Category: 2023 Blog Post

Bram Stoker’s Dracula is a complex novel that can be interpreted in many different ways. However, one of its central themes is the fear and anxiety that Victorians felt about the changing world around them. The novel’s exploration of sexuality, gender roles, and the rise of technology all reflect the anxieties of the time. The novel explores the rise of new technologies, such as blood transfusions and typewriters. These technologies are seen as both beneficial and dangerous. On the one hand, they can be used to save lives. On the other hand, they can also be used to create new forms of evil, such as the vampire Lucy Westenra. The novel also challenges traditional Victorian gender roles. Mina Harker, is a strong and intelligent woman who takes charge of the group’s fight against Dracula. This contrasts with the more passive and traditional role of women such as Lucy Westenra, Dracula’s other victim. Dracula is a seductive figure who preys on women, and his victims are often portrayed as being sexually awakened by him. This reflects the Victorian fear of female sexuality, which was seen as a dangerous and uncontrollable force. Stoker’s use of these themes reflects the anxieties that Victorians felt about the changing world around them. The Industrial Revolution was transforming society, and traditional values were being challenged. Stoker’s novel explores these anxieties through the figure of Dracula, a creature from the past who threatens to destroy the modern world. “The old centuries had, of course, been cruel to women, but the new time was keener and crueller still. They had lost their old place in men’s lives, and had not yet found a new one. They were no longer needed for the hard work of the world, and they were still debarred from the most of its activities. They were the slaves of convention, and they paid for their protected position as idols by having to sacrifice the reality of life.” (Chapter 18) This passage reflects the Victorian anxiety about the changing role of women in society. The Industrial Revolution had led to a decline in the need for female labor, and women were still denied many of the rights and opportunities that men enjoyed. Stoker’s novel explores this anxiety through the figure of Mina Harker, who is both a traditional Victorian woman and a modern heroine.

 

What is a monster? Some think that it’s a big scary thing that needs to get taken down by the good guys in order to save the day. Others think it’s the guy under the bed, in the closet, or conspicuously lurking as a pile of clothes. The truth of the matter is that a monster is what people at the time dictate is a monster, so media and stories reflect that telling. According to the Longman Anthology the British had a lot to fear and call ‘monstrous’. This shows through the various parts of Dracula demonstrating the many fears of Victorian England.

 One facet of this was undoubtedly the idea of the New Woman, that idea exemplified by the way Lucy was portrayed in the novel. Introduced to us talking about the multiple suitors she was immediately painted as different from females in other novels, having her pick her future husband is unlike how women acted previously even within the books we read in class. Lady Audley was asked by Michael to be his wife, so the fact that Lucy immediately is put in this position is one of strangeness that the Victorian audience wasn’t used to in their literature.

Another is the complication of science and religion, throughout the novel it is pointed to that the modern trappings/advancements of culture have nothing against the superstitions of yore. Dracula is a supposedly ancient monster immune to our modern arms and weapons. A fear that must have popped up in the minds of Victorians reading this, which would be something along the lines of “Modern technology is nice, but what if it’s all ineffective against evil?”. This is where the whole religion part comes in, Van Helsing (coolest fucking name ever in literature don’t come at me) a sort of scientist when it comes to the act of vampire murder. He has all the tools at his discretion where he uses religious artifacts to beat Dracula ultimately.

In Bram Stoker’s Dracula, several themes are readily apparent, including prominent symbols like blood, vampirism, and sexism. However, one theme that often goes unnoticed yet plays a pivotal role in our comprehension of the novel is the distortion of Christianity, something that is displayed countless times throughout Dracula. I believe these distortions are intended to instill fear in the reader while elevating the image of God and “holiness” in the context of the Victorian era, a period marked by significant challenges to traditional beliefs and values. In this context, Stoker employs a range of Christian symbols that serve the dual purpose of distorting Christianity through the actions of Dracula and uplifting it through the deeds of the protagonists. For example, in chapter 2 “When the Count saw my face”, referring to the interaction between Jonathan and Dracula, “his eyes blazed with a sort of demoniac fury, and he suddenly made a grab at my throat. I drew away and his hand touched the string of beads which held the crucifix. It made an instant change in him, for the fury passed so quickly that I could hardly believe that it was ever there.” It becomes clear early on throughout the novel that Stoker begins to assign religious symbols to the characters. The depiction of Dracula’s blood-thirsty nature in this interaction is crafted to evoke a profound sense of monstrosity in the reader. Meanwhile, Jonathan, who is saved by the crucifix, symbolizes the holiness of a Christian man, eliciting empathy, and a reassuring comfort in this character.

As the novel progresses, the assimilation of characters into religious symbols, or the distortion thereof, persistently generates empathy for the Christian values prevalent during that era. The distortion of Christianity intensifies as the novel progresses, with elements like communion, marriage, sexuality, and “followership” portrayed in ways that dishonor the Christian ideals. For example, Van Helsing states “And now, my friends, we have a duty here to do. We must sterilize this earth, so sacred of holy memories, that he has brought from a far distant land for such fell use. He has chosen this earth because it has been holy.” (Chp 22). Van Helsing’s dialogue regarding Dracula serves as a strong metaphor, symbolizing the divide between Christianity and Non-believers, highlighting the ongoing conflict between faith and malevolence within the novel. In a deeper analysis, I believe that this portrayal highlights a noticeable contrast that challenges followers who grapple with progressive ideas that challenge the traditional beliefs of the Victorian era.

In his video on the different aspects of Gothic literature, John Bowen outlines the presence of the sublime. He describes the sublime as something that is “terrifying and awesome,” and piques the attention of the reader through these means. This is laid out in great detail by Van Helsing in his note to Dr. Seward as they begin to understand Dracula’s true power. He describes Dracula as having a variety of super-human abilities, beginning with the fact that “he have always the strength in his hand of twenty men; even we four who gave our strength to Miss Lucy it also is all to him” (Ch. 15).  Not only is he un-dead, but his strength is unnatural. It makes him even more of a threat than the average criminal that British citizens encounter. On top of this, Van Helsing notes that Dracula “can summon his wolf and I know not what. So if it be that he come thither on this night he shall find me; but none other shall—until it be too late. But it may be that he will not attempt the place. There is no reason why he should; his hunting ground is more full of game than the churchyard where the Un-Dead woman sleep, and the one old man watch” (Ch. 15). The Count himself is not all that the vampire hunters have to worry about. He is able to summon other beasts to support him in his hunt. While he resembles a man, Van Helsing compares him to an animal, as he has an established hunting ground in which his prey is plentiful. On top of his super strength and ability to control animals, The Count is also “cunning, as I know from Mr. Jonathan and from the way that all along he have fooled us when he played with us for Miss Lucy’s life, and we lost” (Ch. 15). His intelligence is what makes him truly terrifying to the reader, as he is not simply a beast that is carelessly using his power. This use of the sublime is reminiscent of the supervillains in our modern day. The supernatural abilities of villains paired with the potential for them to outwit the protagonist is what draws the viewer into movies. This displays how the sublime has stood the test of time as a literary tool. The combination of multiple superhuman abilities in villains leaves the readers in awe of their powers and prompts them to back the protagonists in their journey to stop the evil force before it is too late. 

Throughout Bram Stoker’s novel, Dracula, we see elements and concerns regarding the preservation of blood, the purity of one’s blood, and the effects that might occur when blood transference ensues. One would think that this concern of blood purity does not extend as heavily beyond that of the upper echelons of British Victorian society, or even that of the living, yet we see even our undead titular Count express similar concerns to that of his living counterparts when he recounts his family history to Jonathan Harker. Dracula boasts that, “the Szekelys—and the Dracula as their heart’s blood, their brains, and their swords—can boast a record that mushroom growths like the Hapsburgs and the Romanoffs can never reach. The warlike days are over. Blood is too precious a thing in these days of dishonourable peace; and the glories of the great races are as a tale that is told” (Stoker, Ch. 3). In this moment, we see Dracula, albeit in a different manner, reinforce ideas regarding questions of blood, and the parts of oneself that are bound in our blood. 

This is further reflected later in the novel when Lucy receives blood transfusions from four different men. A conversation regarding the men’s blood, in it now being a part of Lucy through transfusion, and the repercussions or feelings that may emerge from this connection ensues. Dr. Seward notes that, “Arthur was saying that he felt since then as if they two had been really married, and that she was his wife in sight of God. None of us said a word of the other operations, and none of us ever shall” (Stoker, Ch. 13). Blood, then, to Dracula, is a reflection of the goals of blood purity and mirrors the Victorian concerns of reverse colonization, and is reinforced by the views of Lucy’s “protectors”, where blood is akin to marriage and sex. How does one further their line? One must marry and have children. The purity and the strength of “the Dracula blood” and the maintenance of “the glories of the great races”, is only “protected” when the “right” people interact with one another. While the British Victorians had fears regarding “intermingling”, and what that may mean for the integrity of the British Empire and “Britishness”, it is clear, much to Jonathan Harker’s confusion, that “the outsiders” have just as much, if not less of a desire to fraternize with the British. We see this reflected, then, in Lucy’s downward spiral after her infection with Vampiric blood, and the failed efforts through transfusions of British blood to combat its infiltration, and eventual overtaking of her system. Lucy, then, as a vampire, is a symbol for reverse colonization, and the Victorian fears attached.

Time and time again Van Helsing and the other male characters in Dracula keep extremely important information from the women in their lives. The first example is John Seward arranging Van Helsing to attend to Lucy’s illness, while specifically not arousing “any suspicion in Mrs. Westerna.” While Seward and Van Helsing have good intentions by keeping the details of Lucy’s illness from her, since Mrs. Westerna’s heart being weak enough that “a shock to her would mean sudden death,” the lack of information spells disaster later in the book when Mrs. Westerna throws out the garlic flowers Van Helsing left in Lucy’s room. Without the garlic flowers that bar Dracula from entering, Lucy is vulnerable once more to blood loss via vampire, and perishes shortly after. Even further, the “shock” which kills Mrs. Westerna involves Dracula, with him commanding a wolf crash through the window.

Even after this negligence kills Mrs. Westerna and Lucy, Van Helsing seems ready to repeat the same experience with Mina. Van Helsing’s opinion that Mina may have “her heart… fail her in so much or many horrors,” is especially foolish since Mina was already involved in the investigation, having already read Jonathan’s diary and compiled all the documents pertaining to Dracula. She shows no signs of having had any more troubles of the heart than her male companions. Moreover, she has been and continues to be extremely useful on the logistics side of tracking down Dracula. By shutting Mina out of the Dracula investigation, the men are actively shooting themselves in the foot twofold– losing both such a logistical powerhouse, and leaving Mina vulnerable to Dracula’s attentions without her being able to recognize the signs of what is happening to her. 

From this evidence, I believe that this book has a great fear of women: specifically women with any form of power, and this reflects the anxieties of the time period where female gender norms were shifting and changing without men being able to control it. By keeping the women of Dracula uninformed, they stay controllable, though they are also able to be controlled by other men like Dracula himself. Only by becoming fully informed and empowered do women become monstrous.

This passage occurs after Undead Lucy has been found after finding her empty coffin. They see a standing and a version of Lucy that remains alive. In religion, virginity, and sex are truly sacred. Girls have always been taught that if they were to get their virginities taken away, they would go to hell. This idea has always placed the blame on women and in return, villainized those who choose not to stay confined in misogynistic norms. In the same way, we see Dracula’s version of going to hell, which is resurrecting to life by becoming a vampire. It is interesting to note the contrasting words Dr. Seward chooses to use when describing Undead Lucy, “The sweetness was turned to adamantine, heartless cruelty, and the purity to voluptuous wantonness.” (Chapter 16). Dr. Seward’s choice of words is very telling of how men react when an unmarried woman is sexually active. The usage of the brutal opposing words gives the sense that women evolve into another person when they lose their virginity. Although it can be made to sound that because they lack the spirituality and goodness of religion, they become influenced by evil, this is untrue. They willingly choose to believe that a person has changed due to their biases towards that certain stigmatized group (in this case before and after Lucy became a vampire after exchanging blood with another vampire). It appears that the men in the novel have a difficult time seeing just Lucy behind her vampire image. Metaphors aside, men have a difficult time just seeing Lucy without associating her sexual history. This aspect of Dracula screams madness because it is those who steal the innocence of women who create “monsters” of women who do not abide by the systems set by men.

Dear Reader,

     I’m back on my shit again.

     The Gothic horror genre is rife with weird science due to The Age of Energy and Invention. The post-partum depression of Lady Audly’s mother gets her sent to a mental hospital. The strange mechanical workings of The Terribly Strange Bed. The phrenology in The Hound of the Baskervilles where Arthur Conan Doyle uses science to both explain and emphasize the intelligence of our hero Sherlock Holmes. Bram Stoker does something similar with Mina Harker.

      Van Helsing, a medical man and a professor of high reputation, sings the praises of Mina Harker in a really fucking weird way, “Ah, that wonderful Madam Mina!…and not so long married;” (Chapter XVIII)

      The suggestion from a doctor that women and men have significantly different organs is wild! This is obviously catering to gender standards, the caring and yet weak heart of a woman as opposed to the intelligent and calculating brain of a man.

     This also speaks explicitly to our point in class about men being responsible for protecting women. “A brave man’s blood is the best thing on this earth when a woman is in trouble….we want them.” (Chapter XII) The gendering of organs can also be seen here.

     Now, I know what you’re thinking, “Red. You’ve done an excellent job of identifying something interesting, revealing, or strange, and you’ve looked sexy while doing it, but, not to be an asshole, so what?” Thank you reader; I did something new with my hair and I’m glad that you like it. To your question though, “So what?”

      The idea that men are scientifically engineered, and shaped by God, to protect women is a pervasive one throughout this story and made explicit in the quotes that I have selected. “So what?” Bram Stoker uses science and an appeal to religion to justify his sexist and ridiculous “damsel in distress” in a way that is dangerous and harmful.

Yours sleeping upsidedown like a bat,

Carmine “Red” Zingiber

When Lucy needs blood transfusions, she is said to require the blood of a man who will provide her with the strength she needs. Van Helsing remarks, “A brave man’s blood is the best thing on this earth when a woman is in trouble.” Stoker is implying that a weak woman needs masculinity in order to balance out the femininity implicit in weakness. When Lucy takes in masculinity through the form of blood, she is less delicate and less vulnerable to working herself into feminine hysteria.  

When Van Helsing states that “the devil may work against us for all he’s worth, but God sends us men when we want them,” Stoker suggests that while men serve god’s purpose, women work against it. In additional service to this point, Dracula drinks the blood of women and is, not unrelatedly, the embodiment of evil and sinfulness in the novel. While taking in the blood of men makes Lucy heartier, taking in the blood of women makes Dracula more depraved. He retains his masculine form and therefore still has physical strength, but his mental strength is degraded and perverse. 

 

Bram Stoker’s Dracula reflects Victorian society. He uses three female archetypes to show the changes of the time. The Victorian era was a time of scientific innovation, breaking from the church, and the emergence of “The New Woman.” Lucy represents traditional Victorian society with her purity and innocence. Mina embodies the “New Woman” because of her new-world ideas of femininity and her aspirations to work with Jonothan. The three vampire sisters demonstrate breaking from the church. Explicitly focusing on Lucy’s development from innocence to evil. The weird sisters hold the most power out of any of the women because of their vampirism. Their powers of seduction and femininity lead men to their deaths, as seen in their attempt at Jonathan. 

The weird sisters are a great example of the fem fatale. We see Lucy start to exhibit some of these traits in her transformation. “In a sort of sleep-waking, vague, unconscious way she opened her eyes, which were now dull and hard at once, and in a soft voluptuous voice, such as I had never heard from her lips…” In this passage, we see Lucy begin to become a dangerous seductress. As soon as she opens her eyes, her sweet innocence is replaced with a cunning mind and dark agenda. She demands Arthur kiss her with intent to suck his blood and kill him. Luckily, Van Helsing recognizes her vicious agenda and stops him. “Not for your life! he said; not for a living soul and hers! And he stood between them like a lion at bay.” The curious part about this quote is that Helsing has separated Lucy from themselves. They are the living, and her soul is gone, dead. Helsing is scared of her now. She has been dehumanized; Lucy is now an ”it,” an evil, inhuman entity. Like the weird sisters, she holds divine feminine power in looks that will literally kill.