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.
Later on, when Lucy is in need of another transplant, Van Helsing, the man in charge of the operation, hints that it might be inappropriate for someone else to transfer blood into her. Him hinting at this idea shows that the process is in fact somewhat sensual, since having someone else 's blood into her might affect her fiance. Stoker makes several references to Old English literature throughout Dracula, Hamlet is especially referenced several times. In this quote, Lucy speaks of her fear of the night and of sleep. “Well, here I am to-night,
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
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.
evil (dark). To begin with, light colors, such as white, are highlighted through characters such as Lucy Westenra, as she is both literally and figuratively characterized to be among “the white garments of the angel,” indicating that Lucy is a character who represents all that is pure and noble in a lady (Stoker 209). On the other hand, the vampires in the novel, Count Dracula and the three female vampire wives, are associated with the colors black and red. For example, when Jonathan Harker first encounters Count Dracula, Dracula is revealed to be “clad in black from head to foot, without a single speck of colour about him anywhere” (Stoker 13). This emphasizes his role as an antagonist in the novel.
Frankenstein has a way of making things sound overtly dramatic, “as if possessed of magic powers, the monster had blinded me to his real intentions; and when I thought that I had prepared only my own death, I hastened that of a far dearer victim,” (175) while surely Frankenstein does not have magic powers the reader is left with a question as to who could possibly be a “far dearer victim” (175). The mystery behind the identity and the aforementioned magical powers are very unsettling. The wording of this passage also calls attention to the unpredictability of Frankenstein’s actions as his creation of the creature brings man into uncharted territory,
There were thus harsh restraints regarding female and male sexuality, but male homosexuality was considered even more of a taboo. After the well publicized trial of Oscar Wilde in 1895, sodomy was criminalized, and the public was urged not to commit this evil act. If they did, people could end up in prison. There is no doubt that homosexuality is one of the main themes in Dracula, for Dracula penetrates both women and men where Nina Auerbach analyzes the homosexual codes in the book, stressing the evil attractions of the Count. She claims that the Count is a sexual threat who threatens to destroy the moral order and turn it into a depraved society through his violation of people.
(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,
Although Lysander does have the magic taken away from him, Demetrius never does, therefore he spends the rest of the play, in love with a woman he was not interested in for the first two acts of the play. By the completion of the play, just as in all of Shakespeare’s comedies, each person concludes the play with the person they wanted to be with in the beginning, other than Demetrius who still seems content to be marrying Helena. Although the nectar causes much of the discomfort and issues in the play, it is also what helps the woman who did not believe she deserved love, to believe that another person could love her for her, and luckily enough she does not seem to understand that her husband did not intend on living out his life in this
Over time, however, in Valley of the Dolls and Lady Chatterley’s Lover, there are an abundance of lyrically vague descriptions of sensual situations. In Valley of the Dolls, a significant scene takes place in the beginning of Anne’s story: “...the impossible and delirious new sensation of feeling his mouth on hers, kissing her deeply...She wanted to please him, but the pain caught her unaware and she cried out” (Susann, 131). Jacqueline Susann’s diction differs entirely from Lawrence’s as he writes his sex scenes to hint at sexuality as seen in chapter ten, page 126 in which Lawrence describes Mellors and Connie’s first sexcapade as a “quiver of exquisite pleasure” and how Mellors entered “the peace of earth of her soft, quiescent body”. The difference between either author’s semantic expression, as presented by Sara Johnsdotter, is “Semantic innovation”, as a means of enhancing “expressivity” and optimizing “their communicative success” to the reader (The Flow of Her Cum, 182-183). Nonetheless, by choosing to express sexuality as such, Susann and Lawrence ready their work to social
The downfall of Lucy Westerna and the arrival of Dracula arose fears in which only challenging their sense of humanity and understanding of the world could they be able to overcome the dangers which had surrounded them. A sense of urgency is created in when Bram Stoker uses exclamation marks, as the turn of Lucy begins. “Arthur! Kiss me!” she states it as if it must happen now, or it never will. As Lucy becomes a vampire, she becomes increasingly sexualized.