dracula themes essay

Dracula Themes

Theme is a pervasive idea presented in a literary piece. Dracula , a masterpiece of Bram Stoker , contains many themes, including the dilemma of knowledge and the dark sides of human nature, such as proclivity to commit evil and limits of human knowledge. Some of the major themes in Dracula are discussed below.

Themes in Dracula

Limits of Knowledge

Knowledge and its limits together form one of the major themes of the novel Dracula. This pursuit of knowledge lies in Van Helsing, Lucy, and Parker’s efforts to understand the nature and working of Dracula as a character . It is because they are not aware of the extent of his power and vicious access to human nature that they must know how to fight against him. Despite the vast technical knowledge of modern gadgets, Stoker, too, fails to understand the nature of Dracula. However, traditional knowledge and knowledge of traditions come to help him and others in the shape of information from Van Helsing. It shows the limits of modern knowledge and the benefits of retaining traditional knowledge.

Another important thing is that this knowledge and its thirst should be in human control, or else it may cause havoc. Professor Van Helsing’s argument that Dracula has overstepped the human limits of knowing things seems correct in that after crossing these limits, Dracula has become a nuisance for human beings so much so that his elimination becomes a must.

Good and Evil

Good and evil is another major theme of the novel, Dracula. Dracula represents evil or evil ways through which he wants to assert his power over others and his superiority. However, Van Helsing knows that this evil could face defeat through goodness. That is why he frames this battle as a conflict between good and evil. However, it is interesting to note that he sees goodness in all Christian objects used for religious rituals to use against Dracula. It shows that if a person does not accept Christianity and Christian goodness, he does not get salvation. His expression of sadness over this exclusion of Dracula is a case in point that Van Helsing considers him evil. Van Helsing shows goodness by saving people from Dracula.

Madness is another theme of the novel. Many of its characters meet and face strange and esoteric events that border madness. Jonathan Harker, who heralds the arrival of Dracula and flees his castle, questions his own memories and whether he should trust them or not. On the other hand, Renfield, who is mad, shows how Dracula can use madness to his advantage. Seward assumes him a mad person though Dracula uses Renfield to look mad to others and talk to him. In this connection, Seward thinks that as it is impossible for him to imagine Dracula and evil associated with him, for he also borders madness.

Fear of Outsiders

Fear of outsiders entering one’s country and causing havoc is another major theme of the novel. It is clear that Dracula is not an English person. His nationality, therefore, makes it even more terrifying for the English characters like Lucy, Van Helsing and others, and forces them to drive him out. He is not only different from others but also his ways are strange, as Harker tells others when exposing Dracula. In fact, Harker’s main worry is not Dracula himself, but the evil that he is going to spread in his country. Therefore, his origin of Transylvania comes into question when Van Helsing starts fighting a battle with him.

The power of money is another major theme of the novel. Dracula is quite wealthy and has the means with which to purchase a mansion in London , a modern suburb of that time. He resorts to legal means to purchase that mansion through financial transactions and has the money to hire a legal consultant. He does not use his supernatural powers to travel and purchase things. Rather, he uses his wealth as Jonathan Harker, too, finds heaps of gold when he is thrown behind bars in his castle. This is a piece of evidence that Dracula is not hungry for wealth. In fact, he has enough cash to facilitate his movements despite the fact that Harker first suspects him but does not expose him until he becomes a danger for him.

Superstition

Along with many major themes, superstition is another secondary theme of the novel. Dr. Seward and Van Helsing’s attempts to find out more about vampires and then fight a battle against them to save others’ lives fall into the realm of supernatural and hence superstitions. When Van Helsing first sees Lucy, he immediately senses something like this. The treatment that he suggests with the sterility of the area using garlic is in itself a superstition. However, there is no pragmatic view about the use of garlic, nor any existence of such vampires in history except in such novels. Therefore, all of Van Helsing’s assumptions about mystical bonds of vampires, the use of religious symbols to ward off such dangerous creatures, and the use of vegetables to ward off supernatural witches are mere superstitions.

Sex Sex and the expression of sexual desires is another secondary theme that runs parallel to various other themes in the novel. Lucy and the three Vampire sisters are literary expressions of sexual desires. For example, the very act of seducing Jonathan Harker by those three sisters is a sexual act that shows their underlying desire to have sexual relations. Even Harker faces a dilemma and then thinks that they are very beautiful though he suppresses his desire.

Science vs. the Supernatural

A very interesting but secondary theme that appears at several places in the novel is the conflict between science and the supernatural elements. In a way, it seems that Seward and Professor Van Helsing try to explain Lucy’s sickness using modern medicine, but they could not until belief comes to their aid. This conflict comes out through Jonathan and Dracula where many others join the battle pitting the new belief system against Christianity.

British Idealism

British idealism is another minor theme of the novel in that Van Helsing’s treatment of Lucy’s illness through the cross points to the fact that Christianity pervades the British social and religious structure. That is why Van Helsing also shows the idealism of British healing touch when treating others and saving them from the fear and terror of Dracula.

Revival of Religious Faith

The revival of religious faith and the renewal of faith in religion is another minor theme of the novel. It has been proved through the cross that makes Dracula flee that religion still has the healing touch and salvation for the misled mankind.

Related posts:

• Dracula Characters
• Dracula Quotes
• Macbeth Themes
• Hamlet Themes
• 1984 Themes
• The Crucible Themes
• Frankenstein Themes
• Oedipus Rex Themes
• The Metamorphosis Themes
• Beowulf Themes
• Odyssey Themes
• Beloved Themes
• Slaughterhouse-Five Themes
• Antigone Themes
• Inferno Themes
• Fahrenheit 451 Themes
• Into the Wild Themes
• The Alchemist Themes
• Night Themes
• Life of Pi Themes
• The Invisible Man Themes
• The Tempest Themes
• The Iliad Themes
• The Jungle Themes
• Siddhartha Themes
• The Stranger Themes
• The Aeneid Themes
• Themes in The Bible
• To Kill a Mockingbird Themes
• The Scarlet Letter Themes
• The Canterbury Tales Themes
• Heart of Darkness Themes
• Brave New World Themes
• Death of a Salesman Themes
• Things Fall Apart Themes
• A Tale of Two Cities Themes
• A Doll’s House Themes
• The Grapes of Wrath Themes
• Twelfth Night Themes
• Crime and Punishment Themes
• Their Eyes Were Watching God Themes
• Wuthering Heights Themes
• In Cold Blood Themes
• The Kite Runner Themes
• The Glass Castle Themes
• King Lear Themes
• The Adventures of Huckleberry Finn Themes
• Romeo and Juliet Themes
• Lord of the Flies Themes
• Jane Eyre Themes
• Julius Caesar Themes
• 10 Different Themes in Taylor Swift Songs
• A Huge List of Common Themes
• Examples of Themes in Popular Songs
• To Kill a Mockingbird Racism
• Bram Stoker

Post navigation

Themes and Analysis

By bram stoker.

Bram Stoker's 'Dracula' contains a number of themes important because they reveal so much about the author's philosophies.

About the Book

Article written by Israel Njoku

Degree in M.C.M with focus on Literature from the University of Nigeria, Nsukka.

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.

Brotherhood

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.

When Lucy was ill, the suitor she rejected, Dr. Seward, was the one who cared for her, while another suitor, Quincy, contributed his blood to be transfused into her when she was in dire need of it. Van Helsing also provided his own blood despite having no prior emotional connection to her. This selflessness and generally noble predispositions are what make the brotherhood so strong and then ultimately successful against Dracula in the face of huge odds.

The Validity of Religion Alongside Technology

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.

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.

The Tangibility of the Soul

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.

The state of being “undead” is like a chip complete with bad and evil programs. When Lucy transforms into a vampire, her pure soul is replaced by that of an “undead” life force, and when she is then killed, her pure soul returns and finds rest. This is the case too with Dracula, whose final moment of peace is his most sympathetic. After his death, a tranquil disposition descends over him, replacing the malevolent and evil expression that had been on his face before. So in a sense, the fight against Dracula was also a fight to free his pure soul from the foreign life force that had either corrupted or imprisoned it.

In Stoker’s work, vampirism is associated with the deplorable and demeaning vice of lust. Lust here is an emotion that symbolizes a lack of self-control, in essence, man’s inability to master his own emotions, making him a prisoner to his desires. This man is far from the Victorian ideal, and if these qualities are found in a woman, it would greatly affect her reputation. When Harker first visits Dracula, he is impressed and made to feel comfortable by Dracula’s gentlemanliness and aristocratic charm. But this is a disguise that fades away at Dracula’s first temptation- the moment when Harker cuts himself. Dracula instinctively lunges at Harker at the sight of blood, but he is repulsed by Harker’s cross.

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.

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.

Analysis of Key Moments

• 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.
• Dracula invites Harker to enter freely into his castle.
• Dracula tries to attack Harker after seeing blood on Harker’s body but is repelled by the rosary Harker carries.
• Harker sees Dracula depart for England with the boxes of earth.
• Dracula arrives at Whitby in a shipwrecked boat after killing off every other person in it.
• Lucy starts sleepwalking and gets repeatedly attacked by Dracula
• Lucy falls ill, and her condition defies Dr. Seward’s treatment; Van Helsing is called in
• Van Helsing diagnoses Lucy’s condition as being a result of a Vampire attack. He takes measures to protect Lucy from subsequent attacks.
• Lucy becomes the ‘bloofer lady’ (as quoted from ‘Dracula’ ) after turning into a vampire
• Dracula attacks Mina and incapacitates Harker.
• The crew of light succeeds in destroying Dracula’s boxes, except for one
• Van Helsing and his team trace Dracula and the final box to the Borgo pass
• Dracula is destroyed.

Style, Tone, and Figurative Language

The ‘Dracula ‘ book is a horror story, and Bran Stocker utilizes a number of techniques not only to convey this horror but ground it within probable, realistic settings. Stocker is able to create tension through clever use of forebodings, world-building, and imageries. He builds the horror bit by bit; thus, while Jonathan’s journey to Scandinavian starts on a happy and comfortable note, the further inland he goes and the nearer he gets to Dracula, the more we get hints of the danger in front of him. 

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.

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. 

Bran Stocker also employs certain tropes and imageries to spice his narration. There is a deliberate use of contrast; the strange and eccentric Scandinavia contrasted with the order and familiarity of England; the innocence and naiveté of Lucy and Mina contrasted with the perversion and evil of Dracula and the turned Lucy; the hustle and bustle of London contrasted with the quiet, isolated Whitby town. Stoker also draws from Christian theology and features, especially the trope of an unheeded prophet (Old Swales), the demonic slave of an evil master (Reinfeld and Dracula), and the efficacy of holy items like Wafers and the cross against evil, among others. 

Analysis of Symbols in ‘ Dracula ‘

The cross represents the sacrifice of Jesus Christ- an event that redeems the Christian faithful from their sins and offers a path to Salvation. The cross has since assumed protective functions and connotations in Christendom. It offers both offensive and defensive powers against evil, and that is exactly the intent towards which it is employed in ‘Dracula’ by Bram Stoker . The Cross is a symbol of salvation. It is what prevents Dracula from attacking Jonathan when he invited Dracula’s bloodlust after accidentally cutting himself while shaving. The cross is part of the protective and weaponized instruments- alongside holy wafers and garlic- that the protagonists use against Dracula, which gave them a fighting chance against his seeming invincibility. In the end, the cross represents the power of Christ, making clear Dracula’s role as a Devil of some sort. 

Coffins ordinarily represent the finality of death. But in ‘Dracula ‘, there is no finality about them. The dead do not seem to stay dead, so Coffins assume a certain diabolic vitality that represents the continued aliveness of vampires. It represents the transformation from pure, innocent life to undead, stopping short of final expiration. So while coffins do not represent the finality of death, they represent the death of innocence and purity and the corruption of or infiltration of lust and evil. Lucy dies a pure soul and awakens a terrorizer who has lost every speck of her humanity. It is clear that it is not Lucy who wakes, but something else entirely. This new being has to be put away for Lucy’s pure soul to have rest. 

Transylvania

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. 

What are the major themes in ‘ Dracula? ‘

Some of the important themes in Dracula are brotherhood, modernity, the tangibility of the soul, and religion, among others.

What is the key message of ‘Dracula?’

Open-mindedness. It pays to be open-minded about every possibility and not totally discount any idea because they seem ridiculous or superstitious.

What does Dracula symbolize?

Dracula symbolizes the victorian fears over racial contamination , scientific ascendancy at the expense of religion, sexual expression, and possible invasion

Join Our Community for Free!

Exclusive to Members

Create Your Personal Profile

Engage in Forums

Join or Create Groups

Save your favorites, beta access.

About Israel Njoku

Israel loves to delve into rigorous analysis of themes with broader implications. As a passionate book lover and reviewer, Israel aims to contribute meaningful insights into broader discussions.

Discover literature and connect with others just like yourself!

Start the Conversation. Join the Chat.

There was a problem reporting this post.

Block Member?

Please confirm you want to block this member.

You will no longer be able to:

• See blocked member's posts
• Mention this member in posts
• Invite this member to groups

Please allow a few minutes for this process to complete.

72 pages • 2 hours read

A modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more. For select classroom titles, we also provide Teaching Guides with discussion and quiz questions to prompt student engagement.

Chapter Summaries & Analyses

Chapters 1-4

Chapters 5-9

Chapters 10-15

Chapters 16-21

Chapters 22-27

Character Analysis

Symbols & Motifs

Important Quotes

Essay Topics

Discussion Questions

Christianity as Salvation

The most effective deterrents to evil in Dracula are the crucifix and the Host, or communion wafer. Ironically, Van Helsing knows of their potential efficacy because of his study of folklore. Christian canon does not list the Host and the crucifix as weapons against vampires because vampires do not exist in Christian doctrine.

Dracula makes a convenient substitute for the Christian Satan. He is seductive, charming, hedonistic, and his pointed ears and sharp teeth give him the look of a predator. He preys on women and transforms them into dangerously sexual beings. Dracula uses pleasure as a temptation and a weapon.

Get access to this full Study Guide and much more!

• 7,550+ In-Depth Study Guides
• 4,900+ Quick-Read Plot Summaries
• Downloadable PDFs

Dracula may have eternal life, but it is only terrestrial life on earth. His immortality has no bearing on salvation or an afterlife. This is why Arthur is able to kill Lucy with the stake . He does not want her trapped on earth forever as a vampire. By killing her vampire form, he is able to save her soul and usher it to the Christian heaven.

Don't Miss Out!

Access Study Guide Now

Featured Collections

Books Made into Movies

View Collection

British Literature

Order & Chaos

Pride Month Reads

Required Reading Lists

Victorian Literature

Victorian Literature / Period

Bram Stoker: Dracula. Summary and analysis

“Dracula” by Bram Stoker is a Gothic novel that tells the terrifying story of Count Dracula, a vampire who travels from Transylvania to England, unleashing a wave of horror and mystery. Through diaries and letters, the novel follows a group of characters led by Professor Van Helsing, who desperately struggles to stop Dracula and his evil influence. This classic work of horror explores themes of superstition, science, and the nature of evil, leaving an enduring mark on popular culture and the horror genre.

Tabla de contenidos

Summary of “Dracula” by Bram Stoker

“Dracula” by Bram Stoker is a masterpiece of the Gothic genre that has profoundly influenced the modern perception of the vampire in popular culture. The book, published in 1897, begins with young lawyer Jonathan Harker traveling to Count Dracula’s castle in Transylvania to help him with a real estate transaction in England. At the castle, Harker quickly discovers Dracula’s true nature and his vampiric immortality. Trapped, witnessing unimaginable horrors, Harker manages to escape but is deeply traumatized by the experience.

Dracula arrives in England on a ship whose crew has been mysteriously murdered. He settles in Whitby, where he begins to influence Lucy Westenra, a young socialite and close friend of Mina Murray, Harker’s fiancée. Lucy’s health begins to deteriorate inexplicably, leading her fiancé, Arthur Holmwood, and her other suitors, Quincey Morris, and Dr. John Seward, to seek the help of Professor Abraham Van Helsing. The latter, an expert in strange diseases, soon identifies the cause of Lucy’s decline as the result of a vampiric attack.

Lucy becomes a vampire after her death and is subsequently eliminated by Van Helsing and his group. Meanwhile, Mina marries Jonathan, and the two join Van Helsing, Seward, Holmwood, and Morris in the fight against Dracula. In the meantime, Mina is also bitten by Dracula, which begins her slow transformation into a vampire. The novel then becomes a race against time, with the group trying to destroy Dracula before he can reclaim Mina entirely and return to his homeland.

During his return to Transylvania, Dracula uses his powers to stop his pursuers, including controlling weather conditions and manipulating creatures. Despite their efforts, the group finally catches up with him. In a final confrontation near his castle, Morris and Holmwood manage to wound Dracula mortally. Morris dies from wounds inflicted by Dracula’s gypsy servants. With the vampire’s death, Mina is freed from the curse.

The book ends with an epilogue in which Jonathan Harker relates that, seven years later, he and Mina have a son and that the scars left by Dracula have healed, though they will never be forgotten. The story of Dracula becomes a legend, but for those who lived it, it remains a terrifying and transformative reality.

Main characters of “Dracula”.

Count Dracula: Dracula is the central figure and antagonist of the novel. He represents the ancient and unknown evil, an immortal vampire of great power and cunning. Dracula is an amalgam of superstitions and fears, a symbol of invasion and corruption, and a reflection of the sexual and social anxiety of the Victorian era. His presence in the novel is often more suggestive than explicit, adding to his aura of mystery and terror.

Jonathan Harker: Harker is a young English lawyer whose visit to Dracula’s castle initiates the plot. He represents Victorian rationality and professional ethics. Throughout the novel, Harker evolves from a naive businessman to a traumatized survivor and finally to a determined hero in the fight against Dracula.

Mina Murray (later Harker): Mina is Jonathan Harker’s fiancée, later wife, and a central figure in the novel. Intelligent, compassionate, and determined, Mina exemplifies the Victorian ideal of femininity but also displays a strength and mental acuity that defies the norms of her time. Her victimization by Dracula and her struggle to maintain her humanity is crucial to the emotional tension of the story.

Lucy Westenra: Lucy is Mina’s best friend. More flirtatious and socially active than Mina, Lucy is a figure of innocence and beauty who falls prey to Dracula, becoming one of his first vampires in England. Her transformation and eventual destruction as a vampire are vital events that mobilize the characters to act against Dracula.

Professor Abraham Van Helsing: Van Helsing is a Dutch doctor and professor with extensive knowledge of the occult and supernatural. He is the mentor and leader of the group that takes on Dracula. Van Helsing represents the combination of science and superstition, using modern knowledge and ancient beliefs to combat the vampire.

Dr. John Seward: Seward is a psychiatrist and one of Lucy’s rejected suitors. He runs an insane asylum near Dracula’s home in England. Through his diary, he provides a medical and rational view of events. His relationship with Renfield, a patient obsessed with consuming living creatures, is crucial to understanding the nature of Dracula.

Arthur Holmwood (later Lord Godalming): Holmwood is Lucy’s fiancé and later husband. He represents the Victorian aristocracy, with its virtues of courage and loyalty. Although initially skeptical, he fervently joins the cause against Dracula after Lucy’s death.

Quincey Morris: Morris is a rugged, adventurous American and Lucy’s suitor. His character brings a touch of American exoticism and pragmatism to the story. His ultimate sacrifice is crucial to Dracula’s defeat.

Renfield: Renfield is a patient at the Seward Asylum. His obsession with consuming life and his telepathic connection to Dracula makes him a significant secondary character, serving as a window into Dracula’s mind and powers.

The setting of the story

“Dracula” is set at the end of the 19th century, divided between two main scenarios: Transylvania, in Eastern Europe, and several locations in England, mainly in London and on the east coast, in Whitby. This geographical division is fundamental for the plot’s development and the characters’ evolution.

Transylvania: The story begins in the remote and mysterious East of Europe, in Transylvania. Dracula’s castle in the Carpathian Mountains is a quintessential Gothic setting: ancient, decrepit, and filled with a dark and bloody history. This setting reflects Dracula’s nature and symbolizes the heart of his power. The isolation and strangeness of the region to Harker’s Western eyes contribute to an atmosphere of fear and bewilderment, evoking a world where superstitions and the supernatural are real and palpable.

England: The transfer of the action to England marks a significant change in the novel. England represents modernity, reason, and order, in contrast to the primitivism and superstition associated with Transylvania. However, Dracula’s arrival introduces the ancient and supernatural into this modern, rational world, destabilizing Victorian norms and challenging perceived safety.

Whitby: The choice of Whitby as one of the leading English settings is not accidental. Whitby, with its ruined abbey and seaside graveyard, has its own Gothic and mystical connection. Lucy’s transformation occurs here, representing the corruption of ancient evil infiltrating modern England.

London: London, the heart of the British Empire, is the primary urban setting of the novel. The city’s mixture of modernity and poverty, order and chaos, is the battleground between Dracula and the protagonists. Stoker uses London to symbolize the heyday of Victorian civilization, threatened by the disturbing and destabilizing presence of Dracula.

The contrast between these settings is essential to developing the plot and the characters. Transylvania represents the unknown and the feared, where legends and old beliefs have power. On the other hand, England symbolizes the light of reason and modernity, which is challenged by the irruption of the archaic and the supernatural. This clash between the ancient and the modern, the rational and the irrational, is a central theme of the novel and is reflected in how the characters respond to the threat of Dracula.

Main themes developed in the novel

“Dracula” by Bram Stoker is a work rich in symbolism and complex themes that reflect the Victorian era’s concerns and universal, timeless issues. Among the main themes of the book are:

The struggle between good and evil: This is the most apparent theme of the novel, represented in the confrontation between Dracula and the characters who seek to stop him. Dracula symbolizes pure evil, an inhuman being who feeds on the lives of the innocent. At the same time, Van Helsing and his group represent good, fighting not only for their lives but for the morality and safety of society.

Sexuality and desire: The novel indirectly addresses themes of sexuality, desire, and sexual repression, particularly about the female characters. Lucy’s transformation and Mina’s seduction by Dracula are often interpreted as metaphors for sexual liberation and the transgression of Victorian norms. The figure of the vampire is associated with a dangerous and forbidden sexuality.

Science and superstition: “Dracula” reflects the tension between modern science and superstitious or traditional beliefs. The characters use scientific and technological methods (such as blood transfusion and phonographic recording) to struggle against a being that belongs to the world of superstition and the supernatural. This clash symbolizes the conflict between rationalism and faith in the inexplicable.

Colonialism and fear of the unknown: The figure of Dracula as a foreign invader who brings ancient practices and beliefs can be interpreted as a metaphor for fear of the other and inverted colonialism. Victorian anxiety about the integrity of the British Empire and the threat of the “exotic” and the “foreign” are reflected in Dracula’s invasion of England.

The Role of Women in Victorian Society: Through Mina and Lucy, Stoker explores the roles and expectations of women in Victorian society. While Mina is portrayed as the Victorian ideal of the “new woman”-intelligent and capable but still subject to the limits of what is “acceptable”-Lucy is a more transgressive figure whose open sexuality and eventual transformation into a vampire challenge the boundary of femininity tolerated at the time.

Identity and humanity: The process of “vampirization” raises questions about identity and humanity. The transformation of a person into a vampire accompanies the loss of their humanity and their becoming a being consumed by base and evil desires, raising questions about what defines a person and where the line between humanity and monstrosity lies.

Religion and redemption: Religion plays a crucial role in the novel as protection against evil (e.g., crucifixes and holy water) and in the context of redemption. The fight against Dracula has connotations of a spiritual crusade, where faith and morality are pitted against corruption and sin.

Writing techniques employed by Bram Stoker in “Dracula”.

Epistolary and documentary narrative: Stoker uses an epistolary structure, presenting the story through diaries, letters, telegrams, newspaper clippings, and ship logs. This approach not only adds realism and a variety of perspectives but also creates a sense of immediacy and authenticity.

Symbolism: Stoker makes abundant use of symbolism in his work. Count Dracula himself is a multifaceted symbol: he represents both fear of the unknown and foreign and concerns about morality and sexuality. Elements such as blood and the cross strongly symbolize life, death, and religion.

Metaphors and similes: The novel is replete with metaphors and similes that enrich the description and deepen the meaning of the narrative. For example, descriptions of nature are often used to reflect or foreshadow plot events, such as the storms at sea that symbolize the chaos and danger Dracula brings to England.

Gothic atmosphere: Stoker creates a dense and oppressive Gothic atmosphere. Through the detailed description of gloomy settings, such as Dracula’s castle and the Whitby graveyard, and the use of elements such as fog and darkness, Stoker evokes a sense of fear and suspense.

Foreshadowing: Stoker employs foreshadowing to create suspense and anticipation. Characters’ foreboding dreams, strange animal behaviors, and local legends are examples of how future events are suggested.

Contrast and juxtaposition: The narrative uses the contrast between light and dark, science and superstition, and modernity and tradition to emphasize the novel’s central themes and the characters’ internal struggle.

Alliteration and wordplay: These stylistic devices add rhythm and poetic quality to the language, which enriches the reading and underscores specific vital points or themes.

Narrative point of view and its effect on the reader.

Bram Stoker’s novel is characterized by its unusual narrative structure, composed primarily of first-person documents, including diaries, letters, newspaper clippings, and log entries. This technique, known as epistolary narrative, creates a narrative in which the story is constructed through multiple first-person perspectives.

The main narrators include Jonathan Harker, Mina Murray (later Harker), Dr. John Seward, Lucy Westenra, and Professor Van Helsing. Each character brings their own insight and experience to the story, allowing for a deeper and more nuanced exploration of events and characters.

Stoker’s choice to use multiple first-person narrators has several effects on the reader’s perception:

• Realism and authenticity: epistolary narrative provides a sense of authenticity and realism. When reading personal diaries and letters, the reader feels immersed in the story, as if he or she is directly accessing the thoughts and experiences of the characters.
• Limited perspective: Each narrator can only relate his or her experience and knowledge, meaning the reader’s understanding is limited to what these characters know and perceive. This creates a sense of mystery and tension, as the reader must assemble the whole story from fragments of information.
• Diversity of voices and perspectives: The variety of narrators allows the story to be explored from multiple angles. Each character brings his or her rational, emotional, scientific, or superstitious approach, thus enriching the novel’s plot and depth.
• Character Development: By exposing the characters’ inner thoughts and feelings through their writings, Stoker allows for more profound character development. The reader gains an intimate insight into their fears, hopes, and motivations.
• Increased tension: The fragmented structure of the narrative increases tension. The reader knows the dangers before the characters do, which creates a sense of anticipation and concern for their fate.
• Subjective interpretation: First-person narrative is inherently subjective. This means that the reader’s perception of events and characters may be colored or skewed by the narrator’s attitudes and emotions, which adds a layer of complexity to the interpretation of the story.

Historical and cultural context

Published in 1897, “Dracula” emerges in a fascinating historical and cultural context, reflecting the concerns and transformations of the Victorian era. This period in England, characterized by the reign of Queen Victoria (1837-1901), was a time of significant social, technological, and cultural change, mainly driven by the Industrial Revolution and the expansion of the British Empire.

In the novel, several reflections of this context can be identified. The tension between modern science and ancient superstitions is manifested in the figure of Professor Van Helsing, who combines scientific methods with knowledge of the occult to combat Dracula. This aspect reflects the duality of an era that, while moving towards scientific rationality, was still rooted in older beliefs and traditions.

The theme of colonialism and fear of the unknown is also present in “Dracula.” The Count, originally from Transylvania, an exotic and mysterious place for most Victorian readers, represents fears of the “other” of what comes from outside the known, civilized world. This fear can be interpreted as a reflection of the anxiety generated by contact with unfamiliar cultures through colonialism.

The representation of women in “Dracula” also indicates the Victorian context. The characters of Mina and Lucy reflect expectations and tensions about the role of women in society. Mina, for example, is shown as intelligent and capable but still clearly constrained by her role in a patriarchal society. On the other hand, Lucy, with her more accessible nature and tragic transformation, could be interpreted as a manifestation of Victorian fears of female sexuality.

In addition, the impact of technology and innovation is evident in the novel. The use of emerging technologies such as the train and telegraph show how these advances were beginning to change the nature of life and communication. These elements add realism to the story and highlight the contrast between Dracula’s ancient world and the emerging modernity of the West.

In short, Bram Stoker’s “Dracula” is a masterpiece of Gothic horror and a mirror of its written time. The novel reflects the anxieties, transformations, and developments of the Victorian era, weaving the fears and hopes of its time into a rich and complex narrative.

Dracula on film

The film adaptation of “Dracula” has had a long and varied history, reflecting changes in the film industry and cultural attitudes. Since his first screen appearance, Dracula has become one of cinema’s most iconic characters, with numerous interpretations ranging from faithful book adaptations to creative reimaginings.

The first notable adaptation was “Nosferatu” (1922), a German silent film directed by F.W. Murnau. Although technically not an official adaptation (due to copyright issues, names and details were changed), the film retells Stoker’s story and establishes many of the visual tropes associated with vampirism in film.

In 1931, the version of “Dracula,” directed by Tod Browning and starring Bela Lugosi, defined the image of the vampire count for generations to come. With his Eastern European accent and magnetic presence, Lugosi’s performance became the definitive image of Dracula for audiences. This film, produced by Universal Studios, was a commercial success and launched a long series of Universal horror films featuring iconic monsters.

Throughout the 1950s and 1960s, British production company Hammer Films revitalized the character in a series of films that presented Dracula as a more physical and menacing being. Christopher Lee, who played Dracula in many of these films, brought a more imposing and sexualized presence to the character.

In recent decades, “Dracula” has been reinterpreted in multiple ways. The 1992 version directed by Francis Ford Coppola, “Bram Stoker’s Dracula,” attempted to return to the novel’s roots, albeit with dramatic additions and a focus on the love story between Dracula and Mina. This film is notable for its visual style, relative fidelity to the text, and performances, particularly that of Gary Oldman as Dracula.

In addition to these adaptations, Dracula has appeared in countless films, television series, and other media, often departing from the original text. These variations range from severe and respectful adaptations to modern parodies and reinterpretations.

Conclusions

Bram Stoker’s “Dracula” is a work transcending the Gothic genre that has become an undisputed literature classic. The novel provides an engrossing and chilling tale of supernatural terror and a rich exploration of complex and timeless themes. The juxtaposition of the modern with the ancient, science versus superstition, and moral and sexual dilemmas framed by the rigidity of Victorian society are all woven into a narrative that reflects its time and a commentary on universal aspects of human experience.

Stoker’s epistolary narrative technique is particularly effective, providing a variety of perspectives and voices that enrich the story and lend a sense of immediacy and realism. This multiplicity of viewpoints not only serves to build suspense and maintain the reader’s interest but also allows for a more nuanced and in-depth portrayal of characters and events. In addition, Stoker’s use of symbolism and rich literary devices add complexity to the work, inviting a more reflective and critical reading.

However, it is essential to recognize that “Dracula” may not be for every reader despite its status as a classic—the 19th-century narrative style, with its pacing and language, may be dense for some modern readers. In addition, the epistolary structure, while effective, requires constant attention to follow the shifts in perspective and time.

“Dracula” is a must-read for fans of gothic and horror literature. Readers who enjoy stories that intertwine supernatural horror with profound psychological and social explorations will find this work delightful. It is also ideal for those interested in Victorian literature and how the works of this era reflected and responded to the anxieties and changes of their time. In addition, for anyone interested in the evolution of the vampire myth in popular culture, “Dracula” is an essential starting point, as it established many conventions that still define this subgenre.

“Dracula” is a rich and complex work, masterfully combining horror and cultural analysis. Its influence on literature and popular culture is unquestionable, and its ability to continue to captivate readers more than a century after its publication is a testament to its enduring quality and relevance.

Nuevo en Lecturia

Mary Shelley: The Trial of Love 

Ray Bradbury: The Handler

Agatha Christie: The Sign in the Sky

Roald Dahl: Man from the South

Ernesto sabato: “the tunnel”. summary and analysis, horacio quiroga: the son. summary and analysis, leave a comment cancel reply.

Academia.edu no longer supports Internet Explorer.

To browse Academia.edu and the wider internet faster and more securely, please take a few seconds to  upgrade your browser .

Enter the email address you signed up with and we'll email you a reset link.

• We're Hiring!
• Help Center

Patterns, Symbols and Themes in Bram Stoker’s Dracula

2014, Patterns, Symbols and Themes in Bram Stoker’s Dracula -by Ferenc Zselyi

Bram Stoker's novel, Dracula (1897) is a discourse on the visible and the invisible, on the seemingly good and the primary evil that is, also, "good"; on the effable and the ineffable. The beautifully written end-of-the-century prose depicts horror and "disgust" and their perception only to show how much of the horror is coming from within the human soul. The long narrative is constituted by a complex of symbolic oppositions that make this novel a good, interesting and/or exciting reading for everyone. This was the first Modernist novel written in English literature - it has nothing to do with "vampires" and ghosts who/that are "only" signifiers and/or symbols or emblems in this discourse. Stoker's novel is the predecessor of Yeats' symbolism and Joyce's time travel in Ulysses.

RELATED PAPERS

Hypertension

Sandro C Goncalves

Pathology oncology research : POR

Xiaoran Huang

The Journal of Obstetrics and Gynecology of India

Ramji Singh

IEEJ Journal of Industry Applications

Maheshi Ruwanthika

Phillip Gearing

Israel Journal of Health Policy Research

ifat vainer

Estudios Gerenciales

Jairo Erazo

Ana Amélia Camarano

Journal of Business Economics and Management

Zeljko Sevic

VERA MARIA RAMOS PINTO

Molecular Ecology Notes

Claire Tirard

2013 IEEE 7th International Power Engineering and Optimization Conference (PEOCO)

Hadi Babaei

Journal of e-learning and knowledge society

Anna Labella

Lecture Notes in Computer Science

Saurabh Bhandari

Verbum Vitae

Judyta Pudełko

Annals of Mathematical Statistics

Arlo Hendrickson

Translational Andrology and Urology

Nikhil Vasdev

Electronics

Julfikar Haider

dr shoukat mughal

De Gruyter eBooks

Lars Hertzberg

hgtyfrf fggfhhfg

Journal of the American Society of Nephrology

Journal of Radiation Research and Applied Sciences

Mohamed Reda Ezzeldin

RELATED TOPICS

•   We're Hiring!
•   Help Center
• Find new research papers in:
• Health Sciences
• Earth Sciences
• Cognitive Science
• Mathematics
• Computer Science
• Academia ©2024

• Entertainment
• Environment
• Information Science and Technology
• Social Issues

Home Essay Samples Literature Epistolary

Form, Structure, Plot and Themes of the Novel Dracula

Table of contents, form, structure, and plot, point of view.

*minimum deadline

Cite this Essay

To export a reference to this article please select a referencing style below

• Walt Whitman
• To Kill a Mockingbird
• The Glass Menagerie

Related Essays

Need writing help?

You can always rely on us no matter what type of paper you need

*No hidden charges

100% Unique Essays

Absolutely Confidential

Money Back Guarantee

By clicking “Send Essay”, you agree to our Terms of service and Privacy statement. We will occasionally send you account related emails

You can also get a UNIQUE essay on this or any other topic

Thank you! We’ll contact you as soon as possible.

Bram Stoker

Ask litcharts ai: the answer to your questions.

Dracula contains a long meditation on "proper," socially-sanctioned love, and "improper" relations of lust and seduction. Much has been made of this aspect of the novel, particularly in 20th-century criticism, and with good reason: it is impossible to separate the act of Dracula's forcible blood -sucking, directed at unsuspecting women, from the process of violent seduction and sexual assault.

Jonathan and Mina Harker , and Arthur (Lord Godalming) and Lucy , are the novel's two primary romantic pairs. Their loves follows remarkably similar tacks, but the former survives, and the latter, sadly, does not. An early romantic intrigue in the novel is Lucy's entertaining of three suitors: Dr. Seward , Arthur, and Quincey . But this "romantic intrigue" so typical of Victorian novels is only a prologue, in this novel, to the actual drama of Lucy's life—the fact that she is bitten by a vampire, and becomes a vampire herself. Thus, not only is Arthur robbed of his future wife—he must participate in her "true killing" (that is, the freeing of her soul from the cycle of undeadness). Van Helsing believes that Arthur will be able to let go of his love for Lucy by helping to drive a stake through her heart and cut off her head. It is a gruesome, if necessary, end to their love.

On the other hand, Mina and Jonathan have a love characterized by mutual help during times of illness. First, Mina cares for Jonathan after his nervous collapse, prompted by his stay at, and escape from, the Castle Dracula. Later, Jonathan fights bravely to kill Dracula—to release him from his own undeadness—in order, also, to free Mina from Dracula's spell. Opposed, then, to these "natural" processes of romantic love are the processes of demonic possession and seduction. Harker is "seduced" by the Three Sisters at Dracula's castle, though he manages to avoid falling into their clutches. Dracula "seduces" both Lucy and Mina. In the former case, he suggestively "penetrates" Lucy's neck while Lucy, who had been sleepwalking, is sprawled over a mossy embankment, outside. With Mina, Dracula is found forcing Mina to suck Dracula's own blood from a cut in his abdomen. This, also highly sexually-suggestive, creates a bond between the two that can only be broken by Dracula's true death.

Thus, at the end of the novel, the killing of Dracula allows Jonathan and Mina to live together as husband and wife, and to start a family—this is considered the "natural" outcome of a Christian marriage. Meanwhile, the others of the group, those whose hearts were broken by Lucy, find their own separate loves in time and marry as well.

Romantic Love, Seduction, and Sexual Purity ThemeTracker

Romantic Love, Seduction, and Sexual Purity Quotes in Dracula

Well, now I promise you that when I am done with him you shall kiss him at your will. Now go! go! I must awaken him, for there is work to be done.

At least God's mercy is better than that of these monsters, and the precipice is steep and high. At tis foot a man may sleep—as a man. Good-bye, all! Mina!

I am very, very happy, and I don't know what I have done to deserve it. I must only try in the future to show that I am not ungrateful to God for all His goodness to me in sending to me such a lover, such a husband, such a friend.

Once again we went through that ghastly operation. I have not the heart to go through with the details. Lucy had got a terrible shock and it told on her more than before, for though plenty of blood went into her veins, her body did not respond to the treatment as well as on the other occasions. . . .

Come to me, Arthur. Leave these others and come to me. My arms are hungry for you. Come, and we can rest together. Come, my husband, come!

We women have something of the mother in us that makes us rise above smaller matters wen the mother-spirit is invoked. . . .

First, a little refreshment to reward my exertions. You may as well be quiet; it is not the first time, or the second, that your veins have appeased my thirst!

We are truly in the hands of God. He alone knows what may be, and I pray Him, with all the strength of my sad and humble soul, that He will watch over my beloved husband . . . .

Now God be thanked that all has not been in vain! See! the snow is not more stainless than her forehead! The curse has passed away!