Smartly enough Van Helsing makes a circle of wafer crumbs around them to keep them safe from the devilish spirits that roam the lands around them. This turned out to be a smart plan for Dracula's wives come and attempt to seduce Van Helsing but did not work on him unlike Jonathan Harker. In Jonathan's case the sweet singing which reminded himself of Mina's voice guided him into the ghastly chamber of the three hellish women. To his demise, he falls for their trickery as they slowly feast on his blood. As Jonathan looks upon the three beautiful beasts, he says “I felt in my heart a wicked burning desire that they would kiss me with their red lips” (53).
So, Quincey Morris volunteers. This exchange between these two would’ve been seen as an inappropriate act. Also, vampire attacks are described as “kisses” rather than “bites” which adds intimacy to the novel. Jonathan Harker even has an encounter with three of Dracula’s beautiful women and thinks that they wanted to drink his blood. Many actions within the novel are viewed as rather intimate in the Victorian Era, which is not how we would usually view
(Ch 5, pg. 87) Lucy is illustrated as someone who is continuously driven by sexual temptations and flirtatiousness. Stoker puts emphasis on her beauty, which is what grabs the attention of men. Lucy ends up getting killed because her sexual openness was seen as a threat to Victorian society. Stoker uses a character like Lucy in his novel to portray that sexually assertive women who try and use their beauty to win over men will not make it in the Victorian culture.
Then the skin of my throat began to tingle” (Stoker, 48), and the “soft shivering touch of lips.”(48) He then says that as he waiting he felt “ecstasy” as their “fair cheeks, blazing red with passion” (48) descended upon him. As Dracula notices what is happening he is furious. Harker describes him as having red eyes that were “lurid, as if the flames of hell fire blazed behind them” (48), then pushes the women aside. Dracula then yells at them saying, “‘How dare you touch him… This man belongs to me!’”(48.) This fury and possessive behavior are in no means typical in a healthy relationship, but perhaps Stoker chooses to represent Dracula in this way, as to show the jealous rage sometimes associated in obsessive, forbidden love, and the anger surrounding the acceptance of one 's
DRACULA Dracula is one most creepy and famous novel that has been written by Irish author Bram Stoker in which included the notorious character vampire Count Dracula. Besides, it has considered a novel with many literary genres for example vampire literature, horror fiction, the gothic novel, and invasion literature. It was published 26 May 1897 in United Kingdom. The main theme of this novel is good vs evil in these two aspects are against society. The evil part is considered the behavior that shows Dracula to kill everyone who interferes in his plans.
Under my battlements. Come, you spirits That tend on mortal thoughts, unsex me here, And fill me from the crown to the toe top-full Of direst cruelty. Make thick my blood. (I.v. 30-35) This is evidence towards Lady Macbeth wanting to have full masculine emotions.
‘Dracula’ is a modern play which is adapted, by Liz Lochhead, from the classic horror novel written by Bram Stoker. The play is set during the Victorian era and develops the key themes that were prevalent during this era such as sexual hypocrisy. Lochhead’s unusual approach paces much more significance on the female characters, in particular, Mina and Lucy and puts much less significance on the more well-known and traditional main characters Dracula and Van Helsing. This repression of sexual desires is expressed as Lucy struggles to cope with the social convention of how Victorian women had to behave. In the opening scene, Lucy has conflicting elements in her character and struggles to cope with social convention as Liz Lochhead describes
Xenophobia is an intense fear of people from other countries foreigners and the theme of xenophobia is present in the novel, Dracula, by Bram Stoker. By building on Micheal Kane’s suggestion that Count “Dracula … sucks the very life blood of the community” (1) and Kane’s remark about how the “'outside' becomes the imagined repository of anything deemed undesirable which exists ‘inside’." (10), I will be discussing Count Dracula’s actions which signify the fear brought by Count Dracula into England. Further by discussing Dr. Leila S. May’s remarks “about the fear of a contamination that, already exist[s] within, could even infect the forces of vigilance themselves” (16), I will further investigate Count Dracula’s role as a foreigner that portrays fear and how Van Helsing is similar yet different from Count Dracula. Scholars have analyzed the character of Count Dracula, however the character of Van Helsing, who plays the opposition of Count Dracula has not been studied in depth.
For example, in the silence and darkness of night, after Macbeth kills Duncan and Lady Macbeth frames the guards, she states, “My hands are of your color, but I shame to wear a heart so white,”(2.2.61-62). Saying that her hands were of his color means that her hands were covered in blood, an ubiquitous image that is used multiple times throughout the play. Notably, blood is connected to death and darkness, especially throughout Macbeth. The blood contributes to the evil theme and creates a dark tone; therefore, causing Lady Macbeth to be seen as evil. Along with the blood connection, the fact that she told macbeth that she would be ashamed if her heart was white (weak) as his reveals her desire to be strong.
1. Introduction For most people the word vampire is connected to blood-drinking creatures that wander through the night and hunt down defenceless victims in order to drain their blood. Many might have monstrous figures in mind that come straight out of horror films, or maybe some others imagine a romanticised version, i.e., the protagonist Edward Cullen, from Twilight. In sum, for the majority, vampires represent blood sucking creatures that exist in fantasy, horror, and romance, but are left to be in fictional realms of literature and movies. Vampires are far more than fictional characters in films, or books, they represent “metaphors about life and death, sexuality and gender, cultural identities, and even political ideologies” (Hobson and Anyiwo 1).
As Lucy becomes a vampire, she becomes increasingly sexualized. Like the vampire ladies of Castle Dracula, her repressed sexuality comes to the surface, and she becomes the sexual aggressor, women in 1897 weren 't supposed to be the ones to ask for kisses. They were supposed to be