Over the process of the classic novel study, I feel that I’ve matured greatly as a writer. Processing, analyzing and studying a Classic Novel and novelist contributed greatly to my ability to organize my thoughts within my writing, being able to touch on all subjects I wanted to cover while still being efficient and avoiding writing too “flowery”. This was also brought about by my mindfulness that peers would be reading my posts as well.
The novel Dracula, by Bram Stoker itself, has given me great insight into the kind of monsters that can be created whenever people:
a) Let all of their primal urges and feelings loose on the world through their actions or
b) Keep all of these feelings inside, repressed from their minds. This is a very important thing to anyone to understand, as human beings can be turned into “vampirism” figures by following through with both approaches.
It has also given me more exposure into the conflict between actions based off of Faith and Feelings (like Doctor Van Helsing) and those based off of Rationality and Fact (like Mina). I myself have always had a divided standpoint in the debate, although I more often than not lean in the direction that Mina did. Nevertheless, the clash between these two mental tactics was interesting and entertaining in Dracula and was certainly food for thought.
I’ve noticed a trend in many older forms of literature (not necessarily Classic Literature) out of the same time period as Dracula (late 19th century to early 20th century) are written in first person, often but not always to be read as journal excerpts. Such examples are Sir Arthur Conan Doyle’s The Lost World, Jules Verne’s Journey to the Center of the Earth and 20 000 Leagues Under the Sea, Edgar Rice Burroughs’ The Land that Time Forgot and most everything I’ve read by H.P. Lovecraft. This kind of narrative is very popular still today but seemed to have a real dominance over literature in this era. I wonder why exactly it lost a bit of its hold on the world of books.
All in all, Dracula was a fantastic novel to read and the Classic Novel Study gave me a great deal of growth and maturity as a writer and student.
Tuesday, November 30, 2010
Monday, November 22, 2010
Works Cited
Kuehl, BJ. “Was ‘Dracula’ the first fictional vampire story to be written?” stason.org, Oct 21 2010. Web. 22 Nov. 2010.
n.a. “Dracula: Theme Analysis”. Novelguide.com. n.d. Web. 22 Nov. 2010.
n.a. “Vlad the Impaler”. Vlad the Impaler. 2002. Web. 22 Nov. 2010.
Moore, Alan. “Whitby's Dracula connections”. BBC- York and North Yorkshire. 2 July. 2009. Web. 22. Nov. 2010.
n.a. “Dracula: Theme Analysis”. Novelguide.com. n.d. Web. 22 Nov. 2010.
n.a. “Vlad the Impaler”. Vlad the Impaler. 2002. Web. 22 Nov. 2010.
Moore, Alan. “Whitby's Dracula connections”. BBC- York and North Yorkshire. 2 July. 2009. Web. 22. Nov. 2010.
Apologia
Vampire stories existed long before Bram Stoker wrote Dracula. These creatures have terrorized our folklore for thousands of years. Perhaps the first vampire story was told by a primitive man around a fire in a cave while his companions kept their ears open for prowling Saber Toothed Cats. Before Dracula, such stories as J. Sheridan Le Fanu’s 1872 story Carmilla (Kuehl) struck fear of these undead creatures into the hearts of readers. So why is it then that Bram Stoker was able to write a vampire story that not only survived through the years since its publication in 1897 - regarded as a classic of literature - but also mistakenly credited as one of the first vampire stories?
Most likely it is because of this novel’s strong social commentary on the espoused values of its time (although it still contains such themes that can certainly be applied to any era). Dracula is after all, widely regarded as a tale of repressed sexual urges (Dracula: Theme Analysis) as well as high-class behavioral expectations. As evident in the disturbing, creepy and sometimes even melancholy descriptions of the Brides of Dracula, Lucy Westenra, Mina Harker and Count Dracula himself, it’s clear that Stoker was hinting that all humans have within them urges and dark sides (not that the two are always linked) and its not healthy for us to entirely repress them but also, not to let them take over our personalities.
For example, when Jonathan Harker walks into the room inhabited by Dracula’s three “Brides” they immediately begin to behave in suggestive, sexually ravenous ways likely due to how repressed they’ve been as the Count’s permanent guests. Jonathan himself feels a strange, lustful discomfort at this point as well, likely due to his own repressed sexual feelings. On the other side, Lucy becomes an absolute monster after she’s bitten by the Count, letting her now instinctive lust for blood and sexuality completely takes over her personality. Only Dracula himself appears to have a healthy relationship with his vampirism, appearing as a very civilized gentleman for the most part, and only performing such deeds occasionally. This is part of what makes Dracula such an intriguing character. A monster, yes, but nevertheless a monster with class and mindful control over his actions.
Interestingly enough, Bram Stoker was in fact influenced in the creation of the character by a historical figure who, in my (and many other people’s) opinion was much more cruel and evil than the fictional Dracula ever was. Vlad Dracul Tepes, (also known as “Vlad the Impaler”) was without a doubt among the most deranged and horrible people in recorded history. This Transylvanian warlord ruled between 1456 to 1462 with an iron fist and was made famous by both his involvement in the resistance from the Turkish army’s invasion from Transylvania as well as his love of torture. Vlad was a demonic madman, practicing such methods as burning, mutilation of sexual organs, boiling alive, exposure to wild beasts, removing limbs and ears and, of course, impalement towards outlaws and prisoners of war, regardless of age or sex (Vlad the Impaler).
While this supports the idea that one of Stoker’s themes was the darkness within man, it should be noted that Vlad actually took pleasure in causing pain and death. For example, he made sure that the stakes he impaled people on were dull so their demise would last longer, whereas Count Dracula was just motivated by natural urges to survive. Dracula’s inner darkness is more akin to natural instincts which are not surprising since Charles Darwin’s On the Origins of Species was published within the same half of the century as Dracula, in 1859 (Dracula: Theme Analysis).
Perhaps Bram Stoker is telling his readers that while it’s true that mankind is indeed an animal, we still need something to keep us civilized and in control of our primeval feelings, such as Van Helsing with his faith in God, or Mina Harker with her love for Jonathan.
It should also be noted that Stoker drew inspiration for the setting and atmosphere of Dracula from a holiday he took with his family to the fishing village of Whitby in Yorkshire. This small community had a tremendous influence on the final product of Stokers novel. “By all accounts, he was quite smitten with the atmosphere of the town; the red roofs, Whitby Abbey, the church with its tombstones and even the bats flying around the many churches, (Moore)” writes Alan Moore, a contemporary Whitby resident. This setting has become a universal association with vampire stories ever since.
These are the reasons that Dracula is such a significant novel in literature. It not only provides an excellent insight into human nature, but it provided a thoughtful commentary on the social structure of its era of publication. It has proven to be incredibly influential to Vampire literature as well. A true classic.
Most likely it is because of this novel’s strong social commentary on the espoused values of its time (although it still contains such themes that can certainly be applied to any era). Dracula is after all, widely regarded as a tale of repressed sexual urges (Dracula: Theme Analysis) as well as high-class behavioral expectations. As evident in the disturbing, creepy and sometimes even melancholy descriptions of the Brides of Dracula, Lucy Westenra, Mina Harker and Count Dracula himself, it’s clear that Stoker was hinting that all humans have within them urges and dark sides (not that the two are always linked) and its not healthy for us to entirely repress them but also, not to let them take over our personalities.
For example, when Jonathan Harker walks into the room inhabited by Dracula’s three “Brides” they immediately begin to behave in suggestive, sexually ravenous ways likely due to how repressed they’ve been as the Count’s permanent guests. Jonathan himself feels a strange, lustful discomfort at this point as well, likely due to his own repressed sexual feelings. On the other side, Lucy becomes an absolute monster after she’s bitten by the Count, letting her now instinctive lust for blood and sexuality completely takes over her personality. Only Dracula himself appears to have a healthy relationship with his vampirism, appearing as a very civilized gentleman for the most part, and only performing such deeds occasionally. This is part of what makes Dracula such an intriguing character. A monster, yes, but nevertheless a monster with class and mindful control over his actions.
Interestingly enough, Bram Stoker was in fact influenced in the creation of the character by a historical figure who, in my (and many other people’s) opinion was much more cruel and evil than the fictional Dracula ever was. Vlad Dracul Tepes, (also known as “Vlad the Impaler”) was without a doubt among the most deranged and horrible people in recorded history. This Transylvanian warlord ruled between 1456 to 1462 with an iron fist and was made famous by both his involvement in the resistance from the Turkish army’s invasion from Transylvania as well as his love of torture. Vlad was a demonic madman, practicing such methods as burning, mutilation of sexual organs, boiling alive, exposure to wild beasts, removing limbs and ears and, of course, impalement towards outlaws and prisoners of war, regardless of age or sex (Vlad the Impaler).
While this supports the idea that one of Stoker’s themes was the darkness within man, it should be noted that Vlad actually took pleasure in causing pain and death. For example, he made sure that the stakes he impaled people on were dull so their demise would last longer, whereas Count Dracula was just motivated by natural urges to survive. Dracula’s inner darkness is more akin to natural instincts which are not surprising since Charles Darwin’s On the Origins of Species was published within the same half of the century as Dracula, in 1859 (Dracula: Theme Analysis).
Perhaps Bram Stoker is telling his readers that while it’s true that mankind is indeed an animal, we still need something to keep us civilized and in control of our primeval feelings, such as Van Helsing with his faith in God, or Mina Harker with her love for Jonathan.
It should also be noted that Stoker drew inspiration for the setting and atmosphere of Dracula from a holiday he took with his family to the fishing village of Whitby in Yorkshire. This small community had a tremendous influence on the final product of Stokers novel. “By all accounts, he was quite smitten with the atmosphere of the town; the red roofs, Whitby Abbey, the church with its tombstones and even the bats flying around the many churches, (Moore)” writes Alan Moore, a contemporary Whitby resident. This setting has become a universal association with vampire stories ever since.
These are the reasons that Dracula is such a significant novel in literature. It not only provides an excellent insight into human nature, but it provided a thoughtful commentary on the social structure of its era of publication. It has proven to be incredibly influential to Vampire literature as well. A true classic.
Tuesday, November 9, 2010
Dracula: Evil or Warped?
At the end of the novel Count Dracula is slain by Jonathan Harker and Quincy Morris while Dr. Van Helsing watches over Mina, who is in the crucial state of almost becoming a vampire. Van Helsing also kills the three female vampires that attempted to seduce Jonathan at the start in the process, thus eliminating a significant amount of danger for the others. Once Dracula is killed (unfortunately, Quincy dies as well), Mina’s transformation ceases, leaving her as human as she was before being bitten.
Dracula, the source of all the suffering, demonic occurrences and evil is finally stopped in the last few pages of this book. But was he really a manifestation of evil, or just a puppet of its influence? As Mina Harker describes his dead (yes, it’s not un-dead anymore at this point) corpse “there was in the face a look of peace, such as I never could have imagined might have rested there.” Mere seconds before Quincy Morris’s knife was forced into the vampire’s chest, her description was more along the lines of “the red eyes glared with the horrible vindictive look which I knew so well”. Strange. This is not unlike the situation with her best friend Lucy when she was a vampire. The Count may have been a villain for the majority of the novel and that’s what his place in popular culture will likely forever be, but at one point in his existence, he was very likely a carefree, innocent human being that would have shuttered at the thought of what he would become.
Much like someone going insane due to traumatic experiences and isolation or an animal going mad as a result of disease, Dracula likely had no choice in his nature. How could he? When Lucy was bitten, the creature that many saw as Lucy, indeed had her body, but it was not her mind or soul performing its deeds. And as she was finally laid to rest when the “vampire” was killed, so was Dracula.
What Bram Stoker was trying to communicate with us here, I believe, is that such things as mental instability, primal “instincts” (animalistic behavior, aggression) and evil from within are blind to ones personality and can affect any human being if the right circumstances should occur. This is why I think that Dracula while yes, destructive and a creature that needed to be stopped was still, at point, a man.
Dracula, the source of all the suffering, demonic occurrences and evil is finally stopped in the last few pages of this book. But was he really a manifestation of evil, or just a puppet of its influence? As Mina Harker describes his dead (yes, it’s not un-dead anymore at this point) corpse “there was in the face a look of peace, such as I never could have imagined might have rested there.” Mere seconds before Quincy Morris’s knife was forced into the vampire’s chest, her description was more along the lines of “the red eyes glared with the horrible vindictive look which I knew so well”. Strange. This is not unlike the situation with her best friend Lucy when she was a vampire. The Count may have been a villain for the majority of the novel and that’s what his place in popular culture will likely forever be, but at one point in his existence, he was very likely a carefree, innocent human being that would have shuttered at the thought of what he would become.
Much like someone going insane due to traumatic experiences and isolation or an animal going mad as a result of disease, Dracula likely had no choice in his nature. How could he? When Lucy was bitten, the creature that many saw as Lucy, indeed had her body, but it was not her mind or soul performing its deeds. And as she was finally laid to rest when the “vampire” was killed, so was Dracula.
What Bram Stoker was trying to communicate with us here, I believe, is that such things as mental instability, primal “instincts” (animalistic behavior, aggression) and evil from within are blind to ones personality and can affect any human being if the right circumstances should occur. This is why I think that Dracula while yes, destructive and a creature that needed to be stopped was still, at point, a man.
Friday, November 5, 2010
The Woes of Mina Harker
November 8th
Mina Harker, the beloved wife of Jonathan Harker, who barley managed to escape Dracula’s grasp at the start of the novel, has been bitten by the Count. Upon her being bitten, Jonathan Harker, Dr. Van Helsing, Quincey Morris and Dr. Seward decide to rid the world of this repugnant Count once and for all by following him back to Transylvania, where he has escaped to again. In the process of killing the Count, they hope Mina will be saved from the transformation from human to vampire before it completes itself. Before they all depart to Transylvania however, Mina requests that if, for whatever reason, she becomes a vampire in the end, to kill her.
Mina Harker’s character in this situation appears to be another embodiment of Dracula’s theme of sexual repression and the attitude towards the sexuality of women during the Victorian Era. Poor Mina would rather be killed then become a “monster” of ravenous sexual impulses and animalistic behavior. Could this be a commentary on the sometimes narrow and potential harmful expectations of people of “class” in Victorian Society? Death before something weird and seemingly “demonic”?
Could be. It is very possible that this could be the case. A rather cynical conclusion. There are other views. Perhaps this is not a commentary on Victorian social habits but more so, a demonstration of Mina’s sense of pride in her relationship to John.
Vampirism has already caused such horrible incidents for her, her friends and her love and she would rather not become part of this horrible phenomenon. She wouldn’t be who she once was if she allowed the transformation to occur and became an Undead Vampire. Her love of life and John is so great that she would rather leave the world as who she was and have John remember her that way.
Personally, I believe that both of the statements referenced above are possible.
Whatever the message behind this situation, it’s very much an example of character vs. self. Mina now has something within her that is not truly herself, inserted by a malevolent force. This new energy within her will continue to change her into something she’s not, a twisted, mockery of the original being and it’s her decision to have her killed should it succeed. So, as much as this is a story about character vs. character conflict, in the main protagonist’s struggles against Count Dracula, character vs. self comes into play with Mina’s internal and emotional conflicts once she is bitten.
Mina Harker, the beloved wife of Jonathan Harker, who barley managed to escape Dracula’s grasp at the start of the novel, has been bitten by the Count. Upon her being bitten, Jonathan Harker, Dr. Van Helsing, Quincey Morris and Dr. Seward decide to rid the world of this repugnant Count once and for all by following him back to Transylvania, where he has escaped to again. In the process of killing the Count, they hope Mina will be saved from the transformation from human to vampire before it completes itself. Before they all depart to Transylvania however, Mina requests that if, for whatever reason, she becomes a vampire in the end, to kill her.
Mina Harker’s character in this situation appears to be another embodiment of Dracula’s theme of sexual repression and the attitude towards the sexuality of women during the Victorian Era. Poor Mina would rather be killed then become a “monster” of ravenous sexual impulses and animalistic behavior. Could this be a commentary on the sometimes narrow and potential harmful expectations of people of “class” in Victorian Society? Death before something weird and seemingly “demonic”?
Could be. It is very possible that this could be the case. A rather cynical conclusion. There are other views. Perhaps this is not a commentary on Victorian social habits but more so, a demonstration of Mina’s sense of pride in her relationship to John.
Vampirism has already caused such horrible incidents for her, her friends and her love and she would rather not become part of this horrible phenomenon. She wouldn’t be who she once was if she allowed the transformation to occur and became an Undead Vampire. Her love of life and John is so great that she would rather leave the world as who she was and have John remember her that way.
Personally, I believe that both of the statements referenced above are possible.
Whatever the message behind this situation, it’s very much an example of character vs. self. Mina now has something within her that is not truly herself, inserted by a malevolent force. This new energy within her will continue to change her into something she’s not, a twisted, mockery of the original being and it’s her decision to have her killed should it succeed. So, as much as this is a story about character vs. character conflict, in the main protagonist’s struggles against Count Dracula, character vs. self comes into play with Mina’s internal and emotional conflicts once she is bitten.
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