According to the Victorian Web, a new and budding author named Bram Stoker entered the world in the year 1847, on the eighth of November. From a young age, Stoker loved to read about folklore, and later on in life he aspired to be an author. Although Stoker published several stories, only in the year 1897 did he publish his most well-known novel, Dracula. After this success, Stoker went on to write several other novels, and eventually died in the year 1912. (Scarborough)
It is not just women in Victorian society who suffered due to complicated sexuality; Johnathan Harker was a victim of the open sexuality displayed by the vampire women. In his journal he writes “The girl went on her knee and bent over me, simply gloating. There was a deliberate voluptuousness which was both thrilling and repulsive, and as she arched her neck, she actually licked her lips like an animal.” When he says “Bent over me” it makes the girl seem of a higher status than him. In these times, women were always thought to be inferior to men, which transgresses the boundaries of Victorian societal norms.
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
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
Bram Stoker’s novel Dracula also weaves the conflict between the id and superego into a tale with creatures of the paranormal variety. On the surface, Dracula is nothing more than a story about a group of gallant heroes exterminating evil demonic creatures threatening their lovely city. A book this simple would not studied over one hundred years after its publication. If one were to examine the novel with a metaphorical microscope, one would see that the book is layered and deeper than it would seem. Dracula is actually a novel about the ego and superego trying to suppress the id. The vampires are depicted as animalistic, id-like abominations that go against both nature and the rules of society and must be destroyed by the main characters.
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.
In Dracula, Bram Stoker makes a contrast between two types of women in this novel. Women who are in the vampire state are vastly more powerful than the everyday human woman, but seem to still be subordinate. Towards the end of late 19th Century, the new woman develops toward the economic change as well as the sexual changes in society, with both men and women struggling to find a sense of this new order. The new woman was strong, finding a sense of independence and men were beginning to become terrified of their own woman. Stoker explains his idea behind the characters of the women in Dracula, he believes that “for women to deny their traditional role was to deny their womanhood, to challenge the distinctions between women and men upon which
This paper will discuss the novel, Dracula by Bram Stoker published in 1897 and its description of Lucy Westenra’s death, transformation into a vampire, and her subsequent actions and release from her "Un-Dead" state. The following paper will explore Stoker’s representation of Lucy in the context of cultural norms of this time in Britain. In addition, the paper will look at stoker’s process intended to reinforce social norms through his character, Lucy Westenra. In Dracula, Stoker’s illustration of Lucy Westenra’s transformation represents a reaction to the historical and political influence that women were beginning to have in Britain (Timeline Great Britain 1860-1910).
In Bram Stoker’s Dracula, the bloodsucking aspect of vampirism both disgusts and attracts the characters. All instances of bloodsucking are eerily sexy, or have elements of seduction incorporated with feelings of immoral lust and sexual repression. One example of this is from Chapter 3 when Johnathan says “There was a deliberate voluptuousness which was both thrilling and repulsive, and as she arched her neck she actually licked her lips like an animal.” (3.32) The conventional gender roles are reversed in the quote with the female vampire as the active aggressor and Johnathan as the passive receiver of the kiss.
In many books the villains ' stories are never understood, as in the classic novels of "Frankenstein" by Mary Shelley and "Dracula" by Bram Stoker. The reader may feel sympathetic towards the "monster", as it was feared by all, and it wasn 't accepted in the society. He was an 8-foot-tall, hideous creature with translucent yellowish skin, black flowing hair, and glowing eyes. This was shown on page 144 in the book, where it encountered Victor 's brother, William, for the first time. It wished to teach the young boy about its deformity and kind personality, but William without thinking screamed, "monster!