Mina’s sexuality remains enigmatic throughout the whole of Dracula. Though she marries, she never gives voice to anything resembling a sexual desire or impulse, which enables her to retain her purity. Indeed, the entire second half of the novel concerns the issue of Mina’s purity. Stoker creates suspense about whether Mina, like Lucy, will be lost. Given that Dracula means to use women to access the men of England, Mina’s loss could have terrifying repercussions. Transylvania represents the exotic and the strange. For Stoker, it is important Vampirism is not native to England but is instead imported from some far away, exotic place. The little-known heartlands and far reaches of Transylvania, with their strange people and customs happen to fit the bill for Stoker. So it so happens that evil would come from far away Scandinavia to try and corrupt innocent England and that it would be brave, resourceful, intelligent, and above all, innocent Englishmen (plus an American and a Dutchman) who would combat it. We might expect that Mina, who sympathizes with the boldly progressive “New Women” of England, would be doomed to suffer Lucy’s fate as punishment for her progressiveness. But Stoker instead fashions Mina into a goddess of conservative male fantasy. Though resourceful and intelligent enough to conduct the research that leads Van Helsing’s crew to the count, Mina is far from a “New Woman” herself. Rather, she is a dutiful wife and mother, and her successes are always in the service of men. Mina’s moral perfection remains as stainless, in the end, as her forehead. The folk legends and traditions Van Helsing draws upon suggest that the most effective weapons in combating supernatural evil are symbols of unearthly good. Indeed, in the fight against Dracula, these symbols of good take the form of the icons of Christian faith, such as the crucifix. The novel is so invested in the strength and power of these Christian symbols that it reads, at times, like a propagandistic Christian promise of salvation. Jonathan Harker is warned by an old peasant woman in Bistritz against going on to Dracula’s castle. He accepts the gift of a rosary from her.

One of the major themes in Stoker’s book ‘Dracula‘ is the tangibility of the soul. The soul is a potent, active force that represents the essence of the individual but can be contaminated. For Stoker, our souls start from a pure state but can then get contaminated by external influences or actors. In the book, vampirism is like a soul-altering plague that either corrupts or shoves aside the pure soul of the individual in other to replace it with a new, much more evil life force. When Jonathan Harker travels to Transylvania, he is going to a real place. Transylvania is an area of Romania in eastern Europe. The town mentioned by Harker, Bistritz, is now called Bistrița. The horror builds up from the increasing eccentricities of the natives, the horror of his hosts at the hotel he stays in at Borgo Pass, and climbs up when he is transferred to the mysterious coach driver with strange features. It reaches a fever pitch as Jonathan gets deeper into the forest in the dead of the night, in the midst of the terrifying howling of Wolves. This careful ascendance of the horror constitutes a neat plot device that creates tension and suspense. Bram Stoker’s ‘ Dracula‘ was written during the Victorian period, at a time when Charles Darwin’s theory of revolution, as well as recent technological advancements, were leading to less religiosity among people. This sentiment is exemplified in the attitudes of Mina and Dr. Seward who could not solve the mystery of Lucy’s ailments because of a dependence on cold rationalism at the expense of superstitions and spirituality. Access-restricted-item true Addeddate 2021-10-09 14:06:35 Associated-names Balderston, John L. (John Lloyd), 1889-1954; Stoker, Bram, 1847-1912. Dracula Boxid IA40257410 Camera USB PTP Class Camera Collection_set printdisabled External-identifier

Dracula Script

Themes are the fundamental and often universal ideas explored in a literary work. The Consequences of Modernity Most critics agree that Dracula is, as much as anything else, a novel that indulges the Victorian male imagination, particularly regarding the topic of female sexuality. In Victorian England, women’s sexual behavior was dictated by society’s extremely rigid expectations. A Victorian woman effectively had only two options: she was either a virgin—a model of purity and innocence—or else she was a wife and mother. If she was neither of these, she was considered a whore, and thus of no consequence to society. After Lucy’s death, Van Helsing leads Holmwood, Seward, and Quincey Morris to her tomb. Van Helsing convinces the other men that Lucy belongs to the “Un-Dead”—in other words, she has been transformed into a vampire like Dracula. The men remain unconvinced until they see Lucy preying on a defenseless child, which convinces them that she must be destroyed. They agree to follow the ritual of vampire slaying to ensure that Lucy’s soul will return to eternal rest. While the undead Lucy sleeps, Holmwood plunges a stake through her heart. The men then cut off her head and stuff her mouth with garlic. After this deed is done, they pledge to destroy Dracula himself. The fictional book ‘Dracula’by Bram Stoker contains a number of important themes that reflects Stoker’s philosophies and attitudes and, by extension the sensibilities of the period he lived in. Within the narrative, these themes are revealed in the manner in which the characters in ‘Dracula’ interact, as well as in the outcomes of certain events.

While ‘Dracula‘ cautions against a mindless adoption of modern technology and ideas at the expense of our stash of traditional knowledge on cultures, superstitions, and religions, he still nonetheless recognizes the import of technology in the world. The keeping of diaries and journals, the telegram, the science of hypnosis, transcription, and the art of using a stenograph are some of the valuable skills that help in dispatching Dracula. Though they have preyed on helpless children and have sought to bring others into their awful brood, each of the women meets a death that conforms to the Christian promise of salvation. The undead Lucy, for instance, is transformed by her second death into a vision of “unequalled sweetness and purity,” and her soul is returned to her, as is a “holy calm” that “was to reign for ever.” Even the face of Dracula himself assumes “a look of peace, such as [Mina] never could have imagined might have rested there.” Stoker presents a particularly liberal vision of salvation in his implication that the saved need not necessarily be believers. In Dracula, all of the dead are granted the unparalleled peace of salvation—only the “Un-Dead” are barred from it. When Bram Stoker sent Dracula to his publisher, he wanted to present it as a true story. The publisher said it would cause panic and refused. It was eventually published on May 26th 1897, which is now #WorldDraculaDay. Further reading Characters mention peace of mind in the script a few times. What does that mean to you? Do you think the characters ever had real peace of mind again? It took the arrival of Van Helsing to expand the field of observation and therefore countenance the possibility of a spiritual or supernatural origin to Lucy’s deterioration healthwise. Stoker seems to be advocating an open-mindedness to knowledge that would not dismiss certain areas as being too ridiculous. It is crosses, wafers, and garlic that are able to ward off the vampire, rather than guns or bombs.

Ocr tesseract 5.0.0-beta-20210815 Ocr_detected_lang en Ocr_detected_lang_conf 1.0000 Ocr_detected_script Latin Ocr_detected_script_conf 1.0000 Ocr_module_version 0.0.13 Ocr_parameters -l eng Old_pallet IA-WL-1200057 Openlibrary_edition Early in the novel, as Harker becomes uncomfortable with his lodgings and his host at Castle Dracula, he notes that “unless my senses deceive me, the old centuries had, and have, powers of their own which mere ‘modernity’ cannot kill.” Here, Harker voices one of the central concerns of the Victorian era. The end of the nineteenth century brought drastic developments that forced English society to question the systems of belief that had governed it for centuries. Darwin’s theory of evolution, for instance, called the validity of long-held sacred religious doctrines into question. Likewise, the Industrial Revolution brought profound economic and social change to the previously agrarian England. Did you know Bram Stoker mentions the number 3 more than 50 times in the original novel? How many can you spot in the dramatised version? Some writers believe that vampires were inspired by real life illnesses from times before medical understanding. You can read about some examples here. Rights Respecting Schools Renfield quotes a poem by William Blake called Auguries of Innocence. You can read the whole poem here. Numeracy

Jonathan Harker, a young English lawyer, travels to Castle Dracula in the Eastern European country of Transylvania to conclude a real estate transaction with a nobleman named Count Dracula. As Harker wends his way through the picturesque countryside, the local peasants warn him about his destination, giving him crucifixes and other charms against evil and uttering strange words that Harker later translates into “vampire.” The individuals who united to destroy Dracula were not friends from the start- three of them had competed for the hands of one woman, and two had been saddened by her rejection. Yet there was no feeling of jealousy or resentment at the individual Lucy chose or on Lucy herself. Although they all came as competitors, Arthur, Quincy, and Seward ended up forging an undying bond with themselves, as well as with Harker, Mina, and Van Helsing. Because of the many strange and supernatural events which take place in the novel, characters often question whether they might be going mad and imagining things. When Harker reunites with Mina after escaping from Dracula’s Castle, he does not know whether or not he can trust his memories: “I do not know if it was all real or the dreaming of a madman.” The character of Renfield, an inmate in Dr. Seward’s asylum, further reinforces how madness can make it difficult to see Dracula’s evil schemes at play. When Seward overhears Renfield saying “I shall be patient, Master. It is coming—coming—coming,” Seward assumes the man is raving mad, when Renfield is actually speaking with Dracula and foreshadowing the dangers to come. Seward even doubts his own ability to think logically, wondering “if my long habit of life amongst the insane is beginning to tell upon my own brain.” Confronted with an evil that seems impossible to understand, characters find it easier to believe they might be going insane and that their problems are entirely internal. Fear of Outsiders Read about the similar theme of sin, redemption, and damnation in Christopher Marlowe’s Doctor Faustus. Madness The story of ‘ Dracula,’ however, maintains a measure of realism due to the epistolary, journalistic narrative structure. The narration is advanced by the careful journal entries of rational individuals, the innocent letters of naïve friends, newspaper articles, and even ship logs. This makes the story seem quite plausible.Riverkeepby Martin Stewart. Wull’s father has been possessed by an evil spirit. It’s up to Wull to hunt down a potential cure. Library copies available.

Good and evil, love, modern vs traditional, religion, role of women, strangers, science vs superstition. More to explore – motifs, symbols, context, setting Sarah Midnight Trilogy by Daniela Sacerdoti is set in Scotland and Poland, with a teenage girl struggling to accept her gift for hunting demons. Library copies available. Count Dracula is equipped with many supernatural powers that make him a formidable enemy. However, Stoker is also quite pragmatic about the fact that part of what makes Dracula dangerous is his wealth, and his ability to engage in systems of economic exchange. Dracula buys his new home in England through a perfectly legal and commonplace financial transaction, and he pays for his voyages to and from England, rather than using any sort of magical ability to travel. When Harker is imprisoned in the castle, he observes finding “a great heap of gold in one corner,” evidence of Dracula having the money he needs to carry out his plans. While Dracula’s ancient origins and supernatural powers seem to make him a figure from the past, he is able to seamlessly navigate the modern cash economy and use it to his advantage. So long as he has the money to pay, many characters, including Harker himself, are willing to overlook his eccentric and menacing behavior.Dracula, practically as old as religion itself, stands as a satanic figure, most obviously in his appearance—pointed ears, fangs, and flaming eyes—but also in his consumption of blood. Dracula’s bloodthirstiness is a perversion of Christian ritual, as it extends his physical life but cuts him off from any form of spiritual existence. Those who fall under the count’s spell, including Lucy Westenra and the three “weird sisters,” find themselves cursed with physical life that is eternal but soulless. Stoker takes pains to emphasize the consequences of these women’s destruction. The Vampire Handbook by Robert Curran is a non-fiction book explaining the myths about vampires from around the world, and a guide to protecting yourself, just in case. Library copy available. Lust or overt sexual expression is an emotion displayed by only the corrupted or damned in Stoker’s world. Neither Lucy nor Mina displays any degree of sexual expression in their interactions with their respective significant others, but when Dracula forces Mina to drink his blood, Mina recalls being sexually drawn to him, and it is only when Lucy transforms into a vampire that she becomes an evil seductress. The normally gentlemanly Harker cannot help the feeling of overwhelming lust rushing through as he was assailed by the three female vampires in Dracula’s castle. The association of sexual expression to a sort of corruption or contamination of the mind and soul is therefore evident in the book.