UNIVERSITATEA TEFAN CEL MARE

SUCEAVA
FACULTATEA DE LITERE I TIINE A
COMUNICRII
SPECIALIZAREA ENGLEZ-ROMN
LUCRARE DE LICEN
THE SYMBOLISM IN BRAM
STOKERS DRACULA
Coordonator tiinific
Prodecan Conf. Univ. Elena-Luminia Turcu

Student
Teodora-Elvira Croitoru
S!!"#$
Argument
Introduction
Chapter I !lood i" life#$
A. %ho i" &racula'
!. (ampire" )et*een m+th and realit+
C. The "+m)oli"m of )lood
Chapter II !lood a" another, more "eductive facet of femininit+#
A. The emerging of New Woman
!. The %eird Si"ter"
Chapter III &racula-" inva"ion#
A. The a""ociation of &racula *ith the Ea"t
!. &racula-" metamorpho"e"
C. The p"+choanal+"i" of Count &racula
Conclu"ion"
.
A#%!&'(
It i" a "trange e/perience *riting a degree for !ram Sto0er-" &racula. There i"
"omething intere"ting a)out &racula, a)out vampire" in general. I too0 "everal different
approache" in m+ degree$ p"+chological, fol0lore, "ocio-cultural and "piritual1religiou".
The p"+chological a"pect" of the "tud+ of the vampire ha" intrigued me and te numerou"
connection" that vampire" have *ith the *orld around u".
The idea of vampiri"m a""ociated *ith immortalit+ i" irre"i"ti)le not onl+ for me,
)ut for almo"t all Dracula-" critic". I thin0 that Dracula i" not a 2ourne+ of four men
tr+ing to de"tro+ the Evil, in fact, it i" a 2ourne+ into the dar0 and hidden e/plorating of
the "elf, *hich i" more difficult than ever+thing el"e.


3

I'(#)*+(,)'
The reputation of !ram Sto0er
4
re"t" toda+ almo"t e/clu"evel+ upon hi"
author"hip of Dracula. In hi" lifetime Sto0er *a" )etter 0no*n a" the Anglo-Iri"h
manager and )igrapher of the London actor Sir 5enr+ Irving
.
, than a" the author of eleven
novel", three volume" of "hort "torie", and a va"t corpu" of largel+ uncollected "hort amd
"erial fiction, )iograph+ and critici"m.
6f Sto0er-" eleven novel" onl+ five- Dracula 7489:;, The mistery of the sea
749<.;, The jewel of seven stars 749<3;, The lady of the shroud 749<9; and The lair of the
white worm 74944;- ma+ )e regarded a" une=uivocall+ >othic. 5o*ever, t*o of the
author-" collection" of "hort "torie"- Under the sunset 7488.;, a collectionof moral tale"
o"ten"i)l+ for children, and the po"thumou" Draculas guest and other Wierd tales
7494?;- dra* percepti)l+ on >othic motif". The remaining novel", *ith much of the
uncollected "hort fiction, can )e cla""ified e""entiall+ a" romance", *hich at time"
em)od+ element" of the adventure "tor+ and the >othic @ovel. There i" a fairl+ con"i"tent
comple/ of theme", i""ue", mo"t nota)l+ gender and race, *hich inform" the full range of
Sto0er-" fiction, and *ho"e di"cour"e" ma+ )e traced throughout hi" *riting". Sto0er-"
recen"ion of the >othic i" thu" one in *hich the apparent preoccupation of a "egment of
the !riti"h middle cla""e" are channelled through convention" "uch a" >othic 5ero and
5eroine, the =ue"t for trea"ure or for the 0no*ledge, and the theme of o)duction, in
"trengh of one or more di"cour"e" ma+ )e )oth fictionall+ te"ted and argua)l+ verified.
The critical "tudie" of Sto0er-" *riting" have )een largel+ p"+cho-)iographical in
approach, and have focu"ed attention into &racula at the e/pen"e of the author-" other
*or0".
&racula, the character ha" )ecome the epicentre of a modern curtural m+th of
*hich Dracula
3
-the novel- i" )ut a "mall component. Dracula provide" a clear
demon"tration of ho* >othic +ield to contemporan+ di"cour"e" throughout the author-"
fiction. Aecent "cholar"hip ha" a""ociated the di"tinctive pallor, hair+ palm" and ran0
4
5ughe", %illiam, 4998. The handbook to gothic literature, Edited )+ Barie Bulve+-Ao)ert", Bacmillan
Pre"" LT&, 5aundmill", !a"ing"ta0e, 5amp"hire and London
.
Sir Irving 5enr+ 74838-49<C; )orn Dohn 5enr+ !rodri)) *a" an Engli"h "tage actor in (ictorian era. 5e
*a" the fir"t actor to )e a*arded a 0nighthood.
3
Sto0er, !ram, Dracula,4993. @e* Eor0, Penguin Edition
?
)reath of the Vamire *ith popular "ignifier" con"tructing the ma"tur)ator in (ictorian
culture. The i"olation and intro"pection of the >othic 5ero-(illain have )een re*or0ed
into the "ignification of *hat *a" termed the #"olitar+ vice#. The"e re*or0ing di"place"
"ome*hat the nature of the "e/ual threat traditionall+ po"ed )+ the gothic 5ero. &racula,
menacingl+" in the theoretical ground )et*een "educer and rapi"t. The con"e=uence of hi"
attac0 i" argua)l+ a de)a"ement not of the individual )ut of the race. The popular
eugenic" of (ictorian commentator" in"i"t that the ma"tur)ator not onl+ de"tro+" him"elf,
)ut )light" hi" de"cendant" al"o. The "ignification of the individual thu" )egin" to em)od+
a *hole "erie" of related racial i""ue" concerning not merel+ the potential decadenceof the
race from *hithin, al"o the eugenic ri"0" apparentl+ po"ed )+ other racial group"- in
particular tho"e that come, li0e &racula him"elf, from the Ea"t.
The "ocial "cript ma+ )e "een, e=uall+, to co-e/i"t *ith the ph+"iological and
"+m)olic re"onance" of )lood in Dracula. The te/t-" repre"entation" of the "ecretion,
depletion and tran"fer of )lood participate in a meton+mic comple/ in *hich the alleged
racial =ualitie" encoded in )lood are enhaced, diluted, corrupted or tran"ferred. The"e
enconding" in turn map over further i""ue" of gender and off cla"", although the"e latter
are often e/po"ed in Sto0er-" other *riting".
The com)ination of %e"tern racial )lood" in Dracula, *hether literall+ 7a" in the
variou" act" of tran"fu"ion;, or figurativel+ 7a" in the alliance forget around (an 5el"ing-"
leader"hip;, thu" conve+" not 2u"t the apparentl+ inevita)le triumph of %e"tern Stoc0 over
le"" developed or degenerate# oppo"ition, )ut the "uperiorit+ al"o of the moral,
intellectual and emotional =ualitie" culturall+ encoded in the )lood "ignifier.

C
C-".(&# I /B0))* ,1 0,2&
A. %ho i" &racula'

Secret and "ecrec+ pla+ an important part in Dracula
!
and it i" o)viou" that man+
fact" in the plot of the novel are never clearl+ elucidated and are often *illingl+ left out.
The reader feel" a" if an important part of the truth *a" concealed from him and *henever
an e/planation i" given, it "eem" to come too late. Li0e detective novel *riter", *ho let
their reader" devi"e their o*n h+pothe"e" for the "a0e of "u"pen"e, and *ait until the end
to di"clo"e the truth, !ram Sto0er 0eep" u"eful information for him"elf. It i" not 0no*n
until the middle of the "tor+, for in"tance, that *e are openl+ told that Count &racula i" a
vampire. Sto0er-" narrative "trateg+ i" )a"ed on "ecrec+, not onl+ in the *a+ the "tor+ i"
told, )ut in the plot it"elf, "ince the protagoni"t" often 0eep "ecret" from each other.
It appear" that the narrative frame*or0 of Dracula i" meant to confu"e and puFFle the
reader. Dracula i" in fact a patch*or0 of te/t" including diarie", 2ournal", letter",
telegram", report", etc. (er+ often the information contained in the"e document" "eem" to
have no lin0 *hat"oever *ith the main plot. Such fact" a" the tragic event" on )oard the
Demeter, the e"cape of the *olf !er"ic0er from London Goo and Aenfield-" medical ca"e
"eem to have little to do *ith 5ar0er-" e/perience in Tran"+lvania. The reader, *ho ha"
no e/planation, i" non-plu""ed. Boreover, unli0e mo"t earlier >othic novel", in Dracula
there i" no omni"cient narrator to help u" under"tand *hat i" happening. The reader ha" to
find the truth )+ him"elf. Thu" *e can "a+ that Sto0er-" novel i" =uite modern 7and
perhap" even po"tmodern;.
In Dracula the onl+ linear narrative i" Donathan 5ar0er-" 2ournal at the ver+
)eginning. 5ar0er tell" u" of the event" he ha" *itne""ed in a chronological order. 5i"
narrative, ho*ever, po"e" man+ =ue"tion" *hich are left unan"*ered. 5ar0er apparentl+
doe" not under"tand *hat happen" and the reader i" puFFled *hen he =uote" "uch
enigmatic *ord" uttered )+ &racula a" Enter freel+ and of +our o*n *ill# 7..; - a
?
Barign+, Dean, "ecrecy as "trategy in Dracula# UAL$ http$11)looferland.com1drc1inde/.php'
titleHDournalIofI&raculaIStudie"
J
"trange *a+ of *elcoming a gue"t - or again, Li"ten to them - the children of the night.
%hat mu"ic the+ ma0eK# 7.C; *hen the ho*ling of *olve" can )e heard out"ide. !e"ide",
man+ =ue"tion" are unan"*ered$ %h+ doe" the Count appear onl+ at night' %h+ i" he
"uddenl+ mad at the "ight of a drop of )lood' %h+ doe" he refu"e mirror" in hi" pre"ence'
5ar0er i" diml+ a*are that there i" "omething "upernatural a)out hi" ho"t, )ut he cannot
account for the fact that &racula doe" not ca"t a reflection in a mirror or that he can clim)
do*n a *all, *ith hi" head do*n*ard. !efore he goe" to Ca"tle &racula, 5ar0er doe" not
even 0no* *hat the *ord vampire# conve+". At the end of hi" 2ournal, the reader i"
perple/ed a)out the event" *hich have )een related. Apart from &racula him"elf, the
mo"t m+"teriou" character in the novel i" (an 5el"ing. 5e appear" a" the ver+
em)odiment of "ecrec+. A" he doe" not 0eep an+ diar+ or 2ournal, *e do not 0no* *hat
he reall+ ha" in mind. 5e never confide" in an+one and hi" attitude i" "ometime" ver+
"trange. The reader cannot under"tand *h+ thi" eminent univer"it+ profe""or "a+", And
to "uper"tition mu"t *e tru"t at the fir"t# 7.8?;, or in"i"t" that garlic flo*er" )e put in hi"
patient-" )edroom a" if it *a" a matter of life and death. 5e doe" not give an+ e/planation
on Luc+-" illne""# until he ha" made Arthur 5olm*ood put a "ta0e into her heart, after
"he ha" )ecome a vampire.
%hen (an 5el"ing finall+ tell" the truth a)out vampire", there i" a dra"tic change in
the novel. The reader i" no* treated a" an initiate$ he i" told ever+thing a)out *hat i"
happening a" if Sto0er had decided to renounce hi" narrative "trateg+$
#There are "uch )eing" a" vampire"L "ome of have evidence that the+ e/i"t. Evan had not
the proof of our o*n unhapp+ e/perienceMNO Thi" vampire *hich i" among"t u" i" of
him"elf "o "trong in per"on a" t*ent+ menL he i" of cunning more than mortal, for hi"
cunning )e the gro*th of age" MNO he i" )rute, and more than )ruteL he i" the devil in
callou", and the heart of him i" notL he can appear at *ill *hen, and *here, and in an+ of
the form" that are to himL he can, *ithin hi" range, direct the element"$ the "torm, the fog,
the thunderL he can command all the meaner thing"$ the cat, and the o*l, and the )at, and
the fo/, and the *olfL he can gro* and )ecome "mall, and he can at time" vani"h and
come un0o*n.#7.83-.8?;
#The vampire live on, ad cannot die )+ mere pa""ing of the timeL he can flouri"h *hen
that he fatten on the )lood of the living. Even more, *e have "een amoung"t u" that he
can gro* +oungerL that i" vital facultie" gro* "treitou", and "eem a" though the+ refre"h
them"elve" *hen hi" "pecial pa)ulum i" plent+MNO.#7.8:;
:

!. (ampire" )et*een m+th and realit+
In hi" #Botif inde/ of Pol0 Literature#, Stith Thomp"on
C
define" a vampire a" a
#corp"e *hich come" from the grave at night and "uc0" )lood# in order to "u"tain it"
e/i"tence. The vampire ha" it" origin" in the fol0 legend" of man+ countrie", mo"t
"pecificall+ in central and ea"tern Europe. Bo"t fol0lori"t" agree that the *ord #vampire#
ha" "lavic root", fir"t appearing a" a proper name #Upir# in a ru""ian manu"cript of the
eleventh centur+ and a" a generic term in a Ser)ian manu"cript t*o hundred +ear" later.
The form #vampir# ha" )een found in a fifteenth-centur+ "outh "lavic "ource.
(ampire- li0e creature" 7)+ other name"; have )een identified in the mith and lore of
man+ other culture". Another common element found in much of the fol0lore i" that a
per"on )ecome" a vampire after death a" a re"ult of "ome condition or "et of
circum"tance" pre"ent during hi" lifetime. Some are predi"po"ed at )irth$ tho"e )orn on
certain holida+", or on the ne* moonL tho"e )orn *ith a defect "uch a" a caul, an e/tra
nipple, or teethL an+one *ho i" the "eventh "on of a "eventh "on. 6ther" are doomed to
return a" vampire" )ecau"e of trangre""ion" committed again"t the accepta)le code" of
)ehavior during their lifetime "u"h a" practi"ing "orcer+ or engaging in act" of violence.
Still other" return from dead )ecau"e of the circum"tance" "urrounding their death or
)urial$ the+ died *ithout )apti"m, the+ died in a "tate e/comunication, the+ commited
"uicide, the+ *ere in life attac0ed )+ another vampire or their )odie" or not )uried in
accordance *ith proper ritual". !ut in each ca"e, the vampire i" clearl+ dead.
Purthermore, vampire lore fre=uentl+ indicate" that the vampire can )e de"tro+ed-
that it-" e/i"tence can )e )rought to an and )+ out"ide intervention. The mo"t *ide "pread
*a" to drive a *ooden "ta0e through it-" heartL other techni=ue" included decapitation,
drenching the )od+ in garlic or hol+ *ater, e/tracting and )urning the heart or )urning the
entire corp"e.
Immortalit+ i" often citied a" one of the chief characteri"tic" of the vampire. Por
immortalit+ are t*o e""entiall+ definition"$ fir"t, #endle"" life, the condition of living
forever, or never d+ing#, and "econdl+ #fame, that i" li0el+ to la"t forever#. !ut
parado/icall+, then immortalit+ for the vampire i" a temporar+ "tate dependent on it-"
C
Thomp"on, Stith. #Botif inde/ of Pol0 Literature#, 4998. The handbook to gothic literature, Edited )+
Barie Bulve+-Ao)ert", Bacmillan Pre"" LT&, 5aundmill", !a"ing"ta0e, 5amp"hire and London
8
a)ilit+ to procure an ade=uate )lood "upl+ and it-" deftne"" in avoinding the in"trument"
of de"truction.
The fol0loric vampire antered *e"tern literature a" a re"ult ofd the convergence ot t*o
factor"$ the famou" vampire "ighting" of the eighteench centur+, and the ri"e of gothic
literature. In neither of the"e i" a trait of immortalit+, a prominent feature.
The *ord #vamp+re# made it-" fir"t appearance in the Engli"h language in earl+
4:3<-". The occa"ion *a" a ra"h of vampire "ighting" documented in "evered part" of
central and ea"tern Europe, and eventuall+ reported in the !riti"h pre"". Thi" *ere "o
*ide "pread, that in "ome contrie" government official" )ecame directl+ involved. So did
the academic communit+. In 4:?J, Prench )i)lical "cholar &om Augu"tin Calmet *rote a
treati"e on the "u)2ect, including hi" account of the famou" ca"e of Arnald Paul
J
.
The"e report" concided *ith 7and ma+)e contri)uted to; a ri"ing intere"t in >othic
literature, fir"t in >erman+ and later in England. The >othic movement *a" part of the
)roader period of Aomantici"m, *ith it-" clallenge to "u)2ectivit+ emotion, intuition and
imagination. It *a" inevita)le that the vampire *ould )e adopted )+ >othic *riter". The
fir"t in Engli"h literature to do "o *ere the Aomantic poet", nota)l+ Ao)ert Southe+ and
Lord !+ron. Southe+ included a vampire poem, The $iaour 74843; contain" the famou"
vampire cour"e. Even though the image of vampire )ecome more romanticie"ed and
eroticiFed during the nineteenth centur+ *ith literar+ *or0" the i""ue of immortalit+ i"
never the central one.
The !ram Sto0er-" novel, Dracula *hich )ecome the template of future
repre"entation" of the vampire *hether though conformit+ or deviation. Sto0er coin" the
J
A)out five +ear" ago a certain 5e+duc=, an inha)itant of Badreiga Min Au"trian Ser)iaO named Arnald
Paul *a" cru"hed to death )+ the fall of a *agon-load of ha+. Thirt+ da+" after hi" death four per"on" died
"uddentl+ and in the "ame manner in *hich according to the tradition of the countr+ tho"e die *ho are
mole"ted )+ vampire". The+ then remem)ered that thi" Arnald Paul had often related that in the environ" of
Ca""ovia and on the frontier" of the Tur0i"h Servia, he had often )een tormented )+ a Tur0i"h vampireL for
the+ )elieve al"o that tho"e *ho have )een pa""ive vampire" during life )ecome active one" after thier
death, that i" to "a+, that tho"e *ho have )een "uc0ed, "uch al"o in their turnL )ut that he had found mean" to
cure him"elf )+ eating earth from the grave of the vampireL and "mearing him"elf *ith hi" )loodL a
precaution *hich , ho*ever, did not prevent him fromm )ecoming "o after death, "ince, on )eing e/humed
fort+ da+" after hi" interment. The+ found hi" corp"e all the indication" of an arch-vampire. 5i" )od+ *a"
red, hi" hair, nail", and )eard had gro*n again, and hi" vein" *ere repleted *ith fluid )lood, *hich flo*ed
pre"ence the e/humation too0a place, and *ho *a" "0illed in vampiri"m, had, according to cu"tom, a ver+
"harp "ta0e driven into the heart of the defunct Arnald Paul, and *hich pierced hi" )od+ throught, *hich
made him, a" the+ "a+, utter a frighful "hrie0, a" if he had )een aliveL thatdone, the+ cut off hi" head, and
)urnt the *hole )od+. After taht the+ performed the "ame an the cop"e" of the four other per"on" *ho died
of vampiri"m, fearing that the+ in their turn might cau"e the death of other",
UAL$http$11)oo0".google.ro1)oo0"'
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9
term #un-dead# a" a "+non+m for hi" concept of the vampire. The *ord appear" "everal
time" throughout the novel, on each occa"ion u"ed either )+ (an 5el"ing or in reference
to *hat he ha" "aid. Sto0er *a" o)viou"l+ver+ fond of the *ord, and had even con"idered
it a" the title of the novel. Even through he had found the name V&racula# a" earl+ a"
489< and had )een e/i"ting it in note" and outline", not until ver+ late in the proce"" did
he "elect it a" the title. The title appearing on the California t+pe"cript i" VT5E U@-
&EA& )+ !ram Sto0er# *ith VCop+right 498:#. Purthermore, the dramatic reading
underta0en on 48 ma+ 489:, prior to pu)lication of the novel, *a" entitled V&racula or
theUn-&ead#.
!+ u"ing the term VU@-&EA&# , Sto0er e/pre""ed the e/i"tence of the vampire in
a "ort at Vno-man-" alnd# dead, )ut +et not dead. The vampir appear" in an animated
)od+7unli0e the gho"t;, hi" )od+ perform" at lea"t "ome of the function of the living., )ut
ho* immortal" i" thi" Vun-dead#' In outlining the po*er" and limitation" of the vampire,
van hel"ing "tate"$ V%hen the+ )ecome "uch, there come *ith the change the cur"e of the
immortalit+, the+ cannot die )ut mu"t go on age after age adding ne* victim" and
multipl+ing the evil" of the *orld#73<8;. Thi" i" a non"en"e, another e/emple of the
numerou" incon"i"tencie" that plague Sto0er-" novel. The vampire cand indeed die, a"
(an hel"ing demon"trated in the "ta0ing of Luc+ and later in the pur"uit of &racula. Later,
the &utch profe""or amend" hi" original declaration, pointing aut that VThe vampire live
on, and cannot die )+ mere pa""inf of the time#733C;.
C. The "+m)oli"m of )lood
%illiam 5ughe"
:
de"cri)e" ver+ *el the conection )et*een vampire" and the
)lood. The vampire ha" long hi"tor+ )oth a" a literar+ device a" a "ignifier in culture.
Buch of the po*er of the trope i" derived from the intimate relantion"hip )et*een
vampire" and )lood. !lood i" culturall+ a" *ell a" te/tuall+ an item of multidi"cur"ive
"ignificance a fluid *hich ma+ "ignif+ at variou" time" notion" of famil+, race, religion
and gender. The fluid nature of )lood ma0e" )oth the "u)"tance and it" meaning"
peculiar+ vulnara)le. !lood i" ea"il+ "pilled, mi/ed or diluted. Unmingled it i" the
guvernator of purit+ and "trengh W a "trenght *hich ma+ )e de"ired )+ other" )e+ond the
:
i)idem 4
4<
circle or circulation of one-" Vo*n# )lood. &iluted or depleted it ma+ "ignif+
"imultaneou"l+ per"onal la""itude along"ide racial, familial, or moral decline and
degeneration. Tran"ferred or tran"fu"ed )+ medial occult or "e/ual mean"7*here the
"hedding of h+menal )lood initiate" a "e/ual encounter;, it ma+ either revive or pro"tate.
The individual ma+ thu" function a" a "+necdoce of greater communit+ united )+
enconding" inve"ted *ithin a common )lood. The vampire in thi" conte/t con"titue" a
node at *hich "ignification" )oth meet and are modified follo*ing thei contact *ith their
place of con2unction, the vampire" it"elf.
The "u)"cript of the"e enconding" i" the cultural e=uation of )lood and "emen W
thefigurative and literal carrier" of racial and individual =ualitie". !oth fluid" have
)eenhi"toricall+ encompa""ed )+ religiou" and cultural ta)oo" re"tricting their di"per"al
)e+ond the internal circulation of the )od+. Bedicine in mid-to late- (ictorian !ritain in
particular lin0ed the t*o reciprocall+ in the "o called V"permatic econom+#, *here the
e/ce""ive unnece""ar+ VSpending# of "emen )rought in con"e=uence a decline in the
vitalit+ of the Sanguine fluid. Unmentiona)le in normal communication )e+ond re"tricted
cultural aven a" "uch a" medicine, religion and education, the "eminal fluid i" thi"
conflated *ith an accepta)le and a""ociated )lodl+ "ecretion. Thi" conflation i" for )oth
*riter" and critic" of vampire fiction, an opportunit+ to effectivel+ erotici"e the te/t.
Pred !otting
8
ha" an intere"ting theor+ a)out the "+m)oli"m o )lood in &racula in
hi" )oo0 V>othic#. In hi" oppinion (an hel"ing appeal" to thi" "pirit 7the )onding
produced )+ e/clu"ivel+ male adventure" form" and id+lic )a+-"cout pa"t that i"
"econ"tituled and "anctfied in the pur"uit of the vampire; *hen he de"cri)e" ho* the
vampire ma+ )e )eaten )+ the Vpo*er of com)ination# and the letting of )lood. In the
earlier conte/t , (an hel"ing "a+" to Suinle+ V a )rave man-" )lood i" the )e"t thing on
thi" earth *hen a *omen i" in trou)le. Eou-re a man, and no mi"ta0e. %ell the devil ma+
*or0 again"t u" for all he- *orth, )ut >od "end" u" man *hen *e *ant them#749?;. The
2oll+ fortitude of thi" "tatement i" te"ted later *hen Suince+ lo"e" more than the amount
of )lood re=uired in a tran"fu"ion.
Banhood, )lood and )raver+ form the corner"tone" of the (an 5el"ing-" fatherl+
notion of cultural and "piritual rene*al. The appeal to male "trength, )lood and )raver+
culminate" in the violance of the hunt that mar0" the return of the )uried *arrior tradition,
repre"ented and mourned at the )eginning of the novel )+ &racula-" de"cription of hi"
8
!otting, Pred, 499J. $othic, Aoutledge 44 @e* Petter Lane, London.
44
heritage$ the *arli0e da+" are over$#!lood i" to preciou" thing in the"e da+" of
di"honoura)le peace and the glorie" of the great race" are a" a tale that i" told#7?3;.
Engaging in )attle *ith dracula, (an hel"ing-" vampire W 0iller" rea*a0en racial
memorie" and m+th" of !lood and nonour$ Suince+ i" de"cri)ed a" a Vmoral Xic0ing#
and Arthur i" compared to Thor a" he impale" Luc+. To com)at the racial m+th" of
northen tri)e", m+th" lin0ed to >othic notion of freedom and "trength are invo0ed. A
*arli0e pagoni"m i" com)ined *ith Chri"tianit+L a "acrali"ation of racial m+th" *ho"e
function *ithin an em)atled and aggre""ive cultural and imperiali"t imgination i" "tar0l+
empha"i"ed *hen (an hel"ing invo0e" divine "anction for their pro2ect. In >od-" name
the+ Vgo out a" the old 0inght of the Cro""#.
The appeal to pa"t hi"tor+ and romance i" not merel+ invocative of a fictional
tradition it allude" to the )elligerent pur"uit of a religion cau"e, in the Cru"ade" again"t
the non-Chri"tian people" of the Ea"t. In the conte/t of gothic fiction thi" "eem" li0e a
no"talgic appeal to a lond dead *orld, a di"appeared pa"t imagined a" no)l "trong and
purpo"eful. It i" al"o a return to m+th" and fiction" *ithin a gothic fiction ha" an uncann+
effect on the value" of dome"tic+ and patriarch+ *ho"e "uperiorit+, "ta)ilit+ and
naturalne"" are finall+ affirmed at the clo"e of the novel.The"e "tart to "eem li0e m+th"
them"elf". Indead throughout the novel there are not e/ample" of model familie". The
onl+ )iological parent", Luc+-" mother and Arthur-" father die *hile other prental and
maternal figure" are onl+ "urrogate"$ha*0in )e=ueather hi" propert+ to 5ar0er and Bina
in a fatherl+ ge"tureL van hel"ing" i" a good father for ever+one a" Bina i" their mother.
&racula repre"ent" the )ad father. The a)""ence of famil+ udnerline" the no"talgia for the
famil+ that i" literali"ed )+ the novel in the paternal and maternal duplicate", the m+th i"
onl+ reali"ed in the clo"ure of the fiction.
The ma0ing real of thi" m+thical model of the famil+ demand", for a culture
di"integrating *ithout it, )lood e/pul"ion and "acrifice$ famil+ value" are re"tored )+ the
ritual de"truction of &racula and the "acrifice of female "e/ualet+ em)odied )+ Luc+.
Al"o are vitall+ monumentali"ed the "elf "acrificing death of Suince+ and hi" "u)"e=uent
and nominal immortali"ation in the Chri"tian name of the 5ar0er-" "on. The horror
em)odied )+ &racula rea*a0en" the primitive and po*erful emotion" of hi" apparent",
emotion" of attraction" and repul"ion in *hich hi" intimate dou)lene"" i" e/pelled and
repeated in another teri)le e/penditure of energ+. Civili"ation and dome"tic+ need" to
retain and channel it" )uried natural even )ar)aric energie" "ignified in hunter and *arrior
4.
m+th"$it-" "pirit , unit+, "trength and immortalit+ are nouri"hed )+ the undead m+th" of it"
o*n duplicitiou" "elf-image.
43
C-".(&# II B0))* "1 "')(-&#3 !)#& 1&*+(,4& 2"+&( )2 2&!,',($

A.The threat of female "e/ual e/pre""ion
Bo"t critic" afirm that &racula i", much a" an+thing el"e, a novel that indulge" the
(ictorian male imagination, particularl+ regarding the topic of female "e/ualit+. In
(ictorian England *omen-" "e/ual )ehavior *a" dictated )+ "ociet+-" e/tremel+ rigid
e/pectation". A (ictorian *oman effectevel+ had onl+ t*o option"$ "he *a" either a
virgin - a model of purit+ and innocence, or el"e "he *a" a mother and *ife. If "he *a"
neither of the"e, "he *a" con"idered a *hore and thu" of no con"e=uence to "ociet+.
!+ the time &racula land" in England and )egin" to *or0 hi" evil magic on Luc+
%e"terna, *e under"tand that the impending )attle )et*een good and evil *ill hinge upon
female "e/ualit+. !oth Luc+ and Bina are le"" li0e real people than t*o-dimen"ional
em)odiment" of virtue" that have, over the age", )een coded a" female. !oth *omen are
cha"te, pure, innocent of the *orld-" evil", and devoted to their men. !ut &racula
threaten" to turn the t*o *omen into their voluptuou"ne"" and open "e/ual de"ire.
Xatharina Be*ald
9
"a+" that in Sto0er-" novel Bina i" pre"ented a" the protot+pe
of the (ictorian *oman. Almo"t her *hole e/i"tence i" devoted to her future hu")and and
"he *ant" to )ecome a good *ife and mother, the #angel of the hou"e#. Donathan, during
hi" )u"ine"" in Tran"+lvania, refer" to her onl+ "poradicall+, in connection *ith coo0ing
recipe" and the li0e, "ugge"ting her preoccupation *ith marriage and hou"ehold. In the
corre"pondence )et*een Bina and Luc+, marriage i" a fre=uent topic and "eem" to )e
ever+thing the+ dream of. %hen Bina i" finall+ married to Donathan, "he *rite" in her
diar+ that "he i" #happie"t *oman in the *ide *orld# and her life *ill con"i"t of #love
and dut+ for all the da+" of MherO life# 74?<;. Thi" focu" on marriage i" lin0ed to her "trong
"en"e of dut+ to*ard" other" and, mo"t of all, Donathan. %hen "he i" *riting a)out her
marriage "he mention" a)out the #grave and "*eet re"pon"i)ilitie" M"he ha"O ta0en upon
Mher"elfO7439;. Thi" "en"e of dut+ can )e o)"erved in her motivation of *riting her diar+ ,
*hich i" to practice her "hortland and t+pe*riting "0ill" in order to )e u"eful to her
9
Be*ald, Xatharina, The emantiation of %ina& The ortrayal of %ina in "tokers Dracula and 'oolos
(ram "tokers Dracula ,
UAL$ http$11)looferland.com1drc1inde/.php'titleHDournalIofI&raculaIStudie"
4?
hu")and. She al"o learn" the train timeta)le )+ heart #"o that M"heO ma+ help Donathan in
ca"e he i" in a hurr+ # 7.?4;. Puthermore, "he con"ider" it her dut+ to "upport her hu")and
emotionall+$ #i do )elieve that if he had not had me to learn on the "upport him he *ould
have "un0 do*n#7..3;.
5er "en"e of dut+ al"o entail" the 0eeping up of appearence". A" an a""i"tant
"chool mi"tre" *ho teache" eti=uette to +oung girl", "he i" eager to dre""ed ade=uatel+ and
)ehave properl+ at all time". An e/ample of thi" i" *hen "he give" her o*n "hoe" to Luc+
during her "leep*al0ing in %hit)+, and then "he do)" her o*n feet in mud "o that pa""er"
)+ *ill not notice her )eing )arefoot. Al"o the fact that Bina deduce" that Luc+ cannot )e
"leep*al0ing out"ide the hou"e )ecau"e "he i" onl+ *earing a nightdre"" comicall+
underline" thi" characteri"tic trait. 5o*ever, Bina o)viou"l+ "en"e that the"e norm" are
"ome*hat too "trict an "he *rite" that #+ou can-t go on for "ome +ear" teaching eti=uette
and decorum to other girl" *ithout the pedantr+ of it )iting into +our"elf 7empha"i"
mine;#
4<
and decide" to allo* Donathan to ta0e her arm in the "treet.
Purther characteri"tic" of Sto0er-" Bina )efitting her image a" the protot+pical
(ictorian *oman are pre"ented in Xatharina-" Be*ald paper. Bina i" mode"t and cha"tic.
Contrar+ to Luc+ *ith her pol+gani"t tendencie" 7de"iring to marr+ three men; Bina i"
decidedl+ innocent and morall+ ade=uate. She doe"n-t e/hi)it an+ 0ind of p"h+"ical
attraction to*ard" Donathan. 5er cha"tit+ i" onl+ once =ue"tioned *hen "he *rite" a)out
&racula-" "eduction and mention" that "he #did not to hinder him# 73:<;. Al"o Bina i"
never enviou" of Luc+-" )eat+ and popularit+ *ith men, he even admire" her friend.
Bina-" intelligence and practical "0ill" contri)ute to the u"efulne"" that i" e/pected of
(ictorian *omen. She 0no*" "hortland and t+pe*riting, and a ver+ intere"ting thing i"
the fact that "he ha" the 0no*ledge of Ce"are Lom)ro"o-" theorie" a)out criminal" 7to )e
di"cu"ed later;.
Bina, a" the ideal (ictorian *oman, "erve" a" an e/ample of the prevailing gender
role" at the time. %omen *ere "uppo"ed to marr+, have children and "upport their
hu")and". Luc+ i" al"o influenced )+ the"e norm", a" "he i" di"appointed not to have
received a propo"al at #almo"t t*ent+#. In generall+ Bina and Luc+ are the *omen of
&racula #upon *hom the men pro2ect the ideal" of (ictoria *omanhood#. At the time
&racula *a" *ritten, the emergence of the #@e* %oman# *a" challenging traditional
gender role". The *ritter" in that period mention that the @e* %oman *a" characteriFad
4<
9 The connection of decorum and eti=uette and the notion of )itting in thi" utterance i" note*orth+, "ince
it implie" that not onl+ &racula )ite" hi" victim", )ut al"o e/ce""ivel+ "trict (ictorian norm" #)ite# *omen.
4C
)t her #demand" for )oth "ocial and "e/ual autonom+#, *hich include" "e/ual
independence and ta0ing up male profe""ion".
The *oman in &racula, ho*ever, ridicule the @e* %oman, tha+ have a )ehaviour
that "eem" conditioned )+ the male character-" opinion. 6n the contrar+, Bina i" a
"choolmi"tre"" and her goal i" to follo* the traditional (ictorian model. Eet, if *e ta0e in
con"ideration the important part of Bina-" hunting of &racula and Luc+-" flirtation"
)ahavior into account, *e might e"ta)li"h the argument that )oth *omen e/hi)it
tendencie" that hint at "ocial 7Bina; and "e/ual 7Luc+; autonom+. Each of Sto0er-"
*omen fin" her o*n *a+ of )rea0ing up *ith (ictorian gender role", a more moderate
*a+ of emanticipation that the radical femini"m of the @e* %oman.
A"hle+ Craig Lanca"ter
44
thin0" that Sto0er pre"ent" hi" female character" negativel+,
ma0ing them "eem re"pon"a)le for the immortalit+ not onl+ of them"elve", )ut of the
other". Luc+ %e"terna e/hi)it" the mo"t controver"ial trait" of )oth group" )ecau"e "he
e/ude" a high amount of "e/ual energ+ even )efore "he )ecome" a vampire. &e"pite
Luc+-" angagement to Arthur 5olm*ood, in her letter" i" revealed the fact that "he i"
una)le to love one man, a" "ociet+ e/pect" her to do. In her fir"t letter to Bina, Luc+
declare" her #love# for &r. Dac0 Se*ard. Later, "he refu"e" )oth Se*ard-" and Suince+
Borri"-" marriage propo"al", )ut "till "truggle" *ith hurting each man, an even 0i""e"
Suince+ )efore "he leave". Even after her choo"e" to marr+ Arthur, Luc+ once again
profe""e" rather flagrantl+ her #love# for another man, &r. (an 5el"ing. Although Luc+
choo"e" *hich of her love" *ill )ecome her hu")and, "he "eem" un*illing to relin=ui"h
her right to love each man, regardle"" of ho* "hollo* ar deep tho"e feeling" ma+ "eem.
Sto0er ha" pre"ented Luc+ a" a *oman *ho not onl+ love" multiple men, )ut "+m)olical+
7through )lood tran"fu"ion"; had "e/ual relation" *ith each man. 5o*ever, Luc+ i" not
onl+ #married# to the #good# men of the novel , )ut al"o to the #Evil#, repre"ented )+
&racula. &racula li0e Arthur, Se*ard, (an 5el"ing and Suince+ ha" "hared )lood *ith
Luc+L a" a re"ult Luc+ ha" )ecome a tainted victim married )+ her inconclu"ive love and
her literal and metaphoric "e/ualit+.
After )ecoming vampire, Luc+ arou"e" an greater "en"e of immortalit+ through her
"e/ualit+ and al"o through her cruelt+ to the children. !efore Luc+ )ecome an Un-dead
44
Lanca"ter , Craig A"hle+# Demoni)ing the *merging Woman+ %isreresented morality in Dracula and
$ods little acre, Mhttp$11)looferland.com1drc1inde/.php'titleHDournalIofI&raculaIStudie"O
4J
vampire, "he po"e""e" a )eat+ that three man fail to *ith"tand, )ut after "he enter" in the
*orld of the Un-dead, her )eat+ gro*" more out"tanding than )efore$ #She *a", if
po""i)le, more radiantl+ )eautiful than everL and i could not )elieve that "he *a"
dead#7.C?;. %hile a"leep Luc+ po""e""e the "ame )eaut+ "he ha" al*a+" hadL ma0ing the
complete change into a vampire, "he ha" lo"t the *ea0ne"" and the emotional trapping"
that have plagued her lo"t fe* da+" a" a human. Luc+ ha" )ecome more po*erful, and, a"
a re"ult, more dangerou". @o*, Luc+ doe" not 2u"t *ant to love each man, "he *ant" to
manipulate them to "u)mit a" her ne/t victim". %hen Arthur *itne""e" her trn"formation
into a vampire for the fir"t time, Luc+ utili"e" hi" atraction to her "a+ing #Leave the"e
other" and come to me. B+ arm are hungr+ for +ou m+ hu")and, comeK#7.:.;. 5o*ever,
Luc+ *ant" to feed off hi" )lood rather than love him, )ut "he 0o*" that Arthur long" for
her and the marriage tha+ never get to have.
Du"t a" Luc+ )ecome" more li0e @e* %oman through her dangerou" "e/ualet+, "he
al"o emerge" a" a trecherou" mother figure )ecau"e of her choi"e of victim"L once
againaligning her"elf *ith the immoral @e* %oman. After Luc+-" #death# report" from
children "ugge"tthat a *oman the+ refer a" #The !loofer Lad+# ha" )egun to attac0
children, leaving her child victim" #*ea0 MandO emaciated#.7.3<; The men reveal Luc+ a"
the child "tal0er *hen fiind her holding a child #"trenuou"l+ to her )rea"t, gro*ling over
it a" a da+ gro*le" aver a )one#7.:4;. !+ attac0ing children, Luc+ per"onifie" the *or"t
po""i)le characteri"tic of the @e* %oman, the de"tructive a)andonment of the nurturing
role.
Sto0er create" through Luc+ the imagine of a "e/uall+ deviant *oman *ho "eem"
un*illing or una)le to commit completel+ to one man, e"peciall+ *hean "he "a+"$ #%h+
can-t the+ let a girl marr+ three men, or a" man+ a" *ant her, and "ave all thi" trou)le'#.
784; It i" po""i)le that thi" pa""age ha" u"uall+ )een read a" indicating a dangerou"
7ma"culine;"e/ual independenceL ho*ever i" po""i)le to )e interpreteded a" Luc+-"
pa""ivit+. !oth of the"e conclu"ion" neglect the fact doe" choo"e one "pecific man for her
hu")and, "he doe" not have to den+ the realit+ that "he ha" had feeling" for each man at
"ome point.
Ban+ commentator" have pointed aut the "e/ual nature of Luc+-" vampiri"m, )ut
Dohn >reen*a+
4.
affirm" that her vampiri"m i" more comple/ than that. She-" not a"
#"*eet# a" other character" thin0 "he i", )ut a" *ith Se*ard, "he ha" cau"e for repre""ed
4.
>reen*a+, Dohn, #Unconscious cerebration, and the -ay ending of Dracula,
Mhttp$11)looferland.com1drc1inde/.php'titleHDournalIofI&raculaIStudie"O
4:
anger a" *ell. 5ere vampiri"m angage" the idea of negative evolution$ atavi"m. In the
cont/t, it i" intere"ting that the character", through Bina, are *illing to appl+ Ce"are
Lom)ro"o-"
43
then-current theorie" of criminal )ehavior to under"tand the Count-"
vampiri"m, )ut not to Luc+-". Lom)ro"o a""erted that criminal )ehavior e/pre""ed
evolutionar regre""ion-atavi"m- and "upported hi" con2ecture" *ith cranial mea"urement".
Pontana ha" pointed out the "imilaritie" )et*een the de"cription )et*een the de"crition of
the Count and that of the #)orn criminal# in Lom)ro"an detail" appl+ to Luc+ a" *ell.
5ad the+ loo0ed at the #!loofer Lad+# through the "ame len" a" the+ do the Count, a"
Lom)ro"o loo0ed at The female offender
4?
in 489C, the+ *ould 0no* that$
%hen piet+ and maternal "entiment" are *anting, and in their place are "trong pa""ion"
and inten"el+ erotic tendencie" ... for the conception and e/ecution of evil, it i" clear that
the innocuou" "emi-criminal pre"ent in the normal *oman mu"t )e tran"formed into a
)orn criminal more terri)le than an+ man ... the criminal *oman i" con"e=uentl+ a
mon"ter.# 74C4;
Bina, *ho )ring" Lom)ro"o into the anal+"i" in the fir"t place, alone 0no*" of Luc+-"
de"ire to marr+ three men. She *on-t, ho*ever, go farther and realiFe that$
@+mphomania tran"form" the mo"t timid girl into a "hamele"" )acchante. She trie" to
attract ever+ man "he "ee", di"pla+ing "ometime violence, and "ometime the mo"t refined
co=uetr+. She often "uffer" from inten"e thir"t, a dr+ mouth, a fetid )reath, and a tendenc+
to )ite ever+)od+ "he meet", a" if affected *ith h+dropho)ia...# 7Lom)ro"o .9J;
6ne *onder" if Luc+ i" 7to u"e (an 5el"ing-" term; a" prede"tinate to crime# a" the
Count.
4C
After all, Sto0er give" u" rea"on to infer that the Count doe" not cau"e an+thing
Luc+ *a" not predi"po"ed to do. %e 0no* that Luc+, curiou" p"+chological "tud+# that
"he i", had a hi"tor+ of "leep*al0ing )efore the Count entered the "tor+$ t*ice *e are told
43
Lom)ro"o, Cae"areand %illiam Perrero, The .emale/ffender 01a donna delin2uent)#34536, Tran" %.
&ougla" Borri"on, @e* Eour0$ Philo"ophical Li)rar+# Mhttp$11)looferland.com1drc1inde/.php'
titleHDournalIofI&raculaIStudie"O
4?
Lom)ro"o al"o note" Anormalou" teeth# in :8Y of pro"titute", v". In normal"# 7Pemale offender;
4C
i)id 43
48
"he inherited the trait from her father 79J, 4?:;. %hile Carpenter di"cu""e" in"anit+ a" a
fi/ation on a dominant idea,# Se*ard note" a)out Luc+ that there i" an odd concentration
a)out her# 798;
A" did Se*ard, Luc+ ha" a "elf-impo"ed prohi)ition again"t e/pre""ing atavi"tic
idea". %hen "he *rite" to Bina that %h+ canZt the+ let a girl marr+ three men, or a"
man+ a" *ant her, and "ave all thi" trou)le'# "he )rea0" off the thought )+ "a+ing !ut
thi" i" here"+, and I mu"t not "a+ it# 7:8;. (an 5el"ing, ho*ever, *ill complete the idea
for her )+ realiFing the erotic implication" of the tran"fu"ion" in hi" h+"terical Xing
Laugh# "peech, *hen he "a+" that not onl+ *a" Luc+ a pol+andri"t, )ut he i" a )igami"t
7.49;. So Luc+ got *hat "he *anted.
The )+-then o)"olete techni=ue u"ed for the tran"fu"ion", the active male donor to
pa""ive female recipient, doe" "erve to hint at the motive" the character" repre""
4J
.
Se*ard-" tran"fu"ion to hi" *ould-)e fianc[e leave" him feeling faint and a little "ic0#
74JJ;. (an 5el"ing predicta)l+ caution" "ilence, le"t Arthur feel fear and anger$ if our
+oung lover "hould turn up une/pected, a" )efore, no *ord to him. It *ould at once
frighten him and en2ealou" him, too# 74JJ;. !ut the other character" "hare thi" traditional,
=ualitative vie* a" *ell$ Luc+ turn" crim"on# *hen her mother "a+" Se*ard need" a
*ife and a nur"e 74J:;L Se*ard, realiFing the tran"fu"ion-" erotic import, laid a finger on
m+ lip"# in re"pon"e to Luc+-" tacit imploring. %hen Arthur tal0" a)out tran"fu"ion after
Luc+-" death, "a+ing that he felt "ince then a" if the+ had )een reall+ married and that "he
*a" hi" *ife in the "ight of >od, Se*ard could "ee (an 5el"ing-" face gro* *hite and
purple )+ turn"# 7.4:;. In other *ord", other" had hint" of Luc+-" metaphoric pol+andr+
7:8;. Predicta)l+, the+ vo* to remain "ilent.
Suince+ continue" thi" chain of thought. %hen he realiFe" that Luc+ ha" the )lood of
four "trong men# in her, he *hi"per"# the =ue"tion none have dared a"0$ %hat too0 it
out'# 7493;. To complete the thought, ho*ever, *ould involve the "ame p"+chological
danger that Aenfield-" e/periment po"ed for Se*ard.
The mother of Luc+ ma0e" her, fir"t, economicall+ vulnera)le )+ leaving all her
propert+ to Arthur, 0no*ing that thi" act might leave her daughter either pennile"" or not
"o free a" "he "hould )e to act regarding a matrimonial alliance.# 5er mother leave" her
vulnera)le to the Count )+ removing the garlic flo*er" from her room, later from Luc+-"
nec0L and die" of a "tro0e in her arm". Though all the character" )lither a)out Luc+, "he
4J
%ith all Sto0er-" in2ection" of up-to-date technolog+ in the norrative, the doctor"- vie* of tran"fu"ion i"
o)"olete. !+ the time of the novel, doctor" in general had cea"ed to vie* tran"fu"ion" in =ualitative term", )ut not
Sto0er-" doctor".
49
ha" no authorit+ over her o*n life, privac+ or per"onal effect", a" the narrative "ho*" u"
through her friend Bina-" revelation" a)out her. A" an ironic note, "entiment dictate"
"he-ll )e )uried ne/t to her mother, *hile Arthur for "ome rea"on ha" the 0e+ to the tom).
6ne could al"o "ee Luc+-" metamorpho"i" into the )loofer lad+# a" a re)ellion
again"t *ife1mother role "he-" de"tined for. She pre+" upon children and attempt" to
"educe an all-too-*illing Arthur not out of love, )ut for po*er. Unli0e Bina, *ho"e anger
*ill ta0e a different route, Luc+ en2o+" vampiri"m a" a 0ind of li)eration. Luc+ doe" feel
a vague fear,# *hich then )ecome" a dread thought,# )ut avoid" realiFation )+
rationaliFing that *hat i" happening to her i" a dream 7thi" *ea0ne"" come" to me in
"leep,# 74J.;. Still, "he manipulate" Se*ard into leaving her alone. Even *hen a"leep, her
uncon"ciou" govern" her action"$ A" I came clo"e, "he put up her hand in her "leep and
pulled the collar of her nightdre"" clo"e around her throat# 74.3;.
If Lom)ro"o-" o)"ervation" on the atavi"tic nature of criminal )ehavior appl+ to
Luc+ a" *ell a" the Count, in a certain "en"e the+ appl+ to the men a" *ell. All the men
)rea0 "ocial and profe""ional norm" to deal *ith the Count 73J;$ Se*ard fal"ifie" death
certificate", Arthur u"e" hi" no)ilit+ to ma"0 a da+light )rea0ing-and-entering on
Piccadill+ Circu", 5ar0er "ugge"t" the )rea0-in and )ecome" angr+ at &racula-" agent
*hen he *ill not divulge confidential information. 5o*ever no)le the motive" of the men
7a" doctor, la*+er, ari"tocrat and adventurer the+ form an em)lem of the (ictorian male
e"ta)li"hment; Se*ard, 5ar0er, Arthur and Suince+ all deal *ith &racula )+ )ecoming
li0e him, a" (an 5el"ing fear".
5ar0er )ecome" a dou)le of &racula in hi" competition for Bina. A" *ith Se*ard, he
fear" madne"" a" hi" *orld erode", opting to *or0 rather than thin0 a)out the implication"
of *hat i" happening. After the incident *ith Bina and the Count, he "a+" that I mu"t do
"omething or go mad.# 5ar0er-" motive i" for revenge rather than the official one of
dut+, given the Count-" "eduction of hi" *ife *ho did not *ant to hinder him#L Bina
"hrie0ed# *hen 5ar0er *hac0" at him *ith hi" Xu0ri 0nifeL a" *ith Luc+-" "cream,#
one could read thi" reaction on "everal level". The di"patch of &racula doe" not even
follo* the rule" (an 5el"ing ha" elucidatedL it i" rather a )er"er0 a""ault. !ut no)od+
comment" upon thi", e/cept perhap" Bina *ith her "hrie0.
Dohn >reen*a+
4:
"a+" that Bina doe" not get the eroticall+ "u"pect tran"fu"ion" from
men, )ut vampiri"m e/pre""e" it"elf differentl+ in her than in Luc+$ her intelligence
increa"e" to the point of )eing a)le to out*it &racula, "omething the men have )een
4:
I)id J
.<
una)le to do. (an 5el"ing "pea0" of her man-" )rain,# *hich "pea0" to her evolution if
*e remem)er that contemporar+ medical manual" "a* *omen a" unevolved male"
7Lan")ur+ ?4:;. Eet "he ha" "ome repre""ed re"entment" a" *ell. Pir"t, "he notice" that
"he doe" not have Luc+-" latent "en"ualit+. %ithout an+ overt re"entment, Bina *rite"
that the %hit)+ men paid no notice to her )ut did not lo"e an+ time in coming up and
"itting near her MLuc+O *hen *e "at do*n# 78:;. She doe" not follo* that thought out, and
officiall+ repudiate" the )raFen =ualitie" of the @e* %oman# . !ut her vampiric po*er
ta0e" a different, more "u)tle form, although it "till could e/pre"" anger.
6n the "urface Bina onl+ *ant" to )e u"eful# to, fir"t, her hu")and then to the male
collective, )ut her emerging intelligence control" the men in a le"" lurid manner than
Luc+-" "e/ualit+. 5er idea of u"ing h+pnoti"m come" through uncon"ciou" cere)ration#$
I "uppo"e it mu"t have come in the night and matured *ithout m+ 0no*ing it# 73J9;, )ut
"he then )u"tle" off to get tea# for the men.
Let u" return to our "peculation" on uncon"ciou" cere)ration# )+ recalling her
"hrie0# *hen 5ar0er-" enormou" 0nife "hear" through &racula-" throat. %e have
con2ectured that 5ar0er-" motive" here might )e le"" no)le than the narrator" announce.
Though Bina-" vampiri"m e/pre""e" it"elf in intelligence, one could under"tand Bina-"
ph+"ical involvement *ith the Count a" revenge for 5ar0er-" infidelit+ *ith the %ierd
Si"ter", *ho call her "i"ter.# !efore "he read" 5ar0er-" 2ournal "he "a+" to Luc+ that I
felt a thrill of 2o+ through me *hen I knew that no other *oman *a" a cau"e of trou)le#
7438;. %hen "he i" *ith (an 5el"ing at the circle, one could read "ome am)iguit+ *hen
"he "a+", Let u" go to meet m+ hu")and *ho i", I 0no*, coming to*ard" u"# 7?38;, for
&racula "a* the lurid "cene in her room a" a con"ummated marriage, much a" Arthur had
regarded the morall+ am)iguou" tran"fu"ion *ith Luc+. 6ne could *onder *hich
hu")and# "he anticipate".
If Luc+ got her atavi"tic *i"h for Lom)ro"an pol+andr+, Bina )ond" more "u)tl+.
%hile her intellect let" her control the plot and the "ource" for the narrative, "he al"o
)ecome" a receiver of men-" emotion", not a" an o)2ect of de"ire. She mother" Arthur and
Suince+ in their grief, and ha" a curiou", intellectuall+ flirtatiou" relation"hip *ith (an
5el"ing, )eginning *ith her tea"ing him a)out 5ar0er-" 2ournal )eing in "horthand. She
not onl+ ta0e" over through her intellect, )ut al"o create" the te/t *e read through
"+nthe"iFing the variou" media of communication. If Luc+ get" the men-" )lood, Bina
get" all their name" in her "on.
.4
Loo0ing to one level, *e are led to )elieve that the cre* "ave" the "entimental
(ictorian *orld through t+pe*riting, technolog+ and the group-" cru"ading moral
"olidarit+. !ut the plot evolve" through inhi)ition, fear of hurting Luc+, em)arra""ing
Arthur, provo0ing Donathan, or frightening Bina 7*ho i" not of fainting di"po"ition#
an+*a+;. All the male" violate profe""ional and "ocial convention", and Suince+-"
prudi"h reluctance to )rea0 in on Bina-" fellatio *ith the Count - Ba+ it not frighten her
terri)l+' It i" unu"ual to )rea0 into a lad+Z" roomK# 733J; - mu"t have "truc0 even
contemporar+ reader" a" comic, under the circum"tance".
The character" all profe"" love# in the "entimental term" that a""ume cha"te# and
pure# a" natural "tate". !ut love in the novel-" vampiric catal+"t crave" po*er or
revenge, not affection, a" &racula ma0e" clear$ Eour girl" that +ou all love are mine
alread+L and through them +ou and other" "hall +et )e mine - m+ creature, to do m+
)idding and to )e m+ 2ac0al" *hen I *ant to feed# 73J:; Thi" po*er in turn come" from
anger$ recall that fur+,# rage# and anger# appear more often than doe" voluptuou",#
and *e have an inde/ to the "u)current interpla+ of "e/ualit+ and anger in the novel. %e
have "een that 5ar0er, Luc+, Arthur, Se*ard and Bina all have cau"e for repre""ed anger,
*hile the Count em)odie" malignit+, anger, helli"h rage# 73J?;.
In addition to attacking the women, there is also an undercurrent of
fear that Dracula may penetrate the men as well. He is at his most
threatening when he declares of Jonathan: This man !elongs to me"#
$%&'. This e(clamation does ha)e homoerotic o)ertones, and is
important in its implication of power and control, as well as its
reflection of the gender contro)ersy of the nineteenth century.


!. The %eird Si"ter"
..
The %eird "i"ter" 7&racula-" daughter"; encounter-" Donathan in &racula-" ca"tle.
The three )eatiful vampire" are )oth hi" dream and hi" nightmare. The "i"ter" repre"nt
*hat the (ictorian ideal "tipulate" *omen "hould not )e- voluptuou" and "e/uall+
aggre""ive1thu" ma0ing their )eat+ )oth a promi"e of "e/ual fulfillment and a cur"e.
The"e *omen often offer Donathan more "e/ual gratification in t*o paragraph" than hi"
fianc[e Bina doe" during the cour"e of the entire novel. 5o*ever, thi" "e/ual proficient+
threate" to undermine the foundation" of a male- dominated "ocie+ )+ compromi"ing
men-" a)ilit+ to rea"on and maintain control. Por thi" rea"on, the "e/uall+ aggre""ive
*omen in the novel mu"t )e de"tro+ed.
C-".(&# T-#&& /V"!.,#,1! "1 ,'4"1,)'
A. The a""ociation of &racula *ith the Ea"t
.3
In Pred !otting
48
opinion &racula-" Cro""ing )oundarie" i" relentle""$ returning
from the pa"t he t+ranni"e" the pre"ent, uncannil+ "traddling the )order" )et*een life and
death and there)+ undoing a fundamental human fact. In cro""ing the )order" )et*een
Ea"t and %e"t he undoe" cultural di"tinction" )et*een civiliFation and )ar)arit+, rea"on
and irrationalit+, home and a)road. &racula threat i" hi" pol+morphou"ne"", )oth literall+,
in the "hape" he a""ume" and "+m)olicall+ in term" of di"tinctiou" he up"e"t".In the "cene
*here he i" interrupted in the act of pre""ing Bina-" mouth to hi" )eeding )rea"t he
appear" a" an inver"ion of Chi"t a" Pelican, rou"i"hing hi" "u)2ect" *ith hi" )lood in an
unhol+ communion and a mother "uc0ling Bina *ith the mil0 of hi" )lood.
&racula-" fluid "hifting amorphou" "hape i" threat" )ecau"e it ha" no "ingular or
"ta)le nature or identit+. Beaning" identitie" and proper famil+ )oundarie" are utterl+
tran"gre""ed in the movement" of vampiric de"ire and energ+. Por all hi" "overeignt+ and
vidence &racula i" in re"pect of hi" pol+morphou"ne"" "trangel+ femini"ed and Luc+
conden"ed into an a)2ectification of total e/ce"" a Thing# a" inhuman helli"h# and
inorgothic. Ae"toring the )oundarie" )et*een life and death, )od+ and "oul, eath and
heaven, the ritualiFed 0illing of vampire" recon"titute" properl+ patriarchal order and
fi/e" cultural and "+m)olic meaning". The vampire i" con"tructed a" a)"olute o)2ect, the
complete antithe"i" of "u)2ectivit+, agenc+ and authorit+.
The ritul 0illing al"o re"tore" "+tem" of communication in *hich *omen remain
o)2ect" for male e/change. !+ *a+ of *omen &racula attac0" menL through *omen he
*ill contaminate and coloni"e the teeming metropoli" of London. In the name of *omen
the good men re"pond to the threat. Through and over *omen their )ond", relation" and
identitie" are e"ta)li"hed, Luc+, for in"tance, )eing courted )+ Arthur, Suince+ and
Se*ard.
&racula-" inva"ion repre"ent" al"o a threat to the progre"" of modernit+. A" 5ar0er
o)"erve" unle"" m+ "en"e" deceive me the old centurie" had , and have, po*er" of their
o*n *hich mere modernit+ cannot 0ill#7C4;. Irrepre""i)le force" from the pa"t continue to
threaten the pre"ent-" idea of it"elf. In re"pon" to the deficiencie" of contemporan+ culture
and "ociet+, in part em)odied in it" "uper"tition *ith determini"tic 0no*ledge, the latter
)ound up *ith cultural degenation and the para"itic nature of capitali"t "ocial
organiFation.
48
i)edem :
.?
The threat of *anton and corrupt "e/ualit+ i" horrificall+ di"pla+ed in vampiri"m
"hape. Their decadence, nocturnal e/i"tence and indi"criminate de"ire di"tingui"h
vampire" a" a particularl+ modern "e/ual threat to cultural move" and ta)oo". The+ are
modern vi"ion" of epidemi" contagion" from the pa"t , vi"ited on the pre"ent in a form that
, li0e venereal di"ea"e, enter" the home onl+ after 7"e/ual; invitation. Again"t the threat"
of contagion and di"integration a "acred order i" recon"tituted. &i"pen"ing *ith it"
inade=uate materiali"m, "cience offer" grander vi"ion" of a m+"teriou" and "acred
univer"e.
(an 5el"ing i" more than a "cienti"tL he i" al"o a metaph+"ician *ho deal" *ith
"piritual patholog+# a" *ell a" ph+"ical di"ea"e. The doctor doe" not di"count
"uper"tition and i" the fir"t to u"e "acred o)2ect" li0e the crucifi/ and the 5a"t. Science
involve" m+"terie" and opne" on to a more than rational place in line *ith (ictorian
attitude" to*ard" "pirituali"m and p"+chic value" i" made po""i)le )+ the demonic threat
of &racula$ hi" dia)olical po*er and primitive energ+ leading to a )apti"m of )lood# for
hi" victim" mar0 the utter profanit+ that demand" a more than rational re"pon"e.
&racula i" the dar0 dou)le of the )rave and un"elfi"h men *ho"e identit+ i" forged
in their "truggle. &racula i" the regre""ive in human otherne"" lifted from the realm of
individual p"+chopatholog+ into a cultural field a" it" a)"olute antithe"i". %ithout mirror
image or "hado* &racula i" a pure invention. 6n a "+m)olic level he i" the mirror and
"hado* of (ictorian ma"culinit+L a mon"trou" figure of male de"ire that di"tingui"he"
*hat men are )ecoming from *hat the+ "hould )ecome. &racula form" a mirror that mu"t
)e de"tro+ed "ince it" repre"ent" narci""i"m, perver" egoi"m and duplicit+ of appearance
that threaten" all cultural value" and di"tinction".
5ar0er-" meeting *ith &racula on the "treet give" the prove og hi" duplicit+,
5ar0er donned# hi" clother *hen he e"cape" from the ca"tle. 6n the "treet &racula *a"
*earing 5ar0erL" clothe", he i" foreigner tr+ing to pa"" a" Engli"h. 6n a "+m)olic level he
pa""e" for Chri"t, !ea"t and variou" identitie" *ithin the famil+. Thi" ha" the effect, a" in
the ca"e of hi" interception of 5ar0er-" true letter and ordering him to *rite )rief note", of
a di""imulative di"ruption of proper "+"tem" of communication.
&racula recuperate" the >othic romance in ma0ing men the primar+ "u)2ect" of
terror and horror, there)+ addre""ing and attempting to redre"", in it" movement )et*een
figure" of the pa"t and pre"ent, the uncann+ mo)ilit+ of normal natural and "e/ual
)oundarie" in the 489<-". The malevolence of the count, hi" pale, gaunt feature", demonic
.C
e+e" an cal)ou" li)ertini"m and )ol"tered )+ "upernatural po*er" of metamorpho"i",
flight and immortalit+.
!. &racula-" metamorpho"e"
&racula heritage e/tend" deeper into the >othic po"t$ the account of hi" famil+
hi"tor+ i" full of tri)al migration" and con=ue"t", a militari"tic *arrior pa"t characteriFed
)+ value" for )lood and honour. Thi" hi"tor+ i" that of the romance a" traced )+
eighteenth centur+ anti=uaria"$ "torie" of uncertain origin, romance", according to
different ver"ion", )egan among the nomadic *arli0e tri)e" of northen Europe or people"
migrating from the Ea"t. The Carpathian" formed the cro""road" *here the"e tradition
met. The vampire i" not onl+ a""ociated *ith di""emination of the romance. In traveller-"
account" from the eighteenth centur+ on*ard" the "ignificance of the vampire in the
fol0lore, "uper"tition" and cu"tom" of Ea"tern people" *a" recorded and a""e""ed. The
origin" of the vampire *ere e/plained a" fear" of the Plague, through, "ince the Biddle
Age", to have emanated from the Ea"t. &racula-" principal companion" and altenative
form"-rat", *olve" and )at" W *ere a""ociated *ith di"ea"e.
In the "etting of &racula "tac0 feature" of the >othic novel ma0e a magnificent
reappearance$ the ca"tle i" m+"teriou" and for)idding, it" "ecret terro" and i"olation in a
*ild and mountainou" region form a "u)lime pri"on a" an+ )uilding in *itch a >othic
heroine *a" incarcerated. The place of heroine i" ta0en )+ the +oung la*+er 5ar0er.
Throughout the novel ruin", grave+ard" and vault" W all the maca)re and gloom+ o)2ect"
of mor)id fa"cination and melanchol+ W "ignat the pre"ence of the gothic pa"t.
&racula i" more than a >othic villain, more than a mercernar+ and mundane
)andit. A" the "u)lime "+nthe"i" of the human and "upernatural terror" of >othic *riting,
he i" )oth villain and gho"tl+ dia)olical agent *ho"e magic and po*er cannot )e reduced
to mere tric0" or effect" of overindulgent, "uper"titiou" imagination. &racula "erve" to
eleicit rather than di"pel "uper"titiou" )elief" , demanding, not a return to rea"on and
moralit+, )ut rea*a0ening of "piritual energie" and "acred one. The form of the novel
te"tifie" to the e/ce""ive, unpre"enta)le nature of thi" demand. The letter and 2ournal
entrie" telling different )ut connected part" of the "ame "tor+ compo"e a *hole *ho"e
.J
immen"it+ li0e the unrepre"enta)le horror of &racula-" unreflecting image, remain"
o)"cure.
&racula-" adeventurou" romance al"o allude" to the tale" of adventure that, from
Scott-" romance" on*ard", provide a more popular that and e/citing alternative to
dome"tic reali"m. The a""ociation" of &racula *ith Ea"t are important in thi" a"pect. Por
the Ea"t, at the hight point of (ictorian imperiali"m provided man+ *onderful adventure"
and "trange tale", *hich, in Xippling-" "torie" a)out India and "imilarl+ , in Aider
5aggard-" narrative" of Africa, pro2ected the dar0ne"" of >othic fear" and de"ire" on to
other culture" people" and place".

C5The p"+choanal+"i" of Count &racula
In Baurice Aichard"on
49
opinion, &racula provide" real+ "tri0ing confirmation of
the Preudian interpretation. The vampire "uper"tition em)odie" a particular+ comple/
form of the intere"t, )oth natural and unnatural, *hich the living ta0e in the dead. In
vampiri"m the dead fir"t vi"it" the living and then drag" him into death )eing him"elf
reanimated in the proce""
The "tarting point from *itch to inve"tigate the hidden content of the "uper"tition
i" once again" Preud-" dictum that mor)id dread al*a+" "ignifie" repre""ed "e/ual *i"he",
that in vampiri"m )ecome vi"i)le. 5ere i" a t*ilight )orderland *here religiou" and
p"+chopatological motive" intermingle. The Xe+note i" am)ivalence. &eath e/i"t "ide )+
"ide *ith de"ire for immortalit+. Prightful cruelt+, aggre""ion and greed i" accompanied
)+ a madl+ po""e""ive 0ind of love. >uilt i" ever+*here and deep. !ehavior "mac0" of
uncon"ciou" *orld of infantile "e/ualit+ *ith *hat Preud called it" pol+morph perver"e
tendencie". The"e i" an o)viou" fi/ation on oral level, *ith all that "uc0ing and )itting,
al"o a generou" allo*ance of analit+. %e are left in no dou)t a)out the origin of the
frightful "mell, compo"t of channel hou"e and cloaca, that attache" to the vampire.
In &racula Sto0er ma0e" u"e of all the traditional m+thical propertic" and )lend"
them *ith a famil+ t+pe of "ituation of hi" o*n contriving that turn out to )e a =uite
49
Aichard"on, Baurice, 4994. 7The sychoanalysis of 'ount Dracula## Vamyres# 1ord (yron to 'ount
Dracula# edited )+ Chri"ton Pra+ling, Sueen S=uare London,
.:
)latant demon"tration of the 6edipu" comple/. Prom a Preudian "tandpoint and from no
other doe" the "tor+ reall+ ma0e an+ "en"e - it i" "een a" a 0ind of ince"tuou" ,
necrophilou", oral- "adi"tic all in *re"tling mach. And thi" i" *hat give" the "tor+ it"
force. The (ampire Count , centurie" old i" a father figure of huge patenc+. 5e i"
planning from hi" ance"tral lair in the Carpathian" a roind on England to "et up a
contemporar+ vampire empire.
(ampire" are not ver+ particular a)out their choi"e of o)2ect. %hen on hi" fir"t
morning a" a gue"t in ca"tle &racula, Donathan 5ar0er cut" him"elf, the count-" e+e" )ra0e
*ith oral "adi"m. 5e ma0e" a "udden gar) )ut 2u"t manage" to re"train him"elf. That night
*hen &racula-" daughter" *ho are them"elve" vampire" cro* into 5ar0er-" )ed-room,
the directl+ "e/ual nature of the phanta"+ underl+ing the "uper"tition i" revealed. Later in
the "tor+ &racula land" in England and the endogamou" motiv lin0ing all the character"
tighter a" mem)er" of one famil+ )ecome" apparent. &racula-" fir"t Engli"h victim i"
Bi"" Luc+, )elove )+ a p"+chiatri"t, &r. Se*ard. The "econd victim i" Luc+ \" )o"om
friend, Bina 5ar0er, a" dear if not dearer to her a" an+ "i"ter. She i" the *ife of Donathan
5ar0er. Bina i" naved and Luc+ avenged )+ a no)le )rother )+ hand led )+ (an 5el"ing.
5e i" up to all the vampire" tric0", through until the ver+ end he i" al*a+" a "tep or t*o
)ehind. Apart from (an 5el"ing, *ho repre"ent" the good father figure, the "et up
remind" one rather of the primal horde *ith the )rother" )anding together again"t the
father *ho ha" tried to 0eep all the female" to him"elf. &racula "eem" almo"t con"ciou" of
thi". %hen he i" real+ traped in the hou"e of Carto/# he "cream"$ +ou "hall )e "orr+ +et,
each one of +ou MNO +our girl" that +ou all love are mine alread+N.#
Thi" attempt to add mine# ha" a perver"e )i"e/ual timele"" org+. There are
"everal more pa""age" in *itch the "+m)oli"m and the underl+ing ince"tuou" comple/
"tic0 out a mile. Sto0er "ho*" in"ight into the infantile nature of the vampire-" per"onalit+
during "ome of (an 5el"ing lecture" to Se*ard on the Count p"+cholog+.
Baurice Aichard"on
.<
dou)t" *hether Sto0er had na+ in0ling of the erotic content
of the vampire "uper"tition. A)raham Sto0er *a" a formida)le allrounder at Trinit+
College, he too0 a degree in math, *a" Pre"ident of the Philo"ophical Societ+ al"o athletic
champion of the univer"it+L &racula i" planl+ an athlete-" phanta"+.
There i" "ome evidence in Sto0er \" life of an unu"uall+ "trong father fi/ation. 5e
*a" certantl+ a )orn hero *or"hipper. In 48:8 he thre* up" hi" Iri"h cover to )ecome
Irving"-" manager. 5e had met the great tragedian *hen he *a" pla+ing in &u)lin, *here
.<
I)idem .
.8
Sto0er *a" among other thing" dramatic critic" for an evening paper might encourage a
model for &racula in Irving.
!ut Sto0er indicate" an authentic model for &racula. The name repre"ent" the
nic0name of the Aumanian Prince (lad T"epe"h 7)orn in 4?CJ; *ho *a" al"o 0no*
)ecau"e of hi" atrociou" cruelt+ a" The Impaler#. 5i" reputation *a" "pread through
medieval Europe in a >erman pamphlet printed in !am)arg in 4?94. Thi" carried a
portrait of him in *itch the feature" corre"pond e/actl+ *ith !ram Sto0er-" de"cription of
&racula-" )aleful ari"tocratic countenance in the novel. Sto0er mu"t have "een the
pamphlet or a reproduction of it on hi" travel".
In 49<9 t*elve +ear" after the pu)lication of &racula, "ome pea"ant" in
Tran"+lvania, *here Sto0er located &racula-" ance"tral "cat, )urned do*n the local
lando*ner-" ca"tle )ecau"e the+ "aid he *a" carr+ing of their children.
A mar/i"t interpretation of the vampire m+th might , *ith 2u"tice, mare more of
thi" a"pect, vie*ing it a" a perveted e/ten"ion$ he "trave" u" an "uc0" our children \"
)lood.
C)'+01,)'1
!ram Sto0er-" &racula ha" )een one of the ma"terpiece of all time". The novel
*ent on the nudge the thought" of reader", *riter", arti"t", mouvie", director" acro"" the
*orld.
%idel+ accepted a" a horror "tor+, &racula i" a tale of immortal love. The )oo0
tal0" a)out i""ue" pertaining to mortalit+ and ho* Count &racula ta0e" him"elf to "tand
up again"t >od "o to "pea0.
.9
!ram Sto0er-" novel &racula )ring" for*ard the (ictorian era culture. The man,
the *omen, the method" and mode" of living W ever+thing in e""ence i" deepl+ rooted into
(ictorian ethic" and a"thetic". (an 5el"ing-" per"onalit+, the calm motherline"" of Bina,
the voluptuon"ne"" of Luc+, the )rave of four man W ever+thing i" (ictorian to the true"t
detail.
Tran"+lvania and (lad &racula ma+ or ma+ not have )een a motivation for
Sto0er, )ut the clear picture he paint" of hi" target" i" one that de"erve" pari"e in it" o*n
merit".
R&2&#&'+&1
!otting, Pred, 499J. $othic, Aoutledge 44 @e* Petter Lane, London
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3<
5ughe", %illiam, 4998. The handbook to gothic literature, Edited )+ Barie Bulve+-
Ao)ert", Bacmillan Pre"" LT&, 5aundmill", !a"ing"ta0e, 5amp"hire and London
Lanca"ter , Craig A"hle+# Demoni)ing the *merging Woman+ %isreresented morality in
Dracula and $ods little acre, Mhttp$11)looferland.com1drc1inde/.php'
titleHDournalIofI&raculaIStudie"O
Lom)ro"o, Cae"areand %illiam Perrero, The .emale/ffender 01a donna
delin2uent)#34536, Tran" %. &ougla" Borri"on, @e* Eour0$ Philo"ophical Li)rar+#
Mhttp$11)looferland.com1drc1inde/.php'titleHDournalIofI&raculaIStudie"O
Barign+, Dean, "ecrecy as "trategy in Dracula# UAL$
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(yron to 'ount Dracula# edited )+ Chri"ton Pra+ling, Sueen S=uare London,
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34