The writers highlight the popularity of Dracula and vampirism over the past two decades. Some time, if it may be, I must examine this matter and try to make up my mind about it” (Stoker 53). 13 Apr. The sapping of lifeblood from humankind in order to maintain power may have been a theme intended to strike a chord with English readers frustrated by the disharmony of progress and convention. ATLA Religion Database with ATLASerials. <> stream 3. Membership includes a 10% discount on all editing orders. The significance of the text may well respond to all of the above. A Christian nation, England’s traditional source of religious conflict had been the tension between the older traditions of the Catholic Church and the newer ideas of Protestantism and the Church of England. I've seen it suggested that Mina Harker in Dracula is the antithesis of her friend, pure where Lucy is more sexualized and stronger of will to resist Dracula. That is an unusual observation at first, especially considering the dramatic Catholic imagery used throughout the tale. The fanciful go further and note the similarity between the words ‘three’ … 13 Apr. 5.McBride, William Thomas. Dracula has no place in a modern society, where documents may be exchanged at great speed, communication and transportation are advancing every day, and the wisdom of doctors and the scientifically savvy make the Count’s operations progressively more difficult to conceal. Want us to write one just for you? Blood as a motif is especially vital in observing Dracula’s relationship to Christianity — “as Jesus Christ’s literal and transubstantiative blood has been a mainstay of the Christian Church, the vampire figure’s insertion within the paradigms of Christianity is a logical extension” (LaPerriere 1). In that way, it would at first appear that Dracula is portrayed as the devil, bringing revelations of darkness rather than light. For example, he spends much time charming and wooing Lucy from her pleasant life into his trap, and three women — his brides — reside in his castle. Mena and others mention prayer, but only in passing and often in prattling, helpless distress, not with the confidence one would expect to see placed in such a spiritual tool. We will occasionally send you account related emails. Upon closer examination, however, Dracula’s essence is so specifically juxtaposed with that of the traditional perception of Christ that the Count’s representation may be read as something more profound. He exerts control over the minds of his associates, and he is sinister and dark in appearance. After being in Dracula’s home for a time, Jonathan writes: Bless that good, good woman who hung the crucifix round my neck! At the same time, there was an underlying sense of the uncanny in that Judaism shares its foundations with Christianity, and Jews were now pledging allegiance to the same land as Christians. As Christ says in the Gospels, in his Father’s house there are “many rooms” (John 14:2), empty spaces awaiting the welcome of eager souls and new additions — additions such as Jonathan Harker. The most memorable images of all, however, are religious in tone: primarily the crucifix meant to stave off the approach of vampirism. Regardless, the vampire has been slain. Pssst… Karl Popper refuted Marxism but he retained the notion of knowledge as the consequence of a three way process of argument, counter argument and conclusion. The Body as a Site of Horror in Gothic Fiction, Disdain for Progress in Bram Stoker’s Dracula, Killing as a Repressed Desire of the Victorian Degenerate Gentleman in Bram Stoker’s Dracula, Reading Dracula as Twisted Victorian Detective Fiction: Van Helsing and Seward vs. Homes and Watson, Bloody Mary, Bloody Mary, Bloody Mary: Repetition in Bram Stoker's Dracula, Human Vampirism: The Function of Renfield in Bram Stoker's Dracula. In keeping with the grand tradition of Gothic storytelling, Stoker utilizes the gimmick of including stories within the story, each serving to reveal part of the overall tale of Count Dracula’s journey to London. Pomp and circumstance has long been associated with Christianity, especially within the Catholic Church, and here, in keeping with Stoker’s depiction of religion as belonging to an older age, the Church is evaluated as mere antiquity. We’ve got you covered. By tracing the changes in the vampire character, we can see his transition from 'Evil' in Nosferatu to 'Good' in Bram Stoker's 'Dracula' through a number of stages in which the roles of Dracula and his antithesis (society as represented by Van Helsing, Seward, the patriarchy, British institution, the Church etc) complete a polar progression. In conclusion, with a bit of perspective and research, the typical equivocation of Count Dracula to the devil grows less and less certain, and indications that the definitive vampire may draw more comparison to the Christian savior’s antithesis become more apparent. Both Jonathan and Mena are moved by the care of the peaceful nuns, but even more interesting is Jonathan’s attraction and attachment to the crucifix that an old woman presents to him. 2020 © gradesfixer.com. Once again, this motif is far too specific to be coincidental in its references to the traditional ideas of conversion and Christianity. Still, the Count never acts on his desire for Jonathan to join him as he does with the women of the story. Vampire as Christ: Antithesis and Religion in Bram Stoker’s Dracula Katrina Barnett Within the pages of Bram Stoker’s Dracula, the author explores concepts of love, darkness, and sexuality as well as the theme of good versus evil. Between 1881 and 1900, the number of foreign Jews in England increased by 600 percent, a significant change in the status quo that left many English citizens uneasy (Zanger 34). Dracula’s massive mansion is abandoned but for his lusty brides and is thus implied to be a sort of commune for vampires, of which there seem to be few in the modern world. It is curious that Stoker did not choose to do away with his great figure by way of technology; in keeping with the Christ-Dracula comparison, however, it seems like a fitting conclusion to the saga. Of course, the fine print details the fact that this love comes only through physical and mental pain and this eternal life comes in the form of a hellish, never-ending existence on earth. 2010. EBSCO. It is odd that a thing which I have been taught to regard with disfavor and as idolatrous should in a time of loneliness and trouble be of help. She is a representation of reverse motherhood, an image of a woman taking life rather than giving it. In Stoker’s time, the concept of Judaism was foreign and yet familiar as the basis for Christianity. That portrayal smacks of commentary on the nature of Christianity and calls attention to the weight that both the Catholic Church and Protestantism place on tradition. Dracula - Bram Stoker. 21 0 obj There is no place for him in the modern world, Stoker implies. Within the pages of Bram Stoker’s Dracula, the author explores concepts of love, darkness, and sexuality as well as the theme of good versus evil. Mina writes to Lucy May 9, 1897. These created the predispositions for fears and anxieties among the Victorians. Death and the possibility of life after death permeate the novel in its most Gothic moments as the text draws attention to one central idea: what does it mean to live forever? EBSCO. All rights reserved Gradesfixer ™, “The Analysis of Christ and Vampire Images in Dracula.”, The Analysis of Christ and Vampire Images in Dracula [Internet]. Though the story is rife with the aforementioned religious overtones — and though Jonathan and Mena are prone to sayings such as, “We are all drifting reefwards now, and faith is our only anchor” (Stoker 254) — there is very little specific mention of Christianity or its ability to battle the evil at hand. Indeed, Count Dracula is in possession of miraculous powers, including access to everlasting life, and the effect of his presence on all those with whom he comes in contact is undeniable. Author discusses Dracula as the key to Christian conversion, drawing attention to what he describes as the “great tension of the book,” which he sees as “the struggle between rational fact and supernatural reality” (Marks 1). He brings with him the realization that the afterlife may be even more frightening than death itself. Dracula’s association with Christ is embodied in many different ways, beginning with the traits he shares with the “Wandering Jew,” which can also be applied to a different perspective. That may be the most pivotal sentiment found in Dracula: one can only overcome the mistakes of the past by confronting them; one may only elevate themselves by releasing the persistence of haunting. LaPerriere, M. “Unholy transubstantiation: Christifying the vampire and demonizing the blood.” Diss. Q�����M�G6Ç"w��f^3��X]�?I������R�)���l��Eay�%Oő48J�9�J���EaUw)����8^d��A�. Home — Essay Samples — Literature — Dracula — The Analysis of Christ and Vampire Images in Dracula. Students who find writing to be a difficult task. Capitalism, Violence, and Sexuality ‘American Psycho’ by Bret Easton Ellis and ‘Dracula ’by Bram Stoker. It is also worth mentioning that the Count keeps Jonathan trapped within his castle for some time, probably with designs on his soul. Dissertations & Theses: Full Text, ProQuest. Like Svengali, Dracula has been described as a “devilish Semitic middleman,” a shyster who “dupes the innocent into a blood pact in return for a king of immortality” (McBride 1). 13 Apr. Attention! Dracula follows a similar pattern, with the Count’s attentions focused in particular on Mina, a woman who selflessly (and symbolically) spends her honeymoon nursing her sick husband in a convent, and the beautiful Lucy Westenra, who is, by contrast, dangerously modern in her ways. To export a reference to this article please select a referencing style below: Sorry, copying is not allowed on our website. “Dracula and Mephistopheles: Shyster Vampires.” Literature Film Quarterly 18.2 (1990): 116. ���%ٯ�#!CU���Z��(��J����Ğ)ޏV���� GradesFixer. However, upon rereading Dracula for the upcoming holiday, I'm not sure if I agree with this conclusion. Even more fascinating are the ways in which Dracula relates to the “Wandering Jew” archetype of Stoker’s time; that stock character was likely considered the ultimate anti-Christian or heretic, and it provided Stoker with his most convincing vampire-as-savior correlation. He summons Renfield to be his servant in preparation for his arrival, and the madman presumably transforms into the equal of Biblical prophets, referring to the Count’s arrival as the coming of the “Master” (Stoker 56). Jonathan’s diary, however, reveals effeminate qualities as well as his strange fear and affection for his host. He hears boxes (including the Count) being carried off.