Spirit Of A Late Victorian Age Essay
, Research Paper
The Spirit of a late Victorian Age.
With mention to Bram Stoker & # 8217 ; s Dracula.
Stoker & # 8217 ; s monstrous figure, Count Dracula, has today reached heroic poem and about fabulous proportions, like Frankestein ( non the physician ) , the Gordon Medusa, even Virginia Woolf ( thanks to Albee ) . Like the aforesaid illustrations, what we associate in our heads to be these monsters, largely conditioned by popular civilization and Hollywood, are simply ocular representation. In the novel itself, nevertheless, harmonizing to other litterateurs who have exhaustively examined this piece, Dracula represents an full genre of thought and human development, concentrated in the prose of literature.
Mark M. Hennelly, Jr. identifies Dracula as & # 8220 ; an fable of rival epistimologies in pursuit of a gnosis which will rehabilitate the Victorian barren ; and as its decision dramatizes, this rehabilitation demands, a transfusion, the metaphor is inevitable, from the blood-knowledge of Dracula & # 8221 ; ( Literature of the Occult, 140 ) . By the Victorian barren the litterateur here is mentioning the overplus and the redundancy of the Victorians, peculiarly the nouveau riche and the in-between category. The places of these upper categories are missing infinite every bit much as the little suites in which the labor are forced to remain ; the former deficiency infinite because of an accretion of furniture and objects, the latter because of the littleness of the suites themselves. The epistimologies in challenger are the rational and the irrational. & # 8220 ; Beneath the ordered society of his clip each [ novelist of the Irrational ] say an disordered pandemonium, a universe disintegrating, a new order waiting to be established & # 8221 ; ( Literature of the Occult, 143 ) . This dichotomy between the rational and the irrational could merely be captured in a novel that is unmistakably Gothic and Romantic.
The novel begins with & # 8220 ; a travel diary & # 8221 ; ( Dracula: Between Tradition and Modernism, 35 ) of Jonothan Harkens, the immature British attorney who has been hired to manage Count Dracula & # 8217 ; s estate. Particularly, Count Dracula & # 8217 ; s unusual palace which stands at the border of a drop. Jonothan Harkens becomes a & # 8220 ; prisoner & # 8221 ; ( Dracula, 47 ) in this tremendous tower in which there are no & # 8220 ; retainers & # 8221 ; ( Dracula, 32 ) and yet there is a redundancy of furniture and infinite and books. This device as a literary device plants on the reader because he becomes engross
erectile dysfunction in Harkens sincere Hagiographas and becomes a portion of the palace. The palace itself represents one facet of the Gothic, the second of which I will elaborate upon subsequently.
The palace itself becomes a organic structure, a vas, if you will, from which there is no flight unless the proprietor of the palace allows him to. There is a sort of Medieval morbidity that underlies this thought but what Stoker was making was utilizing the Gothic genre to force against the rational and be given into the kingdom of phantasy and the supernatural. By rendering Count Dracula & # 8217 ; s as a soundless character creates a stable focal point for the remainder of the altering storytellers. That is to state, while the narrative passes from Mina to Harkens to Lucy the palace itself remains a soundless opposite number.
Why is this of import? Like I have mentioned earlier, there is a sort of Medieval morbidity to bodying the palace. This represents both the organic structure and the spirit shouting to a God who as pious individuals we must believe in but in actuality we ne’er do acquire to see. & # 8220 ; There is no uncertainty that the Western European characters are at least nominal Christians or that the English characters are disciples to the Church of England, & # 8221 ; Carol Senf writes in & # 8220 ; Dracula: Between Tradition and Modernism & # 8221 ; ( 67 ) . A good illustration of this is when Jonothan Harkens is offered a prayer beads. & # 8220 ; I did non cognize what to make, for as an English Churchman, I have been taught that these things as & # 8230 ; idolatrous, and yet it seemed so ungracious to decline an old lady & # 8221 ; ( Dracula, 67 ) . This sort of ambivalency and & # 8220 ; challenger of epistimologies & # 8221 ; runs throughout the full novel, where the really nature of dichotomy is concentrated.
The blood is the life, and for Victorian scientists, & # 8220 ; familial stuff circulated in the blood stream & # 8230 ; because it contained the information that communicated the animate being & # 8217 ; s or human & # 8217 ; s mental and physical make-up & # 8221 ; ( Dracula: Between Tradition and Modernism, 75 ) . Although this theory is unmistakably Darwin, what it tends to place is a group of people who believed in Darwin & # 8217 ; s biological science and Newton & # 8217 ; s natural philosophies. In fact, harmonizing to the essay & # 8220 ; For Blood is the Life & # 8221 ; it talks about Darwin & # 8217 ; s nephew, Francis Galton seting his uncle & # 8217 ; s theories into pattern, by instilling the blood of one animate being into the organic structure of the other in order to & # 8220 ; act upon the progeny & # 8221 ; ( Dracula: Between Tradition and Modernism, 75 )