepts of evil, as it was viewed during an appearingly-conservative nineteenth and twentieth century society, the book can be seen as a parallel to Eliot’s and others’ own religious quests. While Bram Stoker attempts to acquaint the reader with a frightening tale on the accounts of a dreadful vampire named Count Dracula, he also expresses the goal of strengthening
In order to defeat Dracula, the protagonists use both religion and rationalism; as a result, arguments in favour of both sides of the debate are presented, which makes it impossible to reduce Dracula to one side or the other. The vampire hunters rely heavily on faith and religious objects, such as crucifixes and the eucharist, which presents an argument in favour of looking beyond rationalism and science to faith. As noted above, Dracula, by his fantastic nature, is something that defies reason, and thus religion is necessary to explain what rationalism cannot. Van Helsing makes a case for this when he urges “I want you to believe… in things you cannot.…I heard once of an American who so defined faith: ‘that which enables us to believe things