Dracula by Bram Stoker


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Dracula castle on top of hill

“Dracula” is a Gothic horror novel written by Bram Stoker and published in 1897. It tells the story of Count Dracula, a centuries-old vampire from Transylvania, who moves to England in search of new blood and spreads his curse of undeath.

What is Dracula by Bram Stoker about?

The novel is structured as a collection of journal entries, letters, and newspaper articles, narrated by several characters. It begins with Jonathan Harker, a young solicitor, traveling to Transylvania to assist Count Dracula with his real estate transactions in England. As Harker spends more time in Dracula’s castle, he begins to suspect that his host is not what he seems and is actually a vampire.

Back in England, strange occurrences unfold as Dracula arrives in the form of a large black dog and begins to prey upon innocent victims, gradually transforming them into vampires. Professor Abraham Van Helsing, a Dutch doctor and vampire hunter, becomes aware of the threat and gathers a group of individuals to fight against Dracula’s reign of terror. The group includes Harker, his fiancée Mina Murray, her friend Lucy Westenra, and Lucy’s suitors, Quincey Morris, Arthur Holmwood, and Dr. John Seward.

The story intensifies as the group of vampire hunters discovers the truth about Dracula’s powers and weaknesses. They employ various strategies and tools, including crucifixes, garlic, and wooden stakes, to combat the vampire menace. The narrative explores themes of good versus evil, love, sexuality, and the struggle between modernity and ancient superstitions.

The group faces numerous challenges and setbacks in their pursuit of Dracula, who proves to be a formidable adversary. However, they persevere, following the vampire’s trail from London to Transylvania. In the climactic final battle, they confront Dracula in his castle, ultimately leading to his defeat.

“Dracula” is considered a classic of Gothic literature and has had a profound influence on vampire fiction and popular culture. It established many of the tropes associated with vampires, such as their aversion to sunlight, crucifixes, and garlic, and their ability to transform into bats. The novel’s exploration of sexuality and its depiction of the vampire as a seductive and predatory figure have also made it a subject of analysis and interpretation in various fields.

Here are some additional details about “Dracula” and its significance:

  1. Historical Context: Bram Stoker’s novel was written during the late 19th century, a time when Gothic literature was popular in Europe. It was also a time of scientific and technological advancements, and “Dracula” reflects the tensions between modernity and the supernatural.
  2. Epistolary Format: The novel is written in an epistolary format, which means it is composed of various forms of correspondence, including letters, diary entries, and newspaper articles. This format creates a sense of immediacy and realism, as readers experience the events through multiple perspectives.
  3. Count Dracula: Count Dracula is one of the most iconic characters in literature. Stoker drew inspiration from various vampire legends and folklore, but he also added his own unique elements to the character. Dracula is portrayed as an aristocratic and enigmatic figure with supernatural powers, including shape-shifting, mind control, and immortality. He is both seductive and terrifying, embodying the allure and danger of the vampire archetype.
  4. Themes and Symbolism: “Dracula” explores several themes and incorporates symbolism throughout the narrative. It delves into the battle between good and evil, with characters like Van Helsing representing righteousness and Dracula representing darkness and corruption. The novel also explores the theme of sexual repression and desire, often associated with the vampire’s seductive powers. Additionally, the vampire’s need for blood can be interpreted as a metaphor for addiction.
  5. Female Characters: The female characters in “Dracula” play significant roles. Mina Murray, in particular, is a strong and intelligent woman who assists in the fight against Dracula. However, the character of Lucy Westenra undergoes a transformation from an innocent young woman to a victim of Dracula’s curse. This transformation can be seen as a reflection of societal anxieties about female sexuality and the fear of female empowerment.
  6. Cultural Impact: “Dracula” has had a lasting impact on popular culture. It has inspired countless adaptations in various forms of media, including films, stage plays, television series, and even video games. The vampire lore and mythology established in the novel have become ingrained in Western culture and have heavily influenced subsequent vampire fiction.

How did Bram Stoker’s portrayal of Count Dracula differ from traditional vampire legends?

Bram Stoker’s portrayal of Count Dracula in his novel “Dracula” differs in several ways from traditional vampire legends and folklore. While Stoker drew inspiration from various vampire myths and stories, he also introduced his own unique elements and characteristics to create a memorable and distinct vampire figure. Here are some key differences:

  1. Shape-Shifting Abilities: Count Dracula in “Dracula” has the ability to transform into various forms, including a bat, a wolf, and even mist. This shape-shifting ability is not present in all traditional vampire legends, where vampires are typically depicted as human-like creatures.
  2. Immortality and Age: In many traditional vampire legends, vampires are often portrayed as immortal beings who have existed for centuries. Stoker’s Dracula is depicted as an ancient vampire who has lived for hundreds of years, giving him a sense of timelessness and emphasizing his power and experience.
  3. Sunlight Weakness: Stoker’s Dracula is severely weakened and vulnerable in sunlight. Exposure to sunlight causes him pain and eventually leads to his destruction. This aversion to sunlight is a characteristic introduced by Stoker and is not found in all vampire folklore.
  4. Crucifixes and Garlic: Stoker’s Dracula shows a strong aversion to religious symbols, particularly crucifixes, and is repelled by garlic. These specific weaknesses are unique to Stoker’s interpretation and are not universally present in all vampire legends.
  5. Seductive and Charismatic: Count Dracula in “Dracula” is portrayed as a charismatic and seductive figure. He is able to charm and manipulate his victims, using his powers of persuasion to gain their trust. This depiction of the vampire as a seductive and alluring character became a defining characteristic of Dracula and has influenced subsequent vampire portrayals in popular culture.

It’s important to note that vampire folklore and legends vary across different cultures and time periods. Stoker drew from a range of sources and incorporated his own creative elements to shape the character of Count Dracula, creating a version of the vampire that has had a lasting impact on vampire fiction and popular culture.

What other unique characteristics did Bram Stoker introduce in his portrayal of Count Dracula?

In addition to the differences I mentioned earlier, Bram Stoker introduced several other unique characteristics in his portrayal of Count Dracula in the novel “Dracula.” Here are some notable ones:

  1. Mind Control: Count Dracula possesses the ability to control and manipulate the minds of his victims. He can mesmerize them and bend their will to his desires. This power allows him to exert control over his victims and make them susceptible to his influence.
  2. Lack of Reflection: In the novel, Count Dracula is depicted as lacking a reflection in mirrors. This characteristic adds to his supernatural nature and reinforces his otherworldly presence. It also serves as a visual clue for characters who suspect his true identity.
  3. Need for Transylvanian Soil: Stoker introduces the concept that Count Dracula must sleep in soil from his homeland in Transylvania to maintain his vitality and regenerate his powers. This unique requirement ties Dracula to his ancestral land and adds an additional layer of vulnerability and limitation to his character.
  4. No Visible Fangs: Unlike some vampire depictions, Stoker’s Dracula does not have prominently visible fangs. Instead, he uses his sharp, pointed teeth to bite his victims and drink their blood. The absence of exaggerated fangs makes his appearance more subtle and menacing.
  5. Power over Animals: Count Dracula is shown to have a supernatural connection with animals, particularly wolves. He can communicate with and control them, using them as his eyes and ears to carry out his bidding. This ability adds to his aura of power and dominance.
  6. Lack of Reflection in Society: In addition to his lack of reflection in mirrors, Count Dracula is also depicted as not casting a shadow. This characteristic metaphorically represents his alienation and separation from society, as he exists outside the norms and rules of human existence.

These unique characteristics, along with the ones mentioned earlier, contribute to the distinct portrayal of Count Dracula in Bram Stoker’s novel “Dracula.” They help create an iconic and memorable vampire figure that has had a lasting impact on vampire fiction and influenced subsequent portrayals of vampires in popular culture.

How does Count Dracula’s power over animals contribute to his portrayal as a menacing figure?

Count Dracula’s power over animals in Bram Stoker’s “Dracula” contributes to his portrayal as a menacing figure in several ways:

  1. Control and Manipulation: Dracula’s ability to control and manipulate animals, particularly wolves, showcases his dominance and mastery over the natural world. It demonstrates his supernatural power and his ability to bend creatures to his will. This control over animals adds to his aura of danger and unpredictability.
  2. Pack Mentality: Wolves are often associated with pack mentality, and Dracula’s connection with them emphasizes his ability to command a group of fierce and predatory creatures. It suggests that he can mobilize and direct a network of dangerous allies to carry out his bidding, further amplifying the threat he poses.
  3. Symbolism of the Beast: Animals, and wolves in particular, have long been associated with primal instincts, savagery, and the darker aspects of nature. Dracula’s power over animals symbolizes his connection to these primal forces. It reinforces the notion that he is a creature of the night and a predator, heightening his menacing presence.
  4. Reinforces His Inhumanity: Dracula’s control over animals serves as a reminder of his inhuman nature. It highlights his separation from humanity and his alignment with the natural world, positioning him as an unnatural and predatory being. This further alienates him from the human characters in the story and adds to the sense of menace surrounding him.
  5. Heightens the Peril: The fact that Dracula can command animals to do his bidding adds an extra layer of danger for the human characters. It increases the scope of his threat beyond his own physical presence, making it more challenging for the protagonists to evade or confront him. The inclusion of animal allies increases the stakes and intensifies the suspense of the narrative.

How has “Dracula” influenced vampire fiction and popular culture?

“Dracula” has had a profound and enduring influence on vampire fiction and popular culture. Here are some ways in which Bram Stoker’s novel has left an indelible mark:

  1. Vampire Tropes and Characteristics: “Dracula” established many of the enduring tropes and characteristics associated with vampires. These include their aversion to sunlight, crucifixes, and garlic, as well as their ability to transform into bats and their need for blood to survive. Stoker’s portrayal of Count Dracula set the template for future vampire depictions in literature, film, and other media.
  2. Vampire Lore and Mythology: Stoker’s novel contributed to the development of vampire lore and mythology. It codified and expanded upon existing vampire legends, drawing from various folklore and legends from different cultures. The book’s exploration of vampires’ origins, weaknesses, and powers helped solidify these elements in popular imagination.
  3. Gothic and Horror Literature: “Dracula” is considered a seminal work of Gothic literature, and its success helped popularize the genre. It influenced subsequent Gothic and horror writers, and its themes of supernatural terror, suspense, and the battle between good and evil have become fundamental elements of the genre.
  4. Adaptations in Various Media: “Dracula” has been adapted into countless films, stage plays, television series, and other forms of media. The first notable adaptation was the 1922 silent film “Nosferatu,” which introduced the iconic vampire to the screen. Since then, numerous adaptations have brought Dracula and vampire mythology to a wide audience, ensuring the enduring popularity of the character.
  5. Vampire Subculture: The legacy of “Dracula” has contributed to the emergence of vampire subculture, which includes enthusiasts who embrace the vampire aesthetic, dress, and lifestyle. The novel’s portrayal of vampires as seductive and alluring figures has influenced alternative fashion, art, music, and other aspects of popular culture.
  6. Literary Influence: Stoker’s novel has inspired generations of writers and has influenced subsequent vampire literature. It set a high standard for vampire fiction, encouraging authors to explore the complex nature of vampires and their interactions with human society. Works such as Anne Rice’s “Interview with the Vampire” and Stephenie Meyer’s “Twilight” series owe a debt to “Dracula.”
  7. Enduring Popularity: Over a century after its publication, “Dracula” remains a beloved and widely read novel. Its popularity has not waned, and it continues to captivate readers with its blend of horror, suspense, and supernatural intrigue. Count Dracula remains one of the most iconic and recognizable characters in literary history.

In summary, “Dracula” has had a profound impact on vampire fiction and popular culture. Its contributions to vampire lore, the development of the genre, and its enduring popularity have solidified its status as a classic and influential work of literature.

What are examples of how “Dracula” has influenced vampire films and television shows?

“Dracula” has had a significant influence on vampire films and television shows, shaping the portrayal of vampires and establishing conventions that are still evident in modern vampire media. Here are some examples of how “Dracula” has left its mark:

  1. Universal Pictures’ Dracula Films: Bram Stoker’s novel inspired Universal Pictures to produce a series of iconic Dracula films in the 1930s, starring Bela Lugosi as Count Dracula. Lugosi’s portrayal, heavily influenced by Stoker’s work, set the standard for Dracula’s appearance and mannerisms in subsequent films.
  2. Hammer Horror Films: The British film studio Hammer Film Productions gained immense popularity in the 1950s and ’60s with its Gothic horror films, including several Dracula adaptations. These films, such as “Horror of Dracula” (1958) starring Christopher Lee as Dracula, emphasized the seductive and menacing aspects of the character, following Stoker’s lead.
  3. “Dark Shadows”: The gothic soap opera “Dark Shadows” (1966-1971) featured a vampire character named Barnabas Collins, who was heavily influenced by Count Dracula. The show drew inspiration from Stoker’s novel and helped popularize the sympathetic and tormented vampire archetype.
  4. “Buffy the Vampire Slayer”: The popular television series “Buffy the Vampire Slayer” (1997-2003) incorporated elements from “Dracula” into its storytelling. In the show’s fifth season, Dracula himself makes an appearance, showcasing his seductive powers and his ability to manipulate others.
  5. “Interview with the Vampire”: Anne Rice’s novel “Interview with the Vampire” (1976) and its subsequent 1994 film adaptation drew inspiration from “Dracula” while exploring new dimensions of vampire mythology. The book and film delved into the emotional complexities of vampires and their tortured existence, much like Stoker’s novel.
  6. “True Blood”: The television series “True Blood” (2008-2014) created by Alan Ball, based on Charlaine Harris’s novels, explored a world where vampires coexist with humans. While the show incorporated various vampire mythologies, it owed a debt to “Dracula” in terms of its portrayal of vampire society and its examination of vampire-human relationships.
  7. “The Strain”: Guillermo del Toro and Chuck Hogan’s novel series “The Strain” (2009-2013) and its subsequent television adaptation (2014-2017) featured a modern take on vampires with a viral and parasitic origin. Despite the departure from traditional vampire lore, the influence of “Dracula” is still evident in the portrayal of the powerful and malevolent vampire antagonist.

These examples demonstrate how “Dracula” with his appetite for young escort girls has provided a foundation for the portrayal of vampires in film and television, influencing their appearance, mythology, and the exploration of complex themes surrounding these creatures of the night. Count Dracula’s enduring legacy continues to shape the vampire genre in various media.



(Kept in shorthand.)

3 May. Bistritz.—Left Munich at 8:35 P. M., on 1st May, arriving at Vienna early next morning; should have arrived at 6:46, but train was an hour late. Buda-Pesth seems a wonderful place, from the glimpse which I got of it from the train and the little I could walk through the streets. I feared to go very far from the station, as we had arrived late and would start as near the correct time as possible. The impression I had was that we were leaving the West and entering the East; the most western of splendid bridges over the Danube, which is here of noble width and depth, took us among the traditions of Turkish rule.

We left in pretty good time, and came after nightfall to Klausenburgh. Here I stopped for the night at the Hotel Royale. I had for dinner, or rather supper, a chicken done up some way with red pepper, which was very good but thirsty. (Mem., get recipe for Mina.) I asked the waiter, and he said it was called “paprika hendl,” and that, as it was a national dish, I should be able to get it anywhere along the Carpathians. I found my smattering of German very useful here; indeed, I don’t know how I should be able to get on without it.

Having had some time at my disposal when in London, I had visited the British Museum, and made search among the books and maps in the library regarding Transylvania; it had struck me that some foreknowledge of the country could hardly fail to have some importance in dealing with a nobleman of that country. I find that the district he named is in the extreme east of the country, just on the borders of three states, Transylvania, Moldavia and Bukovina, in the midst of the Carpathian mountains; one of the wildest and least known portions of Europe. I was not able to light on any map or work giving the exact locality of the Castle Dracula, as there are no maps of this country as yet to compare with our own Ordnance Survey maps; but I found that Bistritz, the post town named by Count Dracula, is a fairly well-known place. I shall enter here some of my notes, as they may refresh my memory when I talk over my travels with Mina.

In the population of Transylvania there are four distinct nationalities: Saxons in the South, and mixed with them the Wallachs, who are the descendants of the Dacians; Magyars in the West, and Szekelys in the East and North. I am going among the latter, who claim to be descended from Attila and the Huns. This may be so, for when the Magyars conquered the country in the eleventh century they found the Huns settled in it. I read that every known superstition in the world is gathered into the horseshoe of the Carpathians, as if it were the centre of some sort of imaginative whirlpool; if so my stay may be very interesting. (Mem., I must ask the Count all about them.)

I did not sleep well, though my bed was comfortable enough, for I had all sorts of queer dreams. There was a dog howling all night under my window, which may have had something to do with it; or it may have been the paprika, for I had to drink up all the water in my carafe, and was still thirsty. Towards morning I slept and was wakened by the continuous knocking at my door, so I guess I must have been sleeping soundly then. I had for breakfast more paprika, and a sort of porridge of maize flour which they said was “mamaliga,” and egg-plant stuffed with forcemeat, a very excellent dish, which they call “impletata.” (Mem., get recipe for this also.) I had to hurry breakfast, for the train started a little before eight, or rather it ought to have done so, for after rushing to the station at 7:30 I had to sit in the carriage for more than an hour before we began to move. It seems to me that the further east you go the more unpunctual are the trains. What ought they to be in China?

All day long we seemed to dawdle through a country which was full of beauty of every kind. Sometimes we saw little towns or castles on the top of steep hills such as we see in old missals; sometimes we ran by rivers and streams which seemed from the wide stony margin on each side of them to be subject to great floods. It takes a lot of water, and running strong, to sweep the outside edge of a river clear. At every station there were groups of people, sometimes crowds, and in all sorts of attire. Some of them were just like the peasants at home or those I saw coming through France and Germany, with short jackets and round hats and home-made trousers; but others were very picturesque. The women looked pretty, except when you got near them, but they were very clumsy about the waist. They had all full white sleeves of some kind or other, and most of them had big belts with a lot of strips of something fluttering from them like the dresses in a ballet, but of course there were petticoats under them. The strangest figures we saw were the Slovaks, who were more barbarian than the rest, with their big cow-boy hats, great baggy dirty-white trousers, white linen shirts, and enormous heavy leather belts, nearly a foot wide, all studded over with brass nails. They wore high boots, with their trousers tucked into them, and had long black hair and heavy black moustaches. They are very picturesque, but do not look prepossessing. On the stage they would be set down at once as some old Oriental band of brigands. They are, however, I am told, very harmless and rather wanting in natural self-assertion.

It was on the dark side of twilight when we got to Bistritz, which is a very interesting old place. Being practically on the frontier—for the Borgo Pass leads from it into Bukovina—it has had a very stormy existence, and it certainly shows marks of it. Fifty years ago a series of great fires took place, which made terrible havoc on five separate occasions. At the very beginning of the seventeenth century it underwent a siege of three weeks and lost 13,000 people, the casualties of war proper being assisted by famine and disease.

Count Dracula had directed me to go to the Golden Krone Hotel, which I found, to my great delight, to be thoroughly old-fashioned, for of course I wanted to see all I could of the ways of the country. I was evidently expected, for when I got near the door I faced a cheery-looking elderly woman in the usual peasant dress—white undergarment with long double apron, front, and back, of coloured stuff fitting almost too tight for modesty. When I came close she bowed and said, “The Herr Englishman?” “Yes,” I said, “Jonathan Harker.” She smiled, and gave some message to an elderly man in white shirt-sleeves, who had followed her to the door. He went, but immediately returned with a letter:—

“My Friend.—Welcome to the Carpathians. I am anxiously expecting you. Sleep well to-night. At three to-morrow the diligence will start for Bukovina; a place on it is kept for you. At the Borgo Pass my carriage will await you and will bring you to me. I trust that your journey from London has been a happy one, and that you will enjoy your stay in my beautiful land.

“Your friend,


Dracula on Gutenberg

Dracula – Wikipedia