Author: Magic Conch

When Basil reacted to the new version of the portrait of Dorian, we all noticed a rather unexpected response from Dorian. Before this moment, Dorian would paralyze himself with fear and anxiety over someone seeing the covered portrait and exposing his secret; while he did choose to show Basil this, it would be reasonable to expect some hesitation or abrasiveness from him. Instead, we are met with a chilling image of Dorian in which “there was neither real sorrow…nor real joy” (170). Most notable about this description is the fact that Dorian is described as an audience member watching a play, enthralled in the art being produced (170-171). At surface level, this is a clear sign of Dorian’s detachment and overall emotional shift. The fact that he is unmoving when someone is physically appalled at his moral wrongdoings and ultimately condemning him, as noted by the painting having “the eyes of a devil,” shows us that Dorian has embraced this childlike philosophy of do now, ask for forgiveness later (171). While I am inclined to agree that Dorian has been influenced by Lord Henry’s no-care attitude, I think there is another layer here. There is importance in Dorian’s apathetic emotional state being described as that of someone watching a play; I think Dorian views his own life as a piece of art that has no moral significance in relation to the rest of the world because Basil, alongside everyone else, has decided Dorian’s value as a person in the terms of artistic value. From his youth, Dorian was introduced to art in all forms (operas, books, plays, paintings) by Henry and Basil. From there, they each obsessed over Dorian’s thoughts on art and what it means in relation to how Dorian chooses to live. After recognizing that Dorian’s “true self” is in the portrait, he begins to view its changes as insignificant since it is a part of the world of art. He was able to recognize the painting as a reflection of his soul but chose to marvel at the artistic manifestations of his actions instead of changing his life. The scene with Basil helps demonstrate this understanding since Dorian acts as an observer of a performance, disconnected from the moral implications of his actions rather than the central one responsible. Dorian is interested in the intensity that art can capture, such as when he became obsessed with Sybil’s acting that portrayed a variety of Shakespeare’s heroines. The fact that his own painting can also capture the intensities of life excites him because it will become the best version of art in his eyes; this goal should only matter if he himself views his own life, or soul, as art.

 

 

 

As I reread John Gray’s poem “The Vines,” I began to wonder if it is possible that the bramble and the woodbine (or ivy) can be interpreted as a metaphor for John Gray’s relationship with Oscar Wilde. If we were to look at the poem from this lens, the bramble bush would be Gray while the woodbine/ivy would be Wilde. Looking at line 2, the bramble’s relentless pursuit of his “bride” symbolizes his unwavering attachment to his partner; this could be a reflection of John Gray’s deep affection for Oscar Wilde. However, line 4 provides the imagery of the woodbine having “gummy hands.” This imagery may signify Oscar Wilde’s allure or charisma, as if he is a captivating presence that is hard for John Gray to resist. In a different sense, the term “gummy” might also allude to the suffocating nature of the relationship. During this time, Oscar Wilde was flamboyant and a queer symbol; that mere association may have been too much to bear during a time where sexual deviance was frowned upon and feared. This duality of desiring and feeling consumed by the woodbine (Oscar Wilde) could represent John Gray’s mixed feelings towards their relationship.

If we were to take this a step further, I think stanza 4 could be a representation of Gray’s desire to be sexually free with Wilde. The repeated theme of waiting for the day to dawn and for winter’s end could be reflective of his longing for a time when their love could be more openly expressed. The dawn represents not only the literal light of day but also the emergence of a more tolerant and accepting society. The uncertainty and anticipation echo the challenges and secrecy they faced due to the prevailing societal attitudes toward same-sex male relationships. The “half-born tendrils, grasping, gasp” in the last line might be a representation of the fragility and uncertainty of their relationship. The “half-born tendrils” symbolize their love and desires, which are still in the process of finding their place and gaining acceptance. The “gasping” is representative of the struggle and effort required for their love to survive and flourish, much like the tendrils fighting their way through adverse conditions.

Using Carol Senf’s analysis of “Dracula: The Unseen Face in the Mirror” as a lens, we can explore the character of Count Dracula in Bram Stoker’s Dracula in a more nuanced way. Moreso, we can look at Dracula through a role reversal: as a product of the environment created by our main characters rather than the innate monster.

Seemingly minor in the grand scheme of plot details, I want to take us back to the beginning of the novel. Two important distinctions Senf makes relate to (1) English law and (2) unfair condemnation. Senf argues that Dracula follows English law more closely than his opponents, except in matters of sexual behavior (424). While his sexual deviance can be explored further, we are looking at the moral implications of this. Despite being a vampire, Dracula adheres to a set of rules and codes that govern his actions. He is a foreigner in England and tries to integrate into the society while maintaining his vampiric existence. This adherence to societal norms and rules can be seen as a form of innocence on his part. Up until now, and even after, as noted by Senf, Dracula is never tied to any concrete evidence of his attacks (425). It is Jonathan Harker who first meets Dracula and is offput by his pale appearance (in addition to sharp canines and reddish eyes). This catalyzes the unjust treatment of Dracula.

Despite being a little creepy here and there, Dracula acts in a manner that is polite and hospitable. Readers get descriptions of Dracula providing Jonathan with good food, presentable and warm bedchambers, and access to unrestricted parts of his home. Not viewing Dracula as a menace, it is entirely reasonable to have certain parts of your house off-limits from guests. But turn your attention to the scene where Jonathan is shaving. Here, he cuts himself with his razor and Dracula appears. As they are the only ones in the castle, this so-called vampiric killer had the perfect opportunity to attack Jonathan, but instead we get a different response: “’Take care,’ he said, ‘take care how you cut yourself. It is more dangerous than you think in this country’” (Stoker 33). Dracula chose to not act on any vampiric urges he may have possessed, but this act is dismissed by readers because he has already been judged.

Let’s turn a few scenes later to Jonathan’s attack on sleeping Dracula. Jonathan, too lost in his own mind, has convinced himself that Dracula is a vampire that needs to be stopped. In turn, he takes a shovel and attempts to bash in the head of a helpless Dracula. It is Jonathan Harker, one of our supposed protagonists, who initiates the aggression by striking Dracula out of panic. This act sets the stage for a chain of events where Dracula becomes the hunted rather than the hunter they make him out to be. The question then arises: did Dracula’s actions, later characterized as monstrous, result from this initial aggression against him? Senf highlights the fact that Dracula may be innocent when she says, “it becomes difficult to determine whether he is a hideous bloodsucker whose touch breeds death or a lonely and silent figure who is hunted and persecuted” (424). He is pursued relentlessly and attacked without a proper understanding of his motives or the opportunity to explain himself. This raises the question of whether the main characters are really defending themselves against a threat, or are they projecting their own fears and prejudices onto him? Additionally, Senf encourages us to consider whether Dracula’s actions are driven solely by malevolence or if there are other factors at play, such as the isolation and the fear he felt being hunted by these people.

Looking at Dracula as an innocent, targeted person, his choice of returning to his homeland makes perfect sense. He arrived in England to try to become a part of society, was rejected by this group of influential, upper-class individuals who slandered his name, so, in turn, chose to return home where he felt safe. This harmless choice was only greeted with aggressive chasing from the main characters who ultimately killed him. Notably, Dracula’s final moments were met with “a look of peace” on his face as the main characters looked on (Stoker 401). In essence, Senf’s analysis encourages readers to reevaluate Dracula’s innocence and the fairness of his treatment. It prompts us to consider the possibility that Dracula’s transformation into a fearsome antagonist may have been, at least in part, a consequence of the unjust treatment he received for only being a quirky, hospitable host.

During the fin de siècle, the concept of the New Woman challenged traditional Victorian ideals of femininity. This movement celebrated women’s intellectual capabilities and independence, often in stark contrast to the prevailing notion that women were physically and intellectually inferior. In Bram Stoker’s Dracula, we find a fascinating exploration of these ideas, particularly in the character of Mina Harker. The Longman Anthology of British Literature introduces us to the prevailing Victorian notion of femininity, which placed women on a pedestal as nurturing and selfless beings that were primarily dedicated to serving others. This idealized woman was expected to be domestic, pure, and devoid of ambitions beyond her role as a wife and mother (Henderson & Sharpe 1061). Mina Harker, a central character in Dracula, challenges these traditional ideals. In a passage from the novel, Professor Van Helsing remarks, “Mina! She has man’s brain—a brain that a man should have were he much gifted—and a woman’s heart. …We men are determined—nay, are we not pledged?—to destroy this monster; but it is no part for a woman” (Stoker 250). This quote highlights the tension between Mina’s intelligence and her perceived role as a woman. The notion of Mina having “a man’s brain” is significant. It suggests that she possesses intellectual capabilities traditionally reserved for men. This aligns with the New Woman’s assertion of their right to intellectual pursuits and ambitions that extended beyond the domestic sphere. Van Helsing’s comment encapsulates the societal conflict of the time. Despite recognizing Mina’s exceptional intelligence, he questions her involvement in the quest to destroy Dracula, implying that her gender should limit her role. This reflects the prevailing belief that women were unsuited for activities demanding strength, rationality, and determination. The juxtaposition of “a woman’s heart” with “a man’s brain” emphasizes Mina’s dual nature.

It is also notable that Mina’s intelligence and independence are not portrayed as negative qualities. Instead, her intellect and resourcefulness are celebrated and valued by the other characters. This is in contrast to other literary works of the time, where intellectually capable women were sometimes portrayed as evil or dangerous. Mina’s character provides a positive example of a woman who is both intelligent and virtuous. In contrast to Mina, the character of Lucy can be seen as a more traditional representation of femininity. Lucy is described as beautiful, pure, and submissive, embodying the ideal Victorian woman. However, her portrayal changes drastically after she becomes a victim of Dracula’s vampiric blood-sucking. Her vampire form becomes sexually aggressive and behaves in a manner that is deemed inappropriate for a Victorian woman. The men of the novel feel that she must be spiritually saved at all costs because of her change in character. I was really interested in the idea presented in class about the men’s feelings on Lucy’s transformation being interpreted as a punishment for her deviating from the conventional expectations of femininity. It suggests that while women are starting to evolve for the better, the society of the time was not ready to accept such drastic changes in gender roles and sexuality. While Lucy adheres to the traditional ideals of femininity, Mina represents the emergence of a new kind of woman who is independent, intelligent, and capable.