Dracula by Bram Stoker

Overall Context:
Bram Stoker
• Irish, incapacitated as a child, interested in philosophy, history, mathematics.
• Wrote dramatic criticism, short stories, novels. Only true notable work was Dracula.
• Dracula made popular through its concerns with hypnotism and the occult.
• Structure of novel – epistolary, combination of journals/letters/newspaper (aping a historical reconstruction).

Chapter 1: In which the British solicitor Jonathan Harker writes of his approach towards and arrival at his client’s castle in
the remote Eastern Europe country of Transylvania.
Quotes and Examples Explanation / Analysis Context / Further Ideas
“Mem.” Use of shorthand in Shorthand was invented in 1837 as an innovative and
Jonathan Harker’s journals. phonetic way of recording information quickly. The use of
shorthand here relates to Jonathan’s intended audience –
his fiancée Mina, who is later said to also understand
shorthand. This implies that their correspondence is a
private one.
Mentions of the ‘West’ and Concepts of the Orient and Positioning of setting in relation to English audience.
‘East’ in describing Occident.
Transylvania. Fear of the ‘other’ – the foreigner as alien.
Mentions of superstitions Accumulation of detail to
(P.8) establish setting – lots of Stoker’s interest in history steeps this establishing chapter
“Wildest and least known historically-relevant East- in the flavours of the region (later made more apparent by
portions of Europe” (P.8) European peoples and a preoccupation with the specific foods of the region)
countries (Carpathians,
Buda-Pesth, Turkish). ‘Buda- Activity: Locate place names in first chapter and plot on
Pesth’ is an anglicisation of a map of Europe to contextualise.
foreign place name.
“Imaginative whirlpool” Simile. Stoker uses a variety of simple similes to get the reader
inside of Harker’s head and to empathise with the culture
shock he experiences upon his arrival in the East.
“They are, however, I am Condescending / Parochial Harker’s tone alludes to the attitudes of the Victorian-
told, very harmless and tone British towards the rest of the world; a fatherly but
rather wanting in natural condescending attitude towards the ‘simpler’ peoples of
self-assertion” (P.9) Eastern Europe fits into this paradigm.

Furthermore, Harker’s tone could also be seen as the

hubris (arrogance) that typically accompanies a tragic hero
at the start of their metaphorical descent to hell.
Many references at the Foreshadowing The title of ‘Count’ is not an accurate title used by
beginning of the May 4 Romanian aristocracy at the time of the novel’s publication
entry (P.10) (or ever). Stoker’s use of this title is, however, in keeping
EG. “Looked at each other in with the Gothic genre, in which several fictional villains had
a frightened way”, “He and previously been styled as ‘counts’.
his wife crossed
themselves”, “In a very Activity: Find references that foreshadow Dracula’s true
hysterical way”. nature.
“The sun sank lower and Foreshadowing, metaphor, Stoker uses his description of setting to maintain a
lower behind us, the personification. suspenseful atmosphere that implies evil and discomfort.
shadows of the evening The motif of darkness is prevalent in the text, representing
began to creep round us” Dracula’s embodiment of evil.
(P.14)
“For the dead travel fast” Intertextuality. Quote from This poem from 1774 features a character who returns
(P.17) the poem Lenore by the from the grave and, with themes of ‘beauty and terror’, has
German gothic author been frequently cited as a common influence on vampire
Gottfried August Burger. literature.
Wolves, castle, superstitious Stoker uses an array of The use of portents and omens links with the stereotypical
village people (P.18-19) (now-familiar) horror tropes Eastern traditions of superstition that formed the basis for
to establish a sense of Victorian England’s growing fascination with the occult in
foreboding. the late 19th century.
Chapter 2: Jonathan Harker meets his client, the strange Count Dracula, and comes to the realisation that he is now a
prisoner in the Count’s castle.
Quotes and Examples Explanation / Analysis Context / Further Ideas
“Then he took out my steel Complex sentence with Harker’s (IE. Stoker’s) style is highly descriptive and can
traps, and placed them on many clauses – including an become longwinded at times, alluding to the form of the
the ground beside me as I embedded clause. journal as a log of activity for the protagonist.
stood close to a great door,
old and studded with large
iron nails, and set in a
projecting doorway of
massive stone” (P.21)
Several references to steel, Motif of near- indestructible The repetition of imagery and metaphors/similes explores
iron, stone (P.21) substances. ideas relating to strength, note the description of Dracula’s
driver’s grip being like a vice.
“For just before leaving Mixing past and present Stoker manipulates the reader’s distance from the
London I got word that my tense. protagonist through the use of tense – veering between
examination was successful; past tense to show Harker recalling daily events, and
and I am now a full-blown present tense to remind the audience that Harker is
solicitor!” presently occupying the castle between journal entry; thus
making the entries seem more immediate.
Description of Dracula (P.22, Pointed teeth, pointed ears, Dracula is established as a strange-looking character, the
P.24) hair growing in strange description of the bushy eyebrows that ‘almost’ meet have
places, pale complexion, certain connotations in Gothic 19th century literature. The
‘aquiline’ nose, ‘domed’ ‘unibrow’ was viewed as a suspicious trait associated with
forehead. werewolves and evil characters. The pointed teeth are
also, as far as the reader is concerned, more than enough
to allude to his status as a vampire. Harker’s seeming
ignorance of these things are examples of dramatic irony.
What is revealed about Dracula in this chapter? (Note P.32 in particular)
• He doesn’t like daylight.
• He doesn’t eat or drink in Harker’s presence.
• He has no reflection.
• He is upper class / well-educated
• What else?

Early editions of Dracula, with pre-film depictions of the Count

Chapter 3: Dracula tells Harker that he’ll be staying at his castle for a month, which leads to an increasing sense of panic
and anxiety for the protagonist. In his exploration of the castle Harker is set upon by Dracula’s women, who attempt to
feed on him until Dracula saves him.
Quotes and Examples Explanation / Analysis Context / Further Ideas
“The Huns, whose warlike Simile, mythologising, Stoker conjures imagery of the region’s bloodthirsty history
fury had swept the earth aggressive connotation of with active and highly figurative language. The Huns were
like a living flame” (P.36) words like ‘warlike’, ‘fury’, nomadic, horse-riding warriors who raided across Eastern
‘swept’, ‘flame’. Europe and Central Asia from the 4th to 6th centuries and
impacted on a lot of different cultures.
Mentions of blood (P.36, The motif of blood occurs Note that the word ‘vampire’ hasn’t been used once yet. The
P.37) throughout as a form of author constructs Dracula’s world through language choices and
foreshadowing that foreshadowing. Page 36 features mentions of crucifixes, garlic
reinforces the themes of (some versions of the Old Testament say that garlic sprung up
the novel. in the Devil’s place after he left the Garden of Eden), wild rose
(a Christian symbol associated with Christ), mountain ash; all
folkloric protections against vampires that function as a form of
dramatic irony in terms of the narrative and Harker’s ignorance
of Dracula’s true nature.
“My heart grew cold at the Harker uses a metaphor to The gothic literary tradition often employs sensory language to
thought” (P.39) underscore his realisation position the reader from the perspective of the protagonist,
that Dracula intends to experiencing the same terror or growing sense of dread.
keep him at the castle for
at least a month.
“Should you leave these Dracula warns Harker The words ‘should’, ‘by any chance’, ‘those’ are all in a key of
rooms you will not by any against leaving the room low modality, illustrating Dracula’s sophistication and
chance go to sleep in any assigned to him. The persuasiveness – his threats are implicit rather than explicit, and
other part of the castle. It is language used by the allude to a psychological game of ‘cat and mouse’ between
old, and has many Count is subtle, himself and Harker, with neither explicitly acknowledging the
memories, and there are threatening, and has a dynamic of jailer-and-captor that has arisen.
bad dreams for those who tone of low modality.
sleep unwisely” (P.40)
“…my feelings changed to Combined with the The association of animals with evil is rooted in traditions that
repulsion and terror when I presence of wolves in depict Satan as ‘the beast’; a goat-legged, goat-headed demon.
saw the whole man slowly Chapter 2 (and later Beast-like qualities also fit into Elizabethan beliefs relating to
emerge from the window chapters), this imagery of the Great Chain of Being, in which a lack of humanity is equated
and begin to crawl down the Dracula as a ‘lizard’-like with a lack of godliness. The less human something is, the
castle wall over the dreadful creature alludes to a further from Heaven.
abyss, face down, with his bestial motif.
cloak spreading around him
like great wings (…) just as a
lizard moves along a wall”
Dracula’s women are The women are described This is in stark contrast to Victorian values of repressed
described with “Voluptuous in highly sexualised sexuality. The idea of women, in particular, being depicted in
lips” (P.45) language. this way is highly offensive within Stoker’s context. The concept
of multiple women kept in a room within the East-European
Castle alludes to a harem, highlighting Dracula’s foreign and
alien nature. The desire/lust evident in Harker’s journal entry
has been elicited by the demonic forces of the vampire women.
In both the context of the narrative and Stoker’s meta-context
as an author exploring ideas, this allows for the expression of
lust in a situation where Victorian sexuality would normally not
be acknowledged (by both character and author).
“Are we to have nothing Dracula feeds the vampire This segment is highly suggestive, implicit, and understated –
tonight?” (P.47) women something (most the leaving of details to the reader’s imagination makes the
likely a baby) to sate their scene much more horrific than it otherwise would be. Author
appetite for blood. Clive Leatherdale has argued that this scene shows that Dracula
has been reduced to stealing babies in his own country due to
the locals being wise enough to protect themselves against
vampires, and that this is why he wants to move to England.

The final sentence describing the ‘horror’ overcoming Jonathan

has been interpreted by some, such as Lee Klinger, as his horror
at the prospect of a homoerotic encounter with the Count
(contrasted with his earlier desire at being kissed by the
women).
Chapter 4: Dracula has Harker write letters home that indicate he is okay, and Harker attempts to escape the castle
before his time runs out. In these attempts he learns that Dracula is travelling to England.
Quotes and Examples Explanation / Analysis Context / Further Ideas
Harker thinks that the Dramatic Irony. It takes The reader knows that the incident happened even if
incident with the three another page or so for Harker is ready to discount it as a dream. This helps Stoker
vampire women may have Harker to accept the reality heighten the growing tension in Harker’s situation.
been a dream (P.48) of his situation.
“I know now the span of my Harker’s journal entry is This is also an example of parataxis – where the
life. God help me” (P.49) structured into paragraphs protagonist’s thoughts become separated and
up until the point where he unconnected, demonstrating his fear and the finality of his
breaks it off in two short, realisation. His appeal to God for help also reflects the
truncated sentences ‘I know Christian context of the novel’s audience.
now the span of my life’ and
‘God help me’.
“This morning, as I was The embedded clause The use of an embedded clause indicates how articulate
sitting on the edge of my features a visceral and and intelligent Harker is; the adding of extraneous detail
bed cudgelling my brains, I hyperbolic metaphor. expands on Harker’s desperation. The author’s choice of
heard without a crackling…” words in ‘cudgelling’ has a violent connotation and
(P.51) demonstrates the effect that Dracula’s hypnotic powers
have on the brain. Pages 52 an 53 develop this idea further
to reveal that Harker has, indeed, been hypnotised.
“There was a silence, a The repetition of ‘silence’ in The repetition of a phrase with additional words/adjectives
deep, awful silence, which this manner is an example to clarify the phrase further. Diacopes are used to express
chilled me” (P.57) of an elaborated diacope strong emotion and draw attention to a particular phrase
– in this example Stoker is reinforcing the atmosphere of
horror.
“God help me in my task” Stoker repeatedly has his The countless entreaties to God sets up the dichotomy of
(P.54), “God helping me” protagonist refer to ‘God’ good vs. evil / God vs. Satan, with Dracula characterised as
(P.55), “A smile that Judas in during this chapter, and the antithesis (opposite) of God. Stoker’s Christian context
hell might be proud of” features other Biblical was shared by his audience, who would have (by this point
(P.58), the capitalisation of references such as Judas of the narrative) easily identified Dracula as an affiliate of
“Pit” (P.61) and ‘Pit’ (an example of the Devil. The Biblical allusion to ‘Judas’ (the disciple who
antonomasia: where a Title betrayed Jesus) further elaborates on Dracula as a being of
is substituted for the proper pure evil.
name of something, in this
case ‘Hell’).
“gorged with blood; he lay Bestial imagery, simile The bestial motif continues, this time with a comparison to
like a filthy leech” (P.60) a parasite. Note how much this contrasts with the romantic
imagery of vampires often depicted in media since this
novel.
“blaze of basilisk horror” Connotative language – The ‘basilisk’ is a mythological, horrific creature (a cross
(P.60), “brain on fire” (P.60) motif of fire, mythological between a rooster and a lizard) that can turn people to
allusion. stone with its gaze. The figurative language here likens
Dracula’s powers of hypnotism to the basilisk’s terrifying
powers.
“many feet dying away in Stoker’s lexicon uses Note the use of the words ‘dying’, ‘violent’ and ‘hopelessly’
some passage” (P.61), intense, negative terms to to describe actions. Stoker’s vocabulary is loaded with
“violent puff of wind” (P.61), describe commonplace negative lexical items to continue building the sense of
“hopelessly fast” (P.61) verbs. foreboding and desperation experienced by Jonathan
Harker.
Chapter 5: Jonathan’s fiancée, Mina, writes to her friend Lucy. Both women talk about their suitors, with Lucy having to
choose between three men who know one another.
Quotes and Examples Explanation / Analysis Context / Further Ideas
Lots of italicised words are Characterisation. The idiosyncratic grammar used by Stoker in Lucy’s letters
used in Lucy’s letter to show helps establish her as a bubbly and excitable character. The
emphasis (P.63) repeated use of italics helps the reader ‘hear’ her rhythm
“We have slept together Polysyndeton (the use of and way of speaking, and the use of polysyndeton
and eaten together, and lots of conjunctions in the continues this further by disallowing the reader to take a
laughed and cried together, one sentence) ‘breath’ when reading this particular section of the text.
and now, thought I have The run-on sentence demonstrates Lucy’s seeming
spoken, I would like to inability to focus.
speak more” (P.64)
“He had evidently been Run-on sentence (a very
schooling himself (…) made long sentence, often
me want to scream” (P.65) without any real point).
“I sympathise with poor Intertextuality (references Lucy refers to Othello, in which the black titular character
Desdemona when she had to other texts) becomes dangerously jealous towards his white wife,
such a dangerous stream Desdemona. Lucy’s reference to Othello as being of an
poured into her ear, even by inferior race demonstrates the inherent racism of the
a black man” Victorian era, in which scientific arguments at the time
(and the theory of Social Darwinism) led the British people
to believe the other races were ‘half-devil, half-child’ to be
looked after by the British Empire (see the 1899 poem
White Man’s Burden by Rudyard Kipling for a clear
representation of this attitude).
Lucy talks at great length Discussion of slang vs. The differentiation between two modes of
about using ‘slang’ language formal language. writing/speaking is relevant to Stoker’s language choices
(P.66) throughout Dracula in that he uses a wide variety of text
types and first person protagonists to construct the overall
narrative (journal entries written in shorthand, letters
between friends, diary entries, newspaper articles).
“Why can’t they let a girl This is pertinent to Lucy’s Lucy’s flirtations with three separate suitors is a
marry three men, or as characterisation and is a transgression of straight-laced/sexually-repressed
many as want her (…) But generic convention of the Victorian morality. The idea of a ‘slutty’ young woman
this is heresy, and I must not horror genre. meeting a tragic demise at the hands of a monster adheres
say it” to now-familiar tropes associated with the horror genre
(think of the early victims in slasher films – they almost
always do things beforehand that are considered immoral
within the context of their times). Lucy kisses Morris
despite turning down his proposal, which is quite
scandalous within the context of the Victorian era. Later in
the novel, Lucy becomes one of Dracula’s victims.

Lucy Westenra and

her three suitors – Dr
Seward, Arthur
Holmwood (later Lord
Godalming), and
Morris Quincey, by
Eirina Skoura
Chapter 6: Mina befriends an old sailor, Mr Swales, who tells her stories about death. Meanwhile, Dr Seward (one of
Lucy’s suitors) describes the case of one of his asylum patients, the ‘zoophagous’ Renfield.
Quotes and Examples Explanation / Analysis Context / Further Ideas
“I nodded, for I thought it Mina does not understand The observation from Mina may come as a relief to the
better to assent, though I the old sailor’s dialect and reader, as it confirms that we are not necessarily meant to
did not quite understand his her reflection here comes understand everything that Swales says. The language
dialect” (P.74) after the reader has espoused by the old sailor is difficult to follow in some
experienced Mr Swales’ parts as it is highly regional and colloquial, however,
stories for quite a few lines. hidden in his dialogue are some philosophical truths that
link to the novel’s themes of superstition and death.
On P.76, Swales uses his extensive knowledge of town lore
to reveal to Mina the ugly truth behind the pleasantries
written on gravestones. This highlights the differences
between historical record and truth but, within the context
of a late 19th century novel, it would also highlight to
readers that nothing is sacred in Bram Stoker’s Dracula –
not even the seemingly innocent epitaphs on gravestones.
“…when a horrid blowfly, Renfield wants to feed The bizarre and viscerally-described eating habits of
bloated with some carrion animals and then eat them, Renfield foreshadow, and link to, the relationship between
food, buzzed into the room, leading to Dr Seward’s Renfield and his ‘Master’, Count Dracula. The influence of
he caught it, held it hypothesis that the patient Dracula has made Renfield beast-like, which symbolises
excruciatingly for a few is ‘zoophagous’. the corrupting, Satanic influence of evil. The consumption
moments between his finger of animals also mimics Dracula’s own consumption of
and the thumb, and before I human life.
knew what he was going to
do, put it in his mouth and Stoker subverts and twists the bodily function of eating
ate it” (P.78) into something unpalatable (the consumption of insects,
the feeding of spiders) in order to evoke a visceral reaction
from the reader. Things that break the taboos of bodily
functions have a tendency to cause feelings of horror in
audience (see Julia Kristeva’s writing on ‘Abjection’ for
more information).
“Everything is grey (…) grey The motif of the colour grey Mina hasn’t heard from Jonathan and is getting
earthy rock; grey clouds (…) is a form of pathetic fallacy increasingly anxious about his whereabouts. Stoker
grey sea…” (P.82) – the technique in which reflects this mood in the setting by draining all the colour
authors use the weather to out of the environment. The weather is also used here to
“The horizon is lost in a grey represent emotions. foreshadow Dracula’s approach to England, which will lead
mist” to death and tragedy for each of the characters.
Chapter 7: Newspaper clippings describe the arrival of a ship, The Demeter, which washes up ashore with a dead crew –
the only survivor a mysterious large dog which escapes into the countryside.
Quotes and Examples Explanation / Analysis Context / Further Ideas
“One of the greatest and Pathetic fallacy. Stoker builds on the use of pathetic fallacy in the previous
suddenest storms on chapter to show Dracula’s arrival via a calamitous storm.
records has just been Use of a newspaper article The implication here is that Dracula actually causes the
experienced here, with to forward the plot. storm, which indicates the extent of his power and his
results both strange and alignment with the Devil.
unique” (P.85) The use of a newspaper article to bridge part of the
narrative is necessary here as Stoker lacked a logical way
to include the ship’s arrival in the diary entries of Seward,
Harker, Lucy, or Mina. The use of a newspaper article also
maintains distance between the reader and the events
surrounding the ship’s arrival, which assists in maintaining
a sense of mystery around Dracula and his movements.
“It had been fighting, and The newspaper article The entire chapter unfolds without any mention of Dracula
manifestly had had a savage describes the mysterious and it is left up to the reader to fill in the gaps on their own.
opponent, for its throat was death of a dog following the The use of the newspaper text type leaves a distance of
torn away, and its belly was arrival of The Demeter. time and space between the reader and the characters
slit open as if with a savage featured, and this ambiguity leads to a heightening of
claw” tension. The reportage of the dog’s death in such brutal
detail leaves clues for the audience to construct their own
image of what has happened.

Activity: What do you think happened?

Chapter 8: Lucy, now prone to sleepwalking, is discovered by Mina in the arms of a mysterious beast under the
moonlight. Mina disturbs the beast and nurses Lucy after the ‘attack’, watching as her friend grows weaker over a period
of several days. Meanwhile, Dr Seward’s patient Renfield becomes more violent and gloats about the return of his
‘Master’. Mina also receives word that Jonathan Harker is alive and recovering in a hospital in Buda-Pesth.
Quotes and Examples Explanation / Analysis Context / Further Ideas
Mina writes about the ‘New Mina gently satirises the Through Mina, Stoker pokes fun at the idea of the ‘New
Woman’ (P.99-100) idea of women gaining more Woman’. It is worth noting, however, that Mina herself fits
independence, positing that the mould of the sort of woman that the author is
women may one day be the describing – she is a schoolteacher and therefore
ones to propose marriage financially independent, is intelligent enough to
(instead of men). articulately write a journal, and doesn’t have any parents
to ‘report’ to. The ‘New Women’ were championed by
many writers and newly independent women as a sign of
the Victorian era’s strict moral codes loosening for the
better.

At the time of Stoker’s novel (1897) the suffrage

movement was also beginning to emerge in England. Some
women were asking questions about their role in society –
could they work in a wider range of jobs? Should they have
the right to vote? Go to university?
“Something, long and black, Ambiguity and sexualised Stoker makes this passage deliberately unclear, perhaps
bending over the half- undertones as Dracula for a couple of reasons. Dracula may be raping Lucy here –
reclining white figure” ‘attacks’ Lucy. either through the use of hypnotism or force. It’s implied
(P.100) that Lucy’s previous sleepwalking may have been Dracula
There are no entries from luring her outside so that he can feed on her. The use of
“anxiety about Lucy (…) for Lucy in this chapter either, language here also implies the possibility of a sexual
her reputation in case the which helps to maintain element to the attack, though this is kept deliberately
story should get wind” mystery and ambiguity over vague as Victorian audiences would have been scandalised
(P.103) what happens while she by any explicit acknowledgement of this (note the second
grows sicker. quote on P103). Another reason why it’s kept unclear is
that Mina is observing the event from afar and is unsure as
to what is happening, which serves to heighten tension and
mystery.
“I don’t want to talk to you: Antonomasia Renfield refers to a mysterious ‘Master’. If the audience
you don’t count now; the has figured out that this is Dracula then this is an example
Master is at hand” (P.111) of dramatic irony as Dr Seward doesn’t know what this
refers to. Note the timbre of Renfield’s dialogue here; the
rudeness in the way he dismisses Seward is indicative of
the influence that Dracula exerts over the patient.
“The real God taketh heed Allegory. With some Stoker offers social commentary on the arrogance of
lest a sparrow fall; but the arrogance, Seward draws humanity in seeking to play God, that God does not
God created from human comparison between the differentiate between a sparrow and an eagle. This quote
vanity sees no difference God of the Bible and the reflects the Christian values of Stoker’s Victorian context
between an eagle and God created in the egos of and is also ironic through its reference to ‘sparrows’ (one
sparrow. Oh, if man only men who seek to play Him. of the animals preyed upon by Renfield). The quote is also
knew!” (P.111) relevant in that Renfield does not recognise God, instead
pledging his allegiance to Dracula, and in that Seward’s
classism means that he metaphorically sees himself as the
eagle rather than the sparrow.
“Jack Sheppard himself Historical allusion Jack Sheppard was a notorious criminal from 18th century
couldn’t get free” (P.113) England who was famed for repeatedly breaking out of
prison.
“I shall be patient, Master. It Epizeuxis (the repetition of a Renfield’s repetition of ‘coming’ emphasises his
is coming – coming – word in immediate excitement over the arrival of his master, Dracula. The use
coming!” (P.113) succession) of epizeuxis is intended to appeal to an audience’s
emotions, and Renfield uses the rhetorical device as a
symbol of his own enthusiasm and inspiration.
Chapter 9: Mina travels to Buda-Pesth to be with Jonathan, who is described as a ‘wreck’ after his mysterious ordeal. Dr
Seward tends to Lucy, whose condition deteriorates, and sends for his former teacher, the formidable Dr Van Helsing, for
help. Renfield tries to escape.
Quotes and Examples Explanation / Analysis Context / Further Ideas
“Jonathan is waking – I must The use of the hyphen takes In her relating of Jonathan’s condition, Mina reveals the
attend to my husband” the place of a semicolon values of the era in regards to marriage and mental illness.
(P.116) here. This physically and The idea of the woman as a servile wife fits into Victorian
thematically joins the two ideals regarding the roles of men and women within a
“poor brains” “poor dear”, clauses together. Mina also marriage. The concept of ‘madness’ is also dealt with
“poor weak hands” (P.114- repeatedly uses the throughout the novel in regards to Renfield’s disturbing
116) adjective ‘poor’ to describe attitude towards animals and Jonathan’s nervous
her fiancé. disposition after staying at Dracula’s castle, with very little
understanding expressed towards the characters about
either condition. This reflects the ignorance towards
mental illness during the 19th century – Jonathan is clearly
suffering from PTSD, something that would 20 years later
come to be described as ‘shell-shock’ in WWI.
“I caught the patient’s eye Symbolism – the bat as Some associations had been made between vampires and
and followed it, but could vampire. bats before Stoker wrote Dracula. Fifty years earlier, the
trace nothing as it looked penny dreadful Varney the Vampire featured illustrations
into the moonlit sky except of a vampire as bat-like, and an animal known as the
a big bat” (P.119) Vampire Bat was already known about in the Americas. It
was Bram Stoker, however, that tied the bat to vampirism
in a way that would become iconic. In Dracula, the Count
can shape-shift into a bat, a wolf, and another unidentified
beast. Of these, it is the bat that has continued to endure
– perhaps due to the existence of the real life Vampire Bat
and memorable passages like the one quoted here.
“Van Helsing (…) a Characterisation. Dr Seward Van Helsing’s association with science could be seen as
philosopher and a describes, with admiration, representative of the rise of science throughout the 19 th
metaphysician, and one of his former teacher. century as the most influential discipline. Van Helsing’s
the most advanced introduction into the narrative as a man of science places
scientists of his day; and he him as the antithesis of the supernatural forces of Dracula.
has, I believe, an absolutely As a man of learning, Van Helsing exhibits flexibility in his
open mind” (P.122) unorthodox methods – proving himself to be something of
a ‘renaissance man’ (a ‘polymath’ – a person of multiple
and highly different talents). The character is based on
three real life figures – a German professor of history, a
psychic investigator, and a detective. His first name
‘Abraham’ is also the same as the author’s.
“…saw the red disk sink. As Pathetic fallacy. Dr Seward The tying of Renfield to the elements in this way reflects
it sank he became less and describes Renfield’s reaction his allegiance to Dracula and his own animalistic nature.
less frenzied…” (P.127) to the setting of the sun. The affect that the setting sun has on Renfield calls to mind
imagery of disturbed caged animals, and dates back to
Roman ideas that the turning of day to night could affect
human behaviour. The concept of circadian rhythms (a 24
hour cycle) affecting plants and animals had been
theorised at several points prior to Stoker writing Dracula,
most recently through the observations of two scientists in
1896.

Note also the symbolism of the colour ‘red’ – a primal

connection to blood, evil, and anger.
Chapter 10: Van Helsing and Seward tend to Lucy as she continues to struggle with her mysterious illness.
Quotes and Examples Explanation / Analysis Context / Further Ideas
“All men are mad in some Simile, Motif, Metaphor. Van Helsing characterises himself and Seward (and, by
way or other… as you deal Van Helsing draws extension, other scientists and doctors) as the keepers of
discreetly with your comparisons to add depth knowledge. Van Helsing alludes to the idea that knowledge
madmen, so deal with God’s to the abstract concept of is a form of power, and that explanations need not be given
madmen, too – the rest of ‘knowledge’. to those who are not disciplined in their use. He also speaks
the world. You tell not your of knowledge being ‘stronger than memory’, highlighting
madmen what you do nor the shifting values of the time towards science and fact as
why you do it (…) so you irrefutable forces of problem-solving. Note the use of a
shall keep knowledge in its blood transfusion on P.131, a new technology that would
place” (P.129) have been highly unusual to 19th century readers.
“Knowledge is stronger than
memory, and we should not
trust the weaker” (P.130)
“Even death has some Personification, Metaphor, Dr Seward’s personification of death as an antidote to its
antidote to its own terrors” Connotation associated ‘terrors’ refers to the concept of some
(P.130) experiences being worse than death. The later description
of Lucy’s white gums and sickly state provide further proof
Lucy fears sleep and calls it a that she is in an extreme state of suffering.
“presage of horror” (P.135)
A ‘presage’ is an omen, or a sign of something that is about
to happen. The connotation here is that sleep is when Lucy
suffers most (foreshadowing the revelation that Dracula is
draining her blood each night). Intriguingly, throughout
Dracula, it is never completely clear what exactly happens
when the vampires attack the human characters – what
the reader can gather between what Stoker writes and
what his editors may have bowdlerised (censored) is that
it’s something between bloodsucking and sex.
“If our young lover should Van Helsing’s creation of the Van Helsing seems to equate the transfusion of blood (a
turn up unexpected, as word ‘enjealous’ to refer to bodily fluid) with sexual relations, and therefore a delicate
before, no word to him. It Arthur’s potential reaction matter that would make Lucy’s lover jealous.
would (…) enjealous him” at discovering Lucy getting a
blood transfer reflects his
non-English speaking
background.
“Van Helsing, with his soft, Foreshadowing, The description of Van Helsing walking in a ‘cat-like’ (IE.
cat-like tread” (P.137) characterisation. Quietly predatory) manner foreshadows his later role in
the novel as a vampire hunter.
“It is well that we have no Irony. Van Helsing makes a The irony here is that Van Helsing is doing exactly this,
sceptic here, or he would wreath of garlic for Lucy to using the folklore remedy of garlic to ward off potential
say that you were working wear and rubs the herb vampires. Van Helsing clearly suspects more than he is
some spell to keep out an around the doorway. letting on (see his earlier comment about not revealing
evil spirit” (P.141) knowledge). What’s interesting here is that, even though
he is a man of science, his broad knowledge of the world
also extends to the supernatural.
 Chapter 11: A wolf is reported escaping from the zoo, only to return later covered in glass and cuts. Meanwhile, Lucy’s
mother suffers a fatal heart attack after a wolf tries to get into Lucy’s room while she sleeps.
Quotes and Examples Explanation / Analysis Context / Further Ideas
“Lying like Ophelia in the Intertextuality – this is a Stoker’s reference to Hamlet refers to the death of the
play, with ‘virgin accents reference to Hamlet. innocent Ophelia, who went insane and drowned after
and maiden strewments’” covering herself in a variety of flowers and herbs. This
(P.143) textual allusion draws comparison between Lucy and
Ophelia as young women facing tragic deaths.
“Is there fate amongst us Personification of fate, Paganism refers to the pre-Roman world of England; a term
still, sent down from the cultural allusion to ‘pagan used by the early Christians to refer to the ‘Godless’
pagan world of old…” world’. barbarians that inhabited the British isles. By the 19 th
(P.145) century the phrase had become near-synonymous with
believing in the Devil. Van Helsing refers to paganism here
as a contrasting force to the good he is trying to do.
The newspaper interview Symbolism of the wolf in By this point in the novel the audience is already aware of
describes a wolf going connection to Dracula Dracula’s connection to the wolves. Bram Stoker’s use of
beserk (P.147-151) from the the newspaper interview here provides an explanation for
point of view of a the appearance of the wolf that disturbs Lucy’s mother
zookeeper. later in the chapter.
“The blood is the life! the Renfield’s crazed repetition Stoker uses this phrase to represent Renfield’s zealous
blood is the life!” (P.152) of this phrase calls to mind following of Dracula as akin to a religious belief, and in this
the sort of dictums (or case Renfield is twisting a Biblical passage that warns
proverbs/slogans/maxims) against consuming blood so that it sounds like this quote
espoused by cults. supports the opposite. Note also the re-appearance of the
novel’s blood motif, and the phrase’s explanation of
Dracula’s source of energy.
“Surely there is some Seward renders their ‘bad More dramatic irony in Seward’s lack of knowledge
horrible doom hanging over luck’ in the abstract as a regarding Dracula. By this point it is becoming clear that
us that every possible ‘horrible doom’, though something is interfering with Lucy’s recovery; something
accident should thwart us in unbeknownst to him, it is that Van Helsing is most likely aware of but not explaining.
all we try to do” (P.152) the unseen hand of Dracula The reader will know by this point that Dracula is probably
that continues to cause behind these events, however, the absence of his name
them so many issues. throughout the chapter adds a degree of ambiguity and
assists Stoker in continuing to maintain tension.

The 1922 silent film Nosferatu is the earliest surviving film of Dracula. In an attempt to avoid being sued by the Stoker family
for using the storyline without authorisation, the film changed the name of the monster to ‘Count Orlok’. The film also
invented the idea that exposure to sunlight would kill the Count.
Chapter 12: Lucy’s illness continues and she dies before her fiancé’s eyes after the doctors observe a giant bat hovering
outside the window. Meanwhile, Mina marries Jonathan and he inherits the responsibility of running a solicitor business
after his boss dies.
Quotes and Examples Explanation / Analysis Context / Further Ideas
Seward says “It was a stand- Personification of death as a Van Helsing is suggesting here that a fate worse than death
up fight with death”, force the doctors are losing awaits Lucy if they are not able to prevent her demise. This
followed by Van Helsing their fight against. Van refers to the possibility that she may enter an undead state
clarifying, “If that were all, I Helsing also uses figurative and turn into a vampire. In accordance with the Christian
would stop here where we language to allude to secret values of the time, any such fate would prevent Lucy from
are now, and let her fade knowledge. entering Heaven as her mortal soul would be forfeit. As a
away into peace, for I see no creature of Hell, Lucy would face eternal damnation and
light in life over her horizon” neverending suffering.
(P.159)
“The devil may work against Antithesis (when two The forces that make Lucy sick are seen as being the work
us for all he’s worth, but opposites are contrasted of the devil, especially after Van Helsing has noted the
God sends us men when we against one another) – the mangling of her neck from repeated nocturnal attacks. A
want them” (P.160) doctors characterise their ‘ghast’ is a supernatural creature like a ghoul / ghost.
“Once again we went battle as one between good
through that ghastly and evil. The use of the One of the novel’s key dichotomies is also being reinforced
operation” (P.160) adjective ‘ghastly’ has here: science vs. supernatural.
supernatural connotations.
“One of those bats that they The Texan suitor, Morris, This is the only reference to the ‘V’ word in the entire first
call vampires…” (P.162) tells an anecdote about a 200 pages of the novel. The use of the anecdote here is
vampire bat killing his horse used to connect the wounds suffered by Lucy to a real
back in America. world scenario, helping the audience to continue
suspending their disbelief in relation to the novel’s more
fantastical elements.
“He spoke in a fierce half- Morris, on noticing that it The re-appearance of Morris at this point of the novel
whisper; ‘What took it has taken the blood of 4 allows for a new perspective to enter the narrative, and
out?’” (P.163) adult men to keep Lucy thus allows Stoker to articulate one of the mysteries of the
alive. He wonders how she text so far, in case the audience hasn’t put it together yet.
could be so weak after all Morris, in his horrified ‘half-whisper’, has worked out that
this blood going in… something is draining Lucy’s blood each night (note his
Vampire anecdote above).
Lucy speaks in a “soft, Connotative language. Lucy finally succumbs to death and her transformation
voluptuous voice” shortly Foreshadowing. towards a state of being undead is near-complete. Van
before dying. After she dies, Helsing’s ominous warning, “It is only the beginning”
Van Helsing remarks, “It is foreshadows the revelation that she is becoming a
only the beginning” (P.172- vampire. The use of the sensuous adjective ‘voluptuous’
173) harkens back to Dracula’s vampire women in Chapter 4,
connecting Lucy to these ‘weird sisters’. It also highlights
the sexualised nature of the vampire in using its mouth to
draw life from its victims, with Lucy’s attempted attack on
her husband representing a perversion / inversion of the
kind of kiss they would normally enjoy.
Chapter 13: Lots happens in this chapter! Lucy is buried after her death and Van Helsing places garlic and a crucifix in her
coffin, telling Seward they must quietly return later to cut off her head and stake her through the heart. Meanwhile,
Jonathan Harker passes Dracula in the street, though the count now looks like a young man. The garlic and crucifix
disappear from Lucy’s grave, and reports begin to emerge of children being attacked in the vicinity by someone known
only as the ‘bloofer lady’.
Quotes and Examples Explanation / Analysis Context / Further Ideas
“She makes a very beautiful Juxtaposition, paradox. The collision of ‘beautiful’ and ‘corpse’ in the one sentence
corpse, sir” (P.174) is emblematic of the intersection of romance and horror
that characterises Dracula, a novel that was released at the
turn of the 19th century into the 20th – a period of great
change. This quote could be interpreted as a
representation of the way this text hybridises genres.
“After death faces became Connotative language, The description of Lucy regaining her beauty in death
softened and even resolved paradoxical adjective alludes to her new status as undead and immortal; she now
into their youthful beauty” ‘youthful’ used to describe a has everlasting youth. The juxtaposition of imagery
(P.180) dead body between ‘death’ and ‘softened’ highlights the unnatural
state she has now entered.
“We (…) will have to pass Van Helsing speaks of the The ‘duty’ that Van Helsing refers to is the idea that each
through the bitter water difficult journey ahead in man has their duty to God, above all else. It was completely
before we reach the sweet. metaphorical terms. unheard of for anyone in the Victorian era to not adhere to
But we must be brave of Christian values, and Van Helsing knows what terrible
heart and unselfish, and do things lie ahead if he is to ensure that duty to God is
our duty” (P.182) fulfilled. He is readying Lucy’s husband for the imminent
future.
“…he gave way to a regular Connotation of Seward’s Seward’s ‘stern’ reaction towards Arthur betrays the
fit of hysteria. He has denied description of Arthur’s attitudes of the Victorian age towards men who don’t
to me since that it was emotional reaction to Lucy’s conform to the expectations relating to gender. ‘Hysteria’
hysterics (…) He laughed till death. was a specific term used by doctors to refer to women with
he cried, and I had to draw uncontrollable emotions.
down the blinds lest anyone
should see us and misjudge
(…) I tried to be as stern as
one should” (185)
The news article describing Cultural allusion to current The ‘Kensington Horror’ was an attack in which two women
the ‘Bloofer Lady’ also events in Victorian-era had their faces slashed by a mysterious ‘woman in black’
makes mention of the London. shortly after the infamous Jack the Ripper murders had
‘Kensington Horror’, ‘The ceased. London newspapers around this time often
Stabbing Woman’ and ‘The featured headlines such as ‘The Stabbing Woman’. In this
Woman in Black’ (P.188- case, Lucy’s transformation into a bloodthirsty creature of
189) the night (that feasts on wayward children!) is emphasised
by her new urban legend-esque name. ‘Bloofer’ is a child’s
corruption/slang term for ‘Beautiful’.
Chapter 14: Mina learns the full extent of Jonathan’s suffering in Castle Dracula while transcribing his journal and
informs Van Helsing. In examining the case of the ‘bloofer lady’, Van Helsing realises that Lucy is feeding on the
neighbourhood’s children.
Quotes and Examples Explanation / Analysis Context / Further Ideas
“a man of medium height, Description of Van Helsing Particular focus is paid on the head, perhaps in
strongly built, with his upon his entrance, from the relation to the 19th century pseudoscience of
shoulders set back over a broad point of view of Mina Harker. phrenology – in which skull size and lumpiness was
deep chest and a neck well Accumulation of details used used to deduce a person’s intelligence and potential
balanced on the trunk as the to build an image in the for criminal action. The size of Van Helsing’s head is
head is on the neck. The poise reader’s head. intended here to indicate his great intelligence and
of the head strikes one at once cunning.
as indicative of thought and
power; the head is noble, well-
sized, broad, and large behind
the ears…” (P.194)
“There are darknesses in life, Extended metaphor. Van This quote could be interpreted as a form of
and there are lights; you are Helsing identifies Mina as a foreshadowing in that Mina eventually becomes one
one of the lights” (P.196) force of goodness – an action of Dracula’s victims and finds herself turning into a
that shows his charm. vampire – the opposite of ‘good’.
“I suppose I was hysterical” Mina reflects on her emotions Mina, despite her independence and potential as a
(P.197) as a sign of hysteria. First ‘New Woman’, wholly subscribes to gendered notions
person perspective. relating to hysteria. Paradoxically, her ability to
reflect on hysteria could be seen as proof that she is
not hysterical, or (in the context of Stoker’s times)
male-like enough to recognise this feminine
deficiency. The real life French scientist Charcot (also
mentioned in this chapter) made his career out of
studying hysteria and used hypnosis as a remedy
against it.
“I am dazzle – dazzle more than Poor syntax / grammar in Van Throughout the novel the reader will perhaps notice
ever” (P.199) Helsing’s dialogue. that Van Helsing’s speech can sometimes lose
consistency in regards to tense, subject-verb
agreements, and sentence construction. This reflects
the fact that English is not his first language and that
he is Dutch.
“It was the doubt as to the Figurative language – Jonathan prefaces this quote with “It seems to have
reality of the whole thing that Jonathan describes how he made a new man of me” – indicating that his level of
knocked me over. I felt felt after leaving Transylvania, self-confidence and sense of masculinity are closely
impotent and in the dark, and the way he began to doubt tied together. The use of the word ‘impotent’ further
distrustful” (P.200) what had happened to him. reinforces this gender-related weakness.
“Do you not think that there are Van Helsing rebukes Dr Van Helsing uses historical allusion (EG. ‘Old Parr’ – a
things which you cannot Seward’s belief in science as British man who supposedly lived to 152), Biblical
understand? (…) it is the fault of something that can answer all allusion (EG. Methuselah – a 900 year old man from
our science that it wants to questions, and uses logos via the Old Testament), and examples of unexplained
explain it all” (P.204) a range of examples to occult phenomena such as corporal transference,
support his argument. materialisation, astral bodies, reading of thought, and
hypnotism.
“They were made by Miss Lucy” Cliffhanger. High modality Stoker utilises the genre of the serial in his structuring
(P.206) (language with a high degree of chapters around cliffhangers. At the end of Chapter
of certainty) 14 it is revealed that the bite marks on children
attacked by the ‘bloofer lady’ are from Lucy, who is
now a vampire. The use of a single, blunt sentence
designed to shock the other characters (and reader)
leaves the audience wanting to read more.
Chapter 15: Van Helsing outlines his plan to destroy Lucy’s vampiric Un-Dead state, and enlists the assistance of Lucy’s
husband, Arthur, and her former suitor, Morris Quincey, to put his plan into action.
Quotes and Examples Explanation / Analysis Context / Further Ideas
“And prove the very truth he Textual allusion. A quote from Seward is describing his own feelings regarding Lucy’s
most abhorred” (P.207) Byron is used by Seward here. transformation into a vampire, using the words of the
famous poet to describe that which he cannot (in the
poet’s case it was adultery).
“He was inclined to think it was Further clues are given to the The motif of bats assists the reader in suspending their
one of the bats which are so reader and protagonists in disbelief in relation to Dracula’s vampiric nature, with
numerous in the northern regards to the links between Quincy Morris’s previous anecdotes about vampire bats
heights of London” (P.208) Lucy and Dracula. used to introduce the audience to the idea as a plausible
one. Bats have long since become a generic convention
of the horror genre for this and other reasons (such as
their nocturnal nature, size, the sound they make, the
disease they carry, etc.)
“The tomb in the day-time, and Imagery, motif of death. The Most likely without knowing about it, Stoker is alluding
when wreathed with fresh entire passage between the to the scientific theory of ‘entropy’, a principle of
flowers, had looked grim and (…) explains the effect of time thermodynamics that theorises that everything in the
gruesome enough; but now, and darkness on all things. universe eventually moves from a state of order to
some days afterwards, when disorder. In short: all things must die. In the case of
the flowers hung lank and dead, Lucy’s tomb, the imagery described here represents
their whites turning to rust and Death’s influence, which is one and the same as
Dracula’s.
their greens to browns (…) It
conveyed irresistibly the idea
There is also mention on P.211 of ‘body-snatching’, a
that life – animal life – was not
disturbing trend in Victorian times, in which dead bodies
the only thig which could pass
were illegally stolen from cemeteries and sold to early
away”. (P.210) doctors for medical research. This further reinforces the
macabre atmosphere established in this chapter.
“More radiantly beautiful than Contrast / Juxtaposition when Paradoxically, despite all the decay around her, Lucy
ever (…) the lips were red, nay comparing Lucy’s appearance looks ‘more beautiful than ever’ – the unnaturalness of
redder than before” (P.213) to her decrepit surroundings. this links her to Dracula’s supernatural powers, her
defiance of the normal laws of the universe reveals her
‘Un-Dead’ state. The emphasis of the redness of her lips
symbolises her thirst for blood.
“she was bitten by the vampire Van Helsing finally offers an A portmanteau is a new word created from the
when she was in a trance (…) In explanation for Lucy’s combination of two previously known words, in this case
time she died, and in trance she transformation with the the attachment of the prefix ‘un’ to ‘dead’ to describe a
is Un-Dead, too” (P.214) portmanteau of ‘Un-Dead’. new state of existence that is neither dead nor living. The
use of this portmanteau helps the reader understand the
unfamiliar by using their prior knowledge of each part of
the new term.
“he must have one hour that Biblical allusion, metaphor. The use of Biblical allusions increase as the novel moves
will make the very face of Van Helsing explains why forward, revealing the full dimensions of the battle
heaven turn black to him” Arthur must see his Un-Dead between Van Helsing and Dracula as one representative
(P.216) wife in this state. of the greater battle between good and evil; IE. Heaven
and Hell. In this quote, Van Helsing demonstrates how
he intends to bring Lucy’s husband onside before they
destroy her body in order to free her soul.
“If it be anything in which my Arthur expresses his These quotes very much reflect the values of the
honour as a gentleman or my adherence to Christian Victorian era – the concept of being a ‘gentleman’ was
faith as a Christian is theology as defence against constructed around honourable and polite conduct, and
concerned, I cannot make such going into Lucy’s tomb. Christianity in this society was homogenous and
a promise” (P.218) conformed to by all. Stoker uses Arthur’s refusal and his
“This is too much (…) this Victorian audience’s agreement with these values to
desecration of the grave” (219) heighten the tension… the audience knows that Lucy is a
vampire but they would also sympathise with Arthur,
which would lead to internal conflict and dramatic irony.
“But this night our feet must Metaphor, Biblical allusion. The ‘paths of flame’ refer to the Hell that Lucy’s soul will
tread in thorny paths; or later, Van Helsing figuratively eternally dwell in if they are able to vanquish the
and for ever, the feet you love explains to Arthur what Lucy’s vampire from her body. Van Helsing makes his argument
must walk in paths of flame!” fate will be. stronger through his use of extended metaphor –
(219) likening their ethically-difficult mission to ‘thorny paths’
that pale in comparison to Lucy’s paths of flame.
Chapter 16: While scouting Lucy’s tomb, the four men witness her feeding on a child nearby. Arthur is now convinced
that they must stake and behead Lucy on their next visit, and the men return to the tomb to dispatch her once and for
all.
Quotes and Examples Explanation / Analysis Context / Further Ideas
“The Host (…) I have an Capitalisation of ‘Indulgence’ The ‘Indulgence’ here may be taken to imply that Van
Indulgence” (P.224) implies Christian authority, Helsing has been given permission to use the holy
especially as its preceded by wafer in this way by the Church. This indicates that he
‘the Host’, which refers to the may be acting on behalf of the Church in his dealing
holy wafer used by the with Dracula – note that at various points, early on in
Catholic church to the novel, he keeps returning to Amsterdam on
symbolically represent ‘business’. These may be conferences with the
Christ’s body. Catholic Church for purposes of research and
receiving of instructions. As Dracula is, in all but
name, a disciple of the Devil, it makes sense for the
Church to be supportive of Van Helsing’s efforts to
vanquish vampirism from England. Note: The
mention of an ‘Indulgence’ may have been added in
by an editor as this sentence does not appear in the
manuscript that Stoker submitted to his publisher.
“The sweetness was turned to Description of Lucy, more Stoker uses antithesis to draw out the horrifying
adamantine, heartless cruelty, juxtaposition - between her contradictions between Lucy’s previous and current
and the purity to voluptuous evil Un-Dead state and her self. ‘Sweetness’ is contrasted against ‘adamantine,
wantonness” (P.225) previous living state. heartless cruelty’ (adamantine is an adjective that
describes something that cannot be broken), and
‘purity’ (a trait associated with virginal young women)
is contrasted with ‘voluptuous wantonness’ (wanton
has two equally applicable meanings here –
unprovoked violence, and sexually promiscuous).
Stoker is characterising the vampire version of Lucy as
everything that would have been scandalous and
horrifying to the Victorian audience when considering
a lady.
“Arthur (…) seemed under a Literal and figurative use of The power of hypnotism becomes associated with
spell; moving his hands from his the term ‘spell’; Arthur seems Dracula throughout the novel (though Van Helsing
face, he opened wide his arms” to be hypnotised by Lucy also reveals that he is able to use this power). The
(P.266) here. power of Lucy over her former lover demonstrates
the vampire’s seductive power.
“If ever a face meant death – if Lucy’s reaction is described This famous phrase can be traced to Bram Stoker’s
looks could kill – we saw it at through the hyperbolic use of it here to denote how fierce and aggressive
that moment” (P.226) hypothesis ‘if looks could kill’; Lucy has become. It’s debated that this could be an
also a mythological allusion. allusion to the monstrous Medusa of ancient Greek
“You are now in the bitter Van Helsing revisits his earlier mythology – a snake-haired gorgon who could turn
waters, my child” (P.227) metaphor. people to stone with her look.
Van Helsing’s instruments for The doctoral background of The inversion of the doctor’s surgical instruments
destroying vampires are Seward and Van Helsing from items used to save lives to a collection of
described by Seward in great renders the description as weapons is noted by Seward as strange yet
detail (P.228-229) ironic and subversive. intellectually-stimulating, an observation made more
ironic by Arthur and Quincey’s contrasting
disturbance.
“strike in God’s name” (P.230) Van Helsing reads a prayer The power of Catholicism cited here confirms that
while Arthur stakes Lucy Van Helsing and his allies are acting in God’s name
through the heart. against the Devil through their destruction of the
vampire-Lucy. In terms of the novel’s narrative and its
Victorian audience, this excuses the gory actions
visited upon her body in this chapter.

There is also mention here of ‘nosferatu’, an archaic

(out of date) Hungarian word for ‘vampire’ which has
become associated with Dracula since the creation of
the film Nosferatu in 1922.
Chapter 17: Mina begins to build a narrative using each character’s recording of events. Meanwhile, Jonathan researches
the boxes of dirt that came to England alongside Dracula and discovers that there are fifty of them in total, and that they
were delivered to a chapel next door to Seward’s asylum.
Quotes and Examples Explanation / Analysis Context / Further Ideas
“Why, this beats even Mina, on realising that The phonograph was a recording device invented in
shorthand!” (P.235) Seward’s diary is kept on a 1877, in which sound could be recorded onto a wax
phonograph. cylinder. As a man of science, Dr Seward’s use of the
phonograph indicates his modern outlook and
technological-knowhow. This sequence also serves as
a reminder to the audience that the information
presented in Dracula has been ostensibly drawn from
a variety of text types – diaries, newspapers,
shorthand, phonograph recordings.
“In this matter dates are Mina’s idea here explains the novel’s structure as a
everything, and I think that if stitched-together narrative of multiple first person
we get all our material ready, accounts. There is even mention of using newspapers
and have every item put in to fill in the gaps between each person’s journal, thus
chronological order, we shall providing an ‘in-universe’ explanation for the novel’s
have done much” (P.239) structure and style.
“By dinnertime they will be able
to show a whole connected
narrative” (P.240)
“I distrust these quiet moods of Seward reflects on Renfield’s The strait-waistcoat (or straitjacket) was used in the
his (…) have a strait-waistcoat erratic disposition. Victorian era as both an instrument of torture and
ready in case of need” medical treatment. The idea was that the jacket
would physically restrain the patient in such as way as
to prevent injury to others and self. As it was an era
of little understanding towards mental illness, the
straitjacket was used to ‘pacify’ patients.
“I suppose one ought to pity Motif of water – Mina makes Mina’s languages explicitly seeks to dehumanise
anything so hunted as is the mention of ‘springs’, think Dracula, the use of ‘the Thing’ and ‘the Count’ are
Count. That is just it: this Thing back to the ‘bitter waters’ examples of antonomasia that indicate Mina’s
is not human – not even beast. that Van Helsing previously unwillingness to even name Dracula at this point;
To read Dr Seward’s account of mentioned. such is her horror at what happened to Lucy.
poor Lucy’s death, and what
followed, is enough to dry up
the springs of pity in one’s
heart” (P.243)
“I suppose there is something in Mina reinforces The context of the times in relation to gender saw
woman’s nature that makes a heteronormative values men and women sorted into a binary opposition –
man free to break down before relating to gender in her men were practical and stoic, women lacked sense
her and express his feelings on reflection on consoling and were emotional. The idea of a man being tender
the tender or emotional side Arthur. is identified by Stoker here as ‘derogatory’, though he
without feeling it derogatory to also goes some way towards acknowledging that such
his manhood” (P.244) feelings are sometimes unavoidable in the company
“We women have something of of women.
the mother in us” (P.245)
“He had been unable to speak Mina is characterised as a mother-like figure in her
with anyone (…) there was no consolation of Arthur. The subtext of the third is
woman whose sympathy could interesting in that it suggests that men are not
be given to him” (P.245) capable of giving sympathy, only women are.
Chapter 18: The other characters all meet Renfield, who tries to convince them that he is sane in the hope that Seward
will release him. Van Helsing finally explains in full detail that Dracula is a vampire, and outlines his plan.
Quotes and Examples Explanation / Analysis Context / Further Ideas
“My own pet lunatic” (P.249) Seward describes The term ‘lunatic’ originated in French as a description of
Renfield by the now- someone who became insane due to changes of the moon
derogatory term throughout the month. Seward may be using this term here
‘lunatic’. partially in reference to Renfield’s otherwise inexplicable
changing moods. Note also the use of the personal pronoun
‘my’ which denotes ownership – this demonstrates Seward’s
parochial attitude towards his patient. In the original
manuscript, Renfield is referred to by the even more
derogatory name of ‘Flyman’.
“She has a man’s brain – a brain Van Helsing Possibly, by modern standards, one of the most salient
that a man should have were he compliments Mina. examples of Victorian sexism in the whole novel. Whilst Van
much gifted – and a woman’s Helsing is personally complimenting Mina, he is also revealing
heart” (P.252) the attitudes of the era towards women in general – that they
are seen as inferior to men in intellect. The fact that these lines
are delivered in completely unironic terms also indicates that
the author mostly likely doesn’t disagree with this view.
“We have (…) a power denied to Van Helsing contrasts Here Stoker reinforces the opposition between the powers of
the vampire kind; we have his advantages over the occult and the powers of science, with Van Helsing
resources of science (…) and an Dracula. highlighting science’s potential allegiance to God rather than
end to achieve which is not a the Devil. Being as vampirism is rooted in the supernatural and
selfish one” (P.254) superstition, it makes sense (at least in Van Helsing and Stoker’s
“Our scientific, matter-of-fact minds) that science – in its quest for facts and reason – would
19th century” (P.254) be the opposite force.
“In old Greece, old Rome (…) Van Helsing makes a Stoker illustrates the universalism of the vampire myth as a
France, in India (…) in China” series of cultural superstition evident in many, many cultures all around the
(P.254) allusions regarding the world. In terms of the narrative, this serves as a form of logos to
existence of vampires all persuade the reader to suspend their disbelief in regards to the
over the world. possible reality of vampires.
“Voivode Dracula (…) who won Historical allusion, Voivode is a Hungarian term that translates as ‘Prince’, and here
his name against the Turk (…) a antonomasia. Van Van Helsing theorises that Dracula is either this medieval prince,
great and noble race (…) to have Helsing explains now hundreds of years old, or at least descended from him. This
had dealings with the Evil One” Dracula’s origins. sequence from the novel has led to some concluding that Stoker
(P.256) based Dracula on the real life tyrant, Vlad Dracul III (AKA ‘Vlad
Tepes’, which translates as ‘Vlad the Impaler’). Vlad was a
member of the House of Draculesti, and he fought against the
Turks. He was famous for torturing little animals while
imprisoned in his youth (sounds like Renfield, right?) and
became feared across Europe for his tendency to impale men,
women and children on large spikes.
“We must (…) sterilise the earth, Medical jargon / The use of the term ‘sterilise’ has medical connotations relating
so that no more he can seek connotation of word to making something clean again, highlighting the belief that
safety in it” (P.257) ‘sterilise’. Van Helsing’s Dracula’s earth-laden coffins have been defiled with the
plan is outlined in part. essence of evil.
“Manlike, they have told me to Mina reflects on the More gender politics courtesy of Bram Stoker via his female
go to bed and sleep; as if a nature of men and protagonist. General Note: Compare Mina’s sexlessness to
woman can sleep when those she women. Lucy.
loves are in danger!” (P.258)
Renfield meets with the other Historical/political Renfield, in his attempt to escape his cell, is attempting to
characters for the first time and allusion convince Dr Seward, Van Helsing and the others that he is sane.
mentions the Monroe Doctrine as He speaks eloquently and charmingly to each person, indicating
a ‘political fable’ (P.259) his intelligence though each of his comments – which are tailor-
made to appeal to each person. His mention of the ‘Monroe
Doctrine’, an anti-European policy in America, is designed to
impress Quincey.
“Time presses, and in our implied Renfield becomes The ‘scytheman’ is a reference to Death, and Renfield’s belief
agreement with the old increasingly desperate that he will die if he isn’t let out – the ‘contract’ is a metaphor
scytheman, it is the essence of and attempts to for the relationship between humanity and God/the Devil. In
the contract” (P.260) convince the other light of later events in the novel, it is possible that Renfield is
Renfield also says he is a “sane characters that he being perfectly honest when he says he is fighting for his soul –
man fighting for his soul” (P.263) should be let out. which lends a tragic air to this scene.
“You will, I trust, Dr Seward, do Foreshadowing. Renfield’s warning serves as an ominous cliffhanger,
me the justice to bear in mind, indicating that awful things are to come. It is most likely that
later on, that I did what I could to Renfield is referring to his own gruesome death later in the
convince you tonight” (P.263) novel, which takes place in his asylum cell.
Chapter 19: The protagonists investigate the chapel at Carfax and find 29 of Dracula’s dirt-boxes. They use a pack of dogs
to chase off a pack of rats and return to the asylum so Van Helsing can interview Renfield as to the whereabouts of the
other 21 coffins, but Renfield is unco-operative. When Mina goes to bed she notices a strange mist travelling towards the
asylum, and dreams of the mist pouring into her room.
Quotes and Examples Explanation / Analysis Context / Further Ideas
“He seems so mixed up with the ‘Indexy’ is an example of Van Helsing describes Renfield’s actions as ‘indexy’,
Count in an indexy kind of way” antimeria (the use of an meaning that they could plot Dracula’s comings-and-
(P.264) existing word in a different goings by referring to records of the asylum patient’s
way, EG. A noun as a verb, or behaviour in much the same way as one would an
an adjective) index.
“In manus tuas, Domine!” Latin, Biblical allusion. Van Traditionally, Latin has been the language of the
(P.266) Helsing says this as he crosses Catholic Church. This particular phrase translates as
into a room previously part of a prayer that says “Father, into thy hands I
inhabited by Dracula. commend my spirit” – indicating that Van Helsing is
asking for protection from God before he steps into
the room. Stoker uses this allusion here to strengthen
the image of Van Helsing as a representative of the
Church.
“pungent, acrid smell of blood” Olfactory imagery in The sense of smell is invoked through Stoker’s
“air stagnant and foul” Jonathan’s journal to describe language to give the reader a visceral feeling relating
“every breath exhaled by that Dracula’s lair in Carfax. to disgust, emphasising Dracula’s beast-like nature.
monster seemed to have clung The bad breath of vampires is well-noted in the horror
to the place and intensified its genre, representing the consumption of blood as well
loathsomeness” as the more metaphorical corruption they symbolise.
“nauseous whiff” (P.267)
“It is too great a strain for a Jonathan worries about his More Victorian sexism… perhaps unintentionally
woman to bear” (P.270) wife. ironic here since it is Jonathan who is the concerned
one; and he is arguably the character who seems to
be put under the most strain prior to this part of the
novel (his hair even turns white later on). Is Mina
actually tougher than her husband, despite what
Stoker and Jonathan tell us?
“Last night I went to bed when This quote from Mina is Mina demonstrates that she is a good, dutiful
the men had gone, simply followed and preceded by Victorian woman who obeys the men
because they told me to” several mentions that she unquestioningly. Her sudden bouts of crying seem
(P.274) can’t stop crying. uncharacteristic in comparison to earlier parts of the
novel.
“Some leaden lethargy seemed Alliteration, metaphor, It’s probable that this is foreshadowing Dracula’s
to chain my limbs” (P.275) foreshadowing. Mina attack on Mina in two chapter’s time, with her
describes her inability to paralysis linking to his power to hypnotise his victims.
move. It’s ambiguous as to whether this is a dream or
whether Dracula enters the room as mist.
“I asked Dr Seward to give me a Mina recounts her need for An opiate is a drug used for pain relief, EG. Morphine.
little opiate of some kind, as I drugs. The plant that it comes from, the Poppy, is also
had not slept well the night responsible for the narcotic drugs opium, laudanum
before” (P.277) and heroin. In Victorian times, opiates such as
laudanum and morphine were used as a prescription-
styled drug to calm nerves. By today’s standards,
these drugs can be highly dangerous. Some readings
of Dracula (and, indeed, the 1992 film version) have
interpreted the novel in a way that theorises Dr
Seward as addicted to morphine (due to a few small
references such as this). The Victorians had a casual
attitude towards these sort of drugs.
Chapter 20: Jonathan Harker tracks down the locations of Dracula’s other dirt-boxes. Meanwhile, Renfield begins to act
out of character, and is later found in a pool of blood in his cell.
Quotes and Examples Explanation / Analysis Context / Further Ideas
“well, guv’nor, you’ve treated Dialect / colloquialism used by Stoker represents the gulf between the social classes
me very ’an’some” (P.279) supporting character denotes that made up Britain’s class system. With the
“phonetic spelling had again working class status, and exceptions of Count Dracula and Arthur (members of
misled me” (P.280) Jonathan later remarks on his the aristocracy), most of the main characters are
“I act on the part of Lord own inability to read this middle class (or bourgeoisie). Stoker’s use of near-
Goldaming (…) These words put character’s writing. indecipherable phonetic dialogue for the working
a different complexion on class characters (such as the carter, the zookeeper in
affairs” (P.284) the news article, and the sailor that Mina befriends at
the beginning of the novel) reveals the prejudices of
the era. One such working class character in this
chapter, Thomas Snelling, is too drunk to even speak
to Jonathan.

Note also the power carried by Arthur’s formal title.

“lairs arranged by Dracula” Connotation, metaphor, motif A ‘lair’ is place where a wild animal lives. The choice
(P.282) of the word ‘lair’ in this fashion continues the bestial
motif relating to Dracula, and encourages the reader
to make animal-like associations with Dracula. The
word has since become synonymous with the
hideouts or bases of villains in a variety of genres.
Renfield compares himself to Analogy, Biblical Allusion Renfield’s uses the Old Testament figure of Enoch as
Enoch, “he walked with God” an analogy for his relationship with Dracula. Enoch is
(P.287) one of only two figures in the Bible who are said to
enter Heaven alive rather than dying beforehand, a
special privilege bestowed on them by God. This
reference may indicate Renfield’s arrogance or his
belief that Dracula will give him special treatment for
being his follower.
Renfield’s Syndrome is the name now sometimes given to ‘clinical vampirism’ – an obsession with the drinking of human
blood.

Depictions of Renfield from the 1992

film, the 1930s film, and the stage
production (clockwise bottom left to
right)
Chapter 21: Renfield, dying, admits that Dracula visited him often. He rebelled against Dracula when he realised the
Count was taking blood from Mina, hence why he has now been killed by his Master. Van Helsing and the others rush to
Mina and Jonathan’s room, and interrupt Dracula while he feeds on Mina. The Count turns into a bat and escapes.
Quotes and Examples Explanation / Analysis Context / Further Ideas
“The minutes in which we Slow motion writing – at this Stoker ‘explodes the moment’ by slowing time down
waited passed with fearful point in the narrative there is and showing everything in lots of detail. This builds
slowness…” (P.295) a lot happening very quickly. suspense and subverts the reader’s expectation that
they will shortly find out what will happen next.
“he used to send in the flies (…) Symbolism. Renfeild is The Death’s Head Hawkmoth is named after its
and big moths, in the night, describing the ‘Death’s Head unusual markings, which are said to resemble a
with skull and cross-bones on Moth’. human skull. Due to this, this insect has symbolic
their bodies” (P.297) connection to death, evil, and the supernatural. In
Britain it was superstitiously believed that the moth
first arrived in the country when King Charles Is was
executed at the end of the English Civil War. Across
Europe the moth is seen as a bad omen, and it had
been recorded that in Romania the moth was thought
to hold the souls of reincarnated vampires and should
be impaled when caught.
“All these lives I will give you, ay Biblical allusion, one clause is The action of ‘falling down’ implies a complete
(…) if you will fall down and dependent on the other surrender of the body to Dracula’s power; the idea of
worship me!” (P.298) clause (Dracula says he will Renfield worshipping the Count emphasises the
give Renfield the lives if he Biblical dimensions of their relationship as god-and-
“I saw His eyes. They burned will worship him. disciple. Unlike the Christian God, however, Dracula
into me, and my strength appeals to Renfield with the materialistic offering of
became like water. He slipped Capitalisation, simile. the lives of animals. In Renfield’s remembrance of
through it, and when I tried to Dracula’s offer, the Count is surrounded by rats.
cling to Him, He raised me up
and flung me down” (P.299) The capitalisation of pronouns when referring to
Dracula apes the conventions used when referring to
God, and Renfield’s figurative references to water
make the Count seem like a force of nature – such is
his power.
“The Count had held his wife in Sexual connotation Even in the repressed context of the Victorian age,
that terrible and horrid Stoker’s language in describing Dracula’s attack on
position, with her mouth to the Mina is more like a twisted parody of a sexual
open wound in his breast” relationship rather than a physical altercation.
(P.303) Jonathan also seems involved, “his face flushed and
breathing heavily”, and Dracula’s torn clothes imply
the possibility of rape in regards to both characters.
“And ah, my God, my God, pity Juxtaposition of imagery The contrast between the sensory adjective ‘reeking’
me! He placed his reeking lips and the idea of someone placing their lips on
upon my throat!” (P.306) someone highlights the perversion of the action as an
evil mockery of kissing.
“Me (…) who commanded Hyperbole? Dracula boasts of The idea that Dracula once ruled over multiple
nations” (P.306) his past. countries may or may not be hyperbolic. It, at the very
least, reinforces his characterisation as an arrogant
figure. It also goes some way towards supporting the
suggestion that he is the same Dracula who once led
his people against the Turks hundreds of years ago.
“Harker was still and quiet; but Symbolism, pathetic fallacy, Jonathan Harker’s hair turns white as a result of
over his face, as the awful diacope Dracula’s attack on Mina – a symbol of the trauma he
narrative went on, came a grey has experienced. The phrase ‘deepened and
look which deepened and deepened’ is an example of a diacope, and
deepened in the morning light, demonstrates the depth of Jonathan’s trauma. The
till when the first red streak of ‘red streak’ of morning light sounds anything but
the coming dawn shot up, the gentle, and can be seen as an example of pathetic
flesh stood clearly out against fallacy in this instance.
the whitening hair” (P.307)
Chapter 22: Dracula visits Renfield once more and breaks his neck to ensure he is dead. Jonathan and the others go to
the chapel and sterilise each of Dracula’s coffins using the holy wafers. Van Helsing places a Holy Wafer on Mina’s head
to protect her but such is her infection from Dracula that it burns her skin.
Quotes and Examples Explanation / Analysis Context / Further Ideas
“Poor Mina told me just now, Alliteration, Hendiadys Hendiadys is a technique in which two words that
with tears running down her (doubling – “trouble and essentially mean the same thing are used together. It
dear cheeks, that it is in trouble trial”) can represent a lack of clarity, or a character’s
and trial that our faith is tested” anxiousness, and in this case Stoker is using it to show
(P.308) the lack of surety experienced by Jonathan and Mina
in facing the terrible power of Dracula.
“Her eyes shone with the Biblical allusion, metaphor Jonathan describes Mina’s eyes as ‘shining’ to
devotion of a martyr” (P.309) demonstrate her strong faith. A ‘martyr’ is someone
who dies for their beliefs (usually in a religious
context), which A) Shows how strongly Mina believes
that they will retain their faith, and B) Reminds the
reader that Mina may ‘die’ as a result of her
encounter with Dracula.
“We run down our old fox” Motif, Metaphor Stoker calls back to earlier references of the
(P.311) character’s hunting Dracula down, and the bestial
motif associated with him. Fox-hunting, in the British
context, is also associated with the aristocracy.
Van Helsing places the Holy Symbolism, simile The incompatibility of the Wafer with Mina’s Dracula-
Wafer on Mina’s forehead and infected body demonstrates the evil that now lives in
it “had burned into the flesh as her. Stoker uses the visceral simile of ‘white-hot
though it had been a piece of metal’ to show how serious it is.
white-hot metal” (P.316)
“Unclean! Unclean! Even the Epizeuxis (“Unclean! Mina’s reaction, heavily loaded with Biblical
Almighty shuns my polluted Unclean!”), Antonomasia dimension and persuasive rhetoric, shows the
flesh! I must bear the mark of (“the Almighty”), Biblical extremity of her reaction. This extreme reaction is
shame upon my forehead until Allusion (“Judgment Day”) perfectly in keeping with the Victorian context of
the Judgment Day” (P.316) Christian belief.

Dracula was reinvented in 1972 as Blacula, a film in the blaxploitation genre. Blaxploitation (a portmanteau of
the words ‘black’ and ‘exploitation’) was a genre of films initially marketed towards black audiences in America.
They became popular with mainstream audiences due to their use of stereotypes and soul/funk music. They
were also among the first films to feature African-American actors as leading characters.
Chapter 23: The protagonists hunt down Dracula’s other boxes and sterilise them. In this process they realise that one
box is still missing, and Van Helsing hypnotises Mina so that he can access her link to Dracula, discovering that the Count
has left England and is travelling by sea.
Quotes and Examples Explanation / Analysis Context / Further Ideas
“the monster has been creeping Metaphor used to describe Van Helsing repeatedly refers to Dracula as having a
into knowledge experimentally” Dracula learning – contrast ‘big child-brain’ in this section of the novel. The
(P.322) between verb ‘creeping’ and Victorians believed that the brains of children were
abstract concept of highly suggestible and lacking in logic. This, along with
knowledge. the quoted example, dehumanises the Count and
reminds the reader that the novel’s villain is not a
human character.
“I came for nothing (…) except Connotation, Biblical Allusion ‘Creation’ is a Biblical word for the Earth (IE.
to wipe this brute from the face Everything God ‘created’). The words used in this
of creation” (P.323) sentence have violent connotations – ‘wipe’, ‘brute’,
‘face’ – and show the depth of feeling now against
Dracula.
“With your pale faces all in a Simile Dracula compares humans to sheep, making clear
row, like sheep in a butcher’s” that he sees his victims as little more than livestock
(P.326) for him to feed on.
“Oh God let these poor white Characterisation Through Mina, Stoker reminds the reader that
hairs go in evidence of what he Jonathan’s hair has gone white and why
has suffered” (P.329)
Mina hears someone outside Red Herring After Dracula’s previous visits and the attack on Mina,
her room at night and fears that the expectation from the reader (and Mina) is that
it’s Dracula, though it instead the disturbances in the night may be the Count
turns out to be Quincey keeping making another attack. The revelation that the
watch. ‘someone’ is Quincey serves a form of false of
foreshadowing, otherwise known as a ‘red herring’,
which continues the novel’s suspenseful nature.
“A pack of men following like Motif, Simile More of the hunting / bestial motif in relation to the
dogs after a fox” (P.334) characters hunting down Dracula.
“he can live for centuries, and Cliffhanger, personification as The dramatic piece of dialogue from Van Helsing
you are but mortal woman. time as an enemy. about the heightening stakes in regards to Mina being
Time is now to be dreaded – Dracula’s victim is followed by a single, simple
since once he put that mark sentence describing Mina’s equally dramatic
upon your throat. reaction. This serves as another strong example of the
structural technique known as the ‘cliffhanger’, a
I was just in time to catch her as convention of the serial genre.
she fell forward in a faint.”
(P.334)

Fox-hunting was popular in

England in the 18th and 19th
centuries. Note the presence of
dogs, which were often used to
seek out the foxes. In Chapter 19
the protagonists use a whistle to
call some dogs to assist them in
clearing Dracula’s rats out of the
chapel at Carfax.
Chapter 24: The protagonists discover that Dracula is onboard a ship heading back to where he came from. Van Helsing
declares that they should hunt down the Count and destroy him for the benefit of everyone, and Mina convinces the
others to let her accompany them so they can use her psychic link to Dracula to continue tracking him.
Quotes and Examples Explanation / Analysis Context / Further Ideas
“The very place, where he have Allusions to the occult During the 19th Century, the Victorians developed a
been alive, Un-Dead for all keen interest in the occult – perhaps to help explain
these centuries, is full of many new phenomena that had been discovered in
strangeness of the geologic and then-recent times (electricity, magnetism, chemical
chemical world (…) Doubtless, reactions, geological concepts like ‘deep time’). The
there is something magnetic or inability to explain all of these things can be linked to
electric in some of the the increase of interest in magic and Satanic forces,
combinations of occult forces” such as those commanded by Dracula (hypnotism,
(P.340) materialisation, transformation, etc).
“in an age when the existence Dr Seward reflects on how ‘Ptomaines’ are the chemical components that cause
of ptomaines is a mystery we ‘the Vampire’s baptism of unpleasant tastes and odours associated with the
should not wonder at anything” blood’ is affecting Mina. putrefaction of plant and animals after they die. In
(P.343) this case, the existence of ptomaines could be
interpreted as a byproduct of death’s evil – hence
their relevance in the broader sense of the novel.
“I grasped his hand instinctively Simile describing Quincey’s Van Helsing’s assertion that Quincey is “all man”
and found it as firm as a piece strength reinforces the gender expectations of the era, as
of steel” (Jonathan, describing does Jonathan’s description of the man’s strength.
Quincey, P.349) Quincey’s characterisation throughout the novel as
“Quincey is all man, God bless the token American firmly leans on conventions
him for it” – Van Helsing (P.349) associated with cowboys and the wild west (note:
Quincey suggests that they all carry Winchesters, a
brand of gun associated with the wild west) and
firmly fits with the Victorian stereotype of manhood.

Wolves were extinct in England by the 1500s, and, by the 1800s, only really survived in Europe
in the East (in places like Transylvania). Wolves feature in the mythologies of many European
cultures, and superstition was so widespread in the 16th century nearly 30 000 people were
accused of being werewolves in France alone .
Chapter 25: Mina makes the others promise her that, if the times come, that they will dispose of her the same way that
they did Lucy. They travel to Varna, the port where Dracula’s ship is expected, but learn that his ship is headed to
another port instead – leading Van Helsing to deduce that Dracula is able to use Mina to spy on them.
Quotes and Examples Explanation / Analysis Context / Further Ideas
“Think dear, that there have Historical allusion, pathos Mina calls upon previous historical examples of men
been times when brave men killing the women they love in order to protect them
have killed their wives and their from worse fates (an allusion to rape and torture by
womenkind, to keep them from enemy soldiers) to appeal to Jonathan’s emotions.
falling into the hands of the This also reveals more of the Victorian era’s values in
enemy (…) It is man’s duty regards to men and women.
towards those whom they love”
(P.352)
“How I miss my phonograph! To Humour Dr Seward’s bemoaning of having to write by hand
write my diary with pen is would have been humourous to the Victorian
irksome to me” (P.356) audience as it shows his reliance on a technology that
most of Stoker’s readers would not have had access
to.
“We do not mention our Euphemism (using gentler Dr Seward expresses how thankful he is to have a
thoughts (…) awful though it be terms for harsh ideas) clinical, and less emotional, term for the act of mercy-
to contemplate. ‘Euthanasia’ is killing someone (in this case the euphemistic term of
an excellent and comforting ‘euthanasia’). In the classist atmosphere of the
word! I am grateful to whoever Victorian era, euthanasia was suggested by one
invented it” (P.357) journalist in 1881 to be a potential solution to
London’s ‘homeless’ problem, which demonstrates
that the ethical dimensions of the concept may have
been significantly different in the 19th century.
“Transcendentalism is a beacon Biblical allusion, folkloric Dr Seward is referring to Kant’s philosophical concept
to the angels, even if it be a allusion of transcendent idealism – the idea that each
will-o’-the-wisp to man” (P.359) person’s store of knowledge is based on their own
sense of self. This curious sentence refers to each
person interpreting their arrival in the port of Varna
differently. In order to illustrate these differences in
perception, Seward is contrasting the mightiness of
angels against the will-o-the-wisp (a ghostly light
observed over swamps).
“There is a peculiarity in Code-switching (Van Helsing In his explanation, Van Helsing is attempting to
criminals (…) This criminal has switches modes of language illustrate how Dracula thinks. He is profiling the
not full man-brain (…) he be of in order to explain scientific Count, something that is also assisted by literally
child-brain in much (…) he learn concepts to the other getting into Dracula’s mind via Van Helsing’s regular
not by principle, but characters) hypnotising of Mina. The last part of the quote alludes
empirically” (P.362) to the idea that Van Helsing believes Dracula can only
learn by experiencing things, he is unable to think in
abstract or philosophical terms – once again
demonstrating the villain’s lack of humanity.

The Italian criminologist, Lombroso, is mentioned in

this chapter as well. Lombroso believed that some
people partook in criminal behaviour because they
were less ‘evolved’ than other humans.
Chapter 26: Van Helsing’s hypnotism of Mina begins to yield less results, which makes it difficult for the protagonists to
track Dracula. Mina works out three different routes to Castle Dracula, so the group splits up across all three in order to
continue hunting the Count.
Quotes and Examples Explanation / Analysis Context / Further Ideas
“Would none of you like a cup Bathos (an anticlimactic sense Stoker diffuses the tension of Mina’s vampirism by
of tea?” (P.366-367) given by switching from the having her unexpectedly ask if anyone would like a
serious to the trivial) cup of tea. Whilst the scene is problematic from a
modern standpoint due to its inherent Victorian
sexism, it’s primarily intended as a humourous twist –
especially coming at a point where the other
characters think she is losing her internal battle with
Dracula.
Captain Donelson (P.370) Scottish dialect Bram Stoker phonetically represents the Scottish
dialect of the Captain. This could be interpreted as
classism on the part of the author, in similar fashion
to his depiction of Swales and other working class
characters.
“A Hebrew (…) with a nose like Anti-Semitic simile used by The subtext to this brief description is that the
a sheep, and a fez (…) and with Jonathan to describe the audience would expect this character to ‘bargain’ – an
little bargaining he told us what Jewish character indication of the Anti-Semitic attitudes of Stoker and
he knew” (P.371) his audience.
“Our dear Madam Mina is once Mina analytically analyses the Once more, Mina demonstrates her ‘man-like’
more our teacher” (P.373-376) issues faced by the characters capacity for logic, which is signposted by Van Helsing
in tracking Dracula across the complimenting Mina’s teacherly qualities.
Eastern Europe countryside.
“the old fox is tied in his box” Motif Hunting the fox again!
“The morning is bitterly cold” Jonathan and Dr Seward both The mention of the cold serves two purposes for
(P.379) describe the weather – Stoker. The first purpose is that he is reminding the
“I wish it wasn’t so cold. There reinforcing setting. reader of the setting; using detail to establish the
are signs of snow coming; and if environment. The second purpose is that the danger
it falls heavy it will stop us” posed by heavy snowfall helps to heighten the stakes
(P.382) as the novel moves towards its climax.
“If Jonathan and I were driving In a callback to an earlier Stoker subverts Mina’s earlier wish to see Eastern
through it alone what a scene in the novel, Mina Europe by bringing her to this location in dire, horrible
pleasure it would be” (P.382) ironically reflects on her wish circumstances. It can be interpreted as a form of
to travel through Transylvania situational irony and a recurring theme.
with her husband in better
circumstances.

Bran Castle in Romania is one

of several real life castles
linked to Dracula / Vlad the
Impaler.
Chapter 27: Van Helsing approaches Castle Dracula and is visited by the three vampire women. He tracks them to their
tomb and destroys them, and then seals the castle using Holy Wafers so that the Count cannot enter it. The other parties
arrive, chasing after Dracula, who is being escorted by some Gypsies. They fight, and Quincey stakes Dracula through the
heart before he himself is killed.
Quotes and Examples Explanation / Analysis Context / Further Ideas
“The great spurs of the Imagery, Mina describes their Stoker’s description and mention of the Carpathians
Carpathians (…) now seem to surroundings helps to establish setting. The formidable nature of
gather round us and tower in the mountains is conveyed through intimidating
front” (P.385) language.
“God grant that we may be Biblical allusion The talk of ‘His wrath’ alludes to the God of the Old
guided aright (…) I am not Testament, who was not above smiting his enemies
worthy in His sight. Alas! I am and punishing people directly for their sins. Mina’s
unclean to His eyes, and shall encounter with Dracula is an encounter with an
be until He may deign to let me ancient evil, the full dimensions of which are alluded
stand forth in His sight as one of to in Mina’s invoking of the older, angrier, and less
those who have not incurred forgiving version of God.
His wrath” (P.385)
“Swaying round forms (…) the Connotation, sexualised Stoker frequently revisits ‘voluptuous’ as a kind of
ruddy colour, the voluptuous language used to describe the shorthand for the sexually alluring nature of women
lips (…) sweet tingling tones…” ‘weird sisters’ (the female once they’ve turned to vampires. Each of the words
(P.390-391) vampires that live in Dracula’s used here are used to demonstrate their appeal and
“the beautiful eyes of the fair castle) hypnotic power of these women, and the helpless,
woman open and look love, and corruptible nature of men who have been driven to
the voluptuous mouth present lust.
to a kiss – and man is weak”
(P.393)
“They are racing for the sunset. Truncated sentences The author employs fast, brief sentences to depict the
We may be too late” (P.397) quickening pace of the scene. The setting sun
heightens the stakes further, drawing tension out of
the scene as the reader is led to wonder if Dracula will
be able to rise in all his power after the sun sets
(before the protagonists are able to stop him).
“A gallant gentleman” (P.401) Positive adjective used to The word ‘gallant’ implies heroism, in this case
describe Quincey illustrating Quincey’s brave self-sacrifice in fighting
Dracula. The pairing of ‘gallant’ and ‘gentleman’
evokes notions relating to masculine behaviour in the
Victorian era, with Quincey’s death characterised as
the ‘right’ way for a man to die.
Mina and Jonathan travel to Coda, Reflection This scene continues the idea of Mina getting to see
Transylvania 7 years after the Eastern Europe as a tourist rather than a potential
novel’s events. vampire, and calls back to two earlier moments in the
novel. This style of ending is sometimes referred to as
a ‘coda’, a passage of writing that brings a story to an
end. Mina also reflects on events, a common
convention in ending horror stories.