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Beresford, Mathew (2008). From Demons to Dracula: The Creation of the Modern Vampire Myth. London: Reaktion. ISBN 978-1-86189-742-8. OCLC 647920291.

As the acting manager of the Lyceum Theatre in London, Bram Stoker was a recognisable figure: he would greet evening guests, and served as assistant to the stage actor Henry Irving. In a letter to Walt Whitman, Stoker described his own temperament as "secretive to the world", but he nonetheless led a relatively public life. [1] Stoker supplemented his income from the theatre by writing romance and sensation novels, [2] [3] [a] and had published 18 books by his death in 1912. [5] Dracula was Stoker's seventh published book, following The Shoulder of Shasta (1895) and preceding Miss Betty (1898). [6] [b] Hall Caine, a close friend of Stoker's, wrote an obituary for him in The Daily Telegraph, saying that—besides his biography on Irving—Stoker wrote only "to sell" and "had no higher aims". [8] Influences Vlad III, more commonly known as Vlad the Impaler The image of Van Helsing and his allies being 'ministers of God’s own wish', creates a righteous tone. They are carrying out God’s will by hunting down and destroying Dracula. This righteous tone is further emphasised by the metaphor that they 'go out as old knights of the Cross,' likening the group to chivalrous knights, willing to lay down their lives to defeat an evil being. Stoker, Bram. "Ch. 27, Mina Harker's Journal, 6 November". Dracula (PDF). p.533. But I could not eat, to even try to do so was repulsive to me, and much as I would have liked to please him, I could not bring myself to the attempt. One of Lucy's suitors and her fiancé. He is the son of Lord Godalming, whose title he inherits. He also fights against Dracula, eventually agreeing to kill Lucy when he realizes that she has become a vampire.

he was in life a most wonderful man. Soldier, statesman, and alchemist. Which latter was the highest development of the scientific knowledge of his time. He had a mighty brain, a learning beyond compare, and a heart that knew no fear and no remorse... there was no branch of knowledge of his time that he did not essay. [15] Dracula’s genre as a gothic Horror Novel does not make it unique. The gothic horror genre was very popular in Victorian England, and Dracula could well have got lost among the masses. So, why is it still so popular today? Read about the similar theme of sin, redemption, and damnation in Christopher Marlowe’s Doctor Faustus. Madness Van Helsing believes that Lucy is not truly dead, and is instead ‘un-dead’. He leads Lucy’s previous suitors, Holmwood, Seward, and Morris, to her tomb. The novel has a suspenseful Tone, indicative of its gothic genre. Suspense is built through the use of epistolary form. By presenting the story through the journals, letters, and accounts of various characters, Stoker gradually reveals elements of the story to the reader.

The Cambridge Companion to 'Dracula' . Cambridge University Press. 2018. p.101. ISBN 9781107153172. Stoker, Bram. "Chapter 27, Memorandum by Abraham Van Helsing, 4 November". Dracula (PDF). pp.519–527. The descriptions of the vampires in Dracula often have s exual undertones. The vampires are presented as harbingers of evil, their sexual nature being part of their danger.

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Dracula's preferred victims are women. [34] Harker states that he believes Dracula has a state of fasting as well as a state of feeding. [35] He tells Mina exerting his abilities raises a desire to feed. [36] Vampire's Baptism of Blood [ edit ] Stuart, Roxana (1994). Stage Blood: Vampires of the 19th Century Stage. Popular Press. ISBN 978-0-87972-660-7. Stoker, Bram. "Ch 7, Jonathan Harker's Journal". Dracula (PDF). p.123. 'knife went through It, empty as the air He was the second son of Vlad Dracul, who became the ruler of Wallachia in 1436. Vlad and his younger brother, Radu, were held as hostages in the Ottoman Empire in 14 Further information: Count Dracula in popular culture Bela Lugosi as Count Dracula in the 1931 film Dracula

The folk legends and traditions Van Helsing draws upon suggest that the most effective weapons in combating supernatural evil are symbols of unearthly good. Indeed, in the fight against Dracula, these symbols of good take the form of the icons of Christian faith, such as the crucifix. The novel is so invested in the strength and power of these Christian symbols that it reads, at times, like a propagandistic Christian promise of salvation. Keogh, Calvin W. (2014). "The Critics' Count: Revisions of Dracula and the Postcolonial Irish Gothic". Cambridge Journal of Postcolonial Literary Inquiry. 1 (2): 189–206. doi: 10.1017/pli.2014.8. ISSN 2052-2614. S2CID 193067115. Bierman, Joseph S. (1 January 1977). "The Genesis and Dating of 'Dracula' from Bram Stoker's Working Notes". Notes and Queries. CCXXII (jan): 39–41. doi: 10.1093/notesj/CCXXII.jan.39. ISSN 0029-3970.Count Dracula is equipped with many supernatural powers that make him a formidable enemy. However, Stoker is also quite pragmatic about the fact that part of what makes Dracula dangerous is his wealth, and his ability to engage in systems of economic exchange. Dracula buys his new home in England through a perfectly legal and commonplace financial transaction, and he pays for his voyages to and from England, rather than using any sort of magical ability to travel. When Harker is imprisoned in the castle, he observes finding “a great heap of gold in one corner,” evidence of Dracula having the money he needs to carry out his plans. While Dracula’s ancient origins and supernatural powers seem to make him a figure from the past, he is able to seamlessly navigate the modern cash economy and use it to his advantage. So long as he has the money to pay, many characters, including Harker himself, are willing to overlook his eccentric and menacing behavior. Themes are the fundamental and often universal ideas explored in a literary work. The Consequences of Modernity Because of the many strange and supernatural events which take place in the novel, characters often question whether they might be going mad and imagining things. When Harker reunites with Mina after escaping from Dracula’s Castle, he does not know whether or not he can trust his memories: “I do not know if it was all real or the dreaming of a madman.” The character of Renfield, an inmate in Dr. Seward’s asylum, further reinforces how madness can make it difficult to see Dracula’s evil schemes at play. When Seward overhears Renfield saying “I shall be patient, Master. It is coming—coming—coming,” Seward assumes the man is raving mad, when Renfield is actually speaking with Dracula and foreshadowing the dangers to come. Seward even doubts his own ability to think logically, wondering “if my long habit of life amongst the insane is beginning to tell upon my own brain.” Confronted with an evil that seems impossible to understand, characters find it easier to believe they might be going insane and that their problems are entirely internal. Fear of Outsiders Chevalier, Noel (2002). "Dracula: Sense & Nonsense by Elizabeth Miller (review)". ESC: English Studies in Canada. 28 (4): 749–751. doi: 10.1353/esc.2002.0017. ISSN 1913-4835. S2CID 166341977. Stoker, Bram. "Chapter 6: Jonathan Harker's Journal". Dracula (PDF). p.500. He had received a letter from Mr. de Ville of London

Lisa Hopkins reproduces the previous quotation, and confirms Farson's relation to Stoker, in her 2007 book on Dracula. [27] Dracula is one of the most famous pieces of English literature. Many of the book's characters have entered popular culture as archetypal versions of their characters; for example, Count Dracula as the quintessential vampire, and Abraham Van Helsing as an iconic vampire hunter. The novel, which is in the public domain, has been adapted for film over 30 times, and its characters have made numerous appearances in virtually all media. Though Stoker begins his novel in a ruined castle—a traditional Gothic setting—he soon moves the action to Victorian London, where the advancements of modernity are largely responsible for the ease with which the count preys upon English society. When Lucy falls victim to Dracula’s spell, neither Mina nor Dr. Seward—both devotees of modern advancements—are equipped even to guess at the cause of Lucy’s predicament. Only Van Helsing, whose facility with modern medical techniques is tempered with open-mindedness about ancient legends and non-Western folk remedies, comes close to understanding Lucy’s affliction. Lovecraft, H. P. (1965). Derleth, August; Wandrei, Donald (eds.). Selected Letters. Vol.1. Arkham House. ISBN 9780870540349. Stoker, Bram. "Chapter 23: Dr Seward's Diary". Dracula (PDF). p.436. Look out for D. He has just now, 12:45, come from Carfax hurriedly and hastened towards the South.

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Stoker's detailed notes reveal he was well aware of the ethnic and geopolitical differences between the Roumanians/Wallachs/Wallachians, descendants of the Dacians, and the Székelys/Szeklers, allies of the Magyars or Hungarians, whose interests were opposed to that of the Wallachians. In the novel's original typewritten manuscript, the Count speaks of throwing off the "Austrian yoke", which corresponds to the Szekler political point of view. This expression is crossed out and replaced by "Hungarian yoke" (as appearing in the printed version), which matches the historical perspective of the Wallachians. Some take this to mean that Stoker opted for the Wallachian, not the Szekler interpretation, thus lending more consistency to his count's Romanian identity. Although not identical to Vlad III, the vampire is portrayed as one of the "Dracula race". [60] Screen portrayals [ edit ] Year Wasserman, Judith (1977). "Women and Vampires: Dracula as a Victorian Novel". Midwest Quarterly. 18.