Bram Stoker's novel Dracula, published in 1897, explores various sexual erotic possibilities in the vampire's embrace, as discussed by Leonard Wolf. The novel confronts Victorian fears of homosexuality; that were current at the time due to the trial of playwright Oscar Wilde. The vampire's embrace could also be interpreted as an illustration of Victorian fears of the changing role of women. Therefore it is important to consider: the historical context of the novel; the Victorian notion of the `New Woman' specifically the character of Lucy Westenra; the inversion of gender roles; notions of sexuality; and the emasculation of men, by lessening their power over women; in the novel Dracula. In doing this I will be able to explore the effects of the vampire's embrace in depth, and achieve a wider understanding of the variety of erotic undercurrents Stoker incorporated into the novel.
Stoker was born in Ireland in 1847, and later he graduated from Trinity College in 1867, and joined the civil service. While working, as a freelance journalist and drama critic enabled him to meet Henry Irving and entered London's literary circles, which included figures such as Arthur Conan Doyle and Oscar Wilde. In the course of Irving's tours he also had the chance to travel around the world. Stoker later married Florence Balcome, who had previously had a romantic affair with Oscar Wilde. In my opinnion Stoker could not fail to be infuleced by these people while he was writing Dracula.
In Dracula, Stoker relied greatly upon the conventions of Gothic fiction. Traditionally gothic elements such as dark and sublime settings, and the innocent threatened by the ineffable evil obviously feature in Dracula. Stoker modernises his novel by bringing the set...
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...toker, B. (1994) Dracula, Penguin Classics, London.
Weissman, J. (1988) Dracula as a Victorian Novel in Dracula: The Vampire and the Critics, UMI Press.
Wolf, L. (1993) The essential Dracula, Byron Preiss.
Wolf, L. (1972) A Dream of Dracula: In Search of the Living Dead, Popular Library, New York.
(1997) Oscar Wilde [internet] can be found at http://www.neuroticpoets.com/wilde/ [accessed 10-11-2005]
(2000) Clash of Cultures: The New Woman [internet] can be found at http://history.osu.edu/Projects/Clash/NewWoman/newwomen-page1.htm [accessed on 10-11-2005]
(1997) Thor [internet] can be found at http://www.pantheon.org/articles/t/thor.html [accessed on 10-11-2005]
... die, innocence and good is corrupted and there is a connection to sexuality. Both novels create an aspect of mystery for the reader of the 19th century. Stoker’s portrayal of a creature little known by the English public of the 1890’s would have been of fear inspiring fascination to read about. Though few would have read John Palidori’s vampire novel, more perhaps would have heard the tale of Vlad the Impaler. He was a man who supposedly drank human blood or the blood of his war victims, and was in fact a ‘Dracule’. This basis in reality would add a sadistic interest to the novel. Wilde’s novel, though equally inexplicable, doesn’t create the same feeling of terror, but does raise a number of reservations in its reader.
The late nineteenth century Irish novelist, Bram Stoker is most famous for creating Dracula, one of the most popular and well-known vampire stories ever written. Dracula is a gothic, “horror novel about a vampire named Count Dracula who is looking to move from his native country of Transylvania to England” (Shmoop Editorial Team). Unbeknownst of Dracula’s plans, Jonathan Harker, a young English lawyer, traveled to Castle Dracula to help the count with his plans and talk to him about all his options. At first Jonathan was surprised by the Count’s knowledge, politeness, and overall hospitality. However, the longer Jonathan remained in the castle the more uneasy and suspicious he became as he began to realize just how strange and different Dracula was. As the story unfolded, Jonathan realized he is not just a guest, but a prisoner as well. The horror in the novel not only focuses on the “vampiric nature” (Soyokaze), but also on the fear and threat of female sexual expression and aggression in such a conservative Victorian society.
In Dracula, Bram Stoker explores the fantastic image of a sexually dominant woman within a patriarchal society. The battle between good and evil within the novel very much hinges upon feminine sexuality: Lucy and Nina are embodiments of the Victorian virtues, which Dracula threatens to corrupt,
Bram Stoker’s Dracula illustrated fears about sexual women in contrast to the woman who respected and abided by society’s sexual norms. Joseph Sheridan LeFanu’s “Carmilla” represented not only the fear of feminine sexuality, but also the fear of sexuality between women. John William Polidori’s “The Vampyre” showed society’s fear of sexuality in terms of the seductive man who could “ruin” a young girl.These texts are representative of vampire stories in the Victorian Era, and will be the focus here.
Conclusively, while Bram Stokers novel Dracula is seen as a gothic and horror story, I argue that it is a novel that seeks to address female sexuality directly. Seen through numerous passages, Stoker confronts and battles the views between sexuality during the Victorian era though his genius of characterization of characters present within the novel. As it seems highly intentional to me, I respect the way in which he criticizes and critiques upon female sexuality by bringing into light new ideas regarding female desires. When contrasting his text upon today’s culture, the differences to how one perceived the vampire has changed significantly.
Carol A. Senf uses a critical theory lens when she picks apart Bram Stoker’s Dracula. The majority of literary critics interpret this popular myth to be the opposition of good and evil, they turn a blind eye to the more specifically literary matters such as method of narration, characterization, and style. Carol Senf’s critical essay “Dracula: the Unseen Face in the Mirror” she believes that Stokers novel “revolves, not around the conquest of Evil by Good, but on the similarities between the two” (Senf 421). Her argument is as follows:
Stoker uses phenomenal imagery to produce a late nineteenth century setting, located somewhere within eastern Europe. Transylvania, the infamous home to Dracula himself, is described in great detail in Harker’s journal. There, Stoker purposely and meticulously outlines Dracula’s castle and the surrounding town. Stoker manages to do this with a very gothic tone, immediately lowering the societal status of women. In conjunction with Dracula’s gothic tone comes the understanding of male and female traditional roles of the era. The reader sees that there is no hesitation differentiating between the two, as Stoker “ cast[s] men as rational, strong, protective and decisive…[and] women as emotional (irrational), weak, nurturing and submissive.” (Tyson, 82).
Over the course of cinematic history, many filmmakers have attempted to recreate the chilling, unprecedented world of Bram Stoker’s Dracula. Arguably very few have succeeded, for the majority of directors tend to avoid the pervasive sexuality inherent in the novel. It is a difficult task to achieve, considering the blatant imagery surrounding sex and vampirism, such as the reproduction following a vampiric encounter and the phallocentric nature of the violence committed both by and against these creatures: penetration is involved in their hunting, and one must impale them with a stake in order to destroy them. Readers are thereby forced to admit that Dracula is, in fact, a highly eroticized piece of literature, though whether or not Stoker himself was aware of this suggestiveness, we cannot be sure. The most successful effort at capturing that sexual energy on film has been Francis Ford Coppola's 1992 movie, Bram Stoker's Dracula. In fact, it has often been proposed that Coppola’s version is too carnally focused in comparison to the original work, which leads a viewer to wonder about the purpose in this overt sexualization. It can be concluded that adding copious amounts of eroticism to the film is directly related to Coppola’s strive to depict Count Dracula as more human rather than monster, and sexuality in his film serves as a balance so that the lines between good and evil are blurred. Evidence for this deduction is found in three scenes in particular: Jonathan’s seduction by Dracula’s vampiric wives, Lucy’s demonic transformation, and Mina and Van Helsing’s relationship during the climax of the story.
Bram Stoker’s “Dracula” was written the year after Stevenson released his book. Dracula follows Byron’s idea of being alluring and of magical ability, but differs in that he is unpleasant in ...
Since the 19th Century, Bram Stoker’s Dracula has entertained its readers taking them to heights of excitement in the climax
Leatherdale, Clive. Dracula: The Novel and the Legend. East Sussex, England: Desert Island Books, 1985.
The Victorian England setting and culture of “Dracula” by: Bram Stoker attributes to many stylistic components and character behaviours in the novel. One of which is the behaviour and actions characters express that are a result of sexual repression. In Dracula, sexual repression is best expressed by the character’s desire to create. This desire is exemplified by the way Dracula creates other vampires, Lucy’s sexual desires, and the men’s expression of aggression. The creation of other Vampires is evident through events including Dracula’s aggressive encounters with Lucy and Mina, and the fact the Dracula is building up a Vampire army. Lucy’s sexual desires are exemplified through her longing to have sex with multiple men and how she compares
Dracula, by Bram Stoker, is a classic tale of Gothicism. Traditionally, gothic tales only carried single theme of horror. Through Dracula, Stoker breaks this single theme barrier. The theme throughout Dracula is clearly displayed through the characters as they step from ignorance to realization in this tale of horror.
In 1897, after seven years of writing, Dracula was finally published. Written by Bram Stoker during the Victorian Era. There was much sentiment towards the emancipation of woman. Though these feelings came mostly from women, there were also opposing sentiments, mostly from men, who did not feel the same way towards the liberation of women. The feminist movement was beginning to take ahold of society and many would have to become accustomed to the new ideals of women possibly being in power.
Dracula is a popular novel published in 1897. It is a well-known piece of literature and resembles a great deal of characteristics associated with gothic literature. Dracula, by Bram Stoker, and my short story, The Crow, share many characteristics that make them a gothic tale. Three main components of gothic literature used in Dracula, as well as my short story, The Crow, are forces of nature, the supernatural, and isolation.