Bram Stoker's Dracula: Beyond the Vampire Myth

Bram Stoker’s Dracula is often hailed as the quintessential vampire novel, but it offers much more than just the fantastical creatures that populate the story. The text is rich with cultural, social, and political undertones that reflect the anxieties and fears of the Victorian era. This essay delves into the underlying themes of Dracula, including anxieties about female sexuality, anti-Semitism, and the othering of exotic cultures.

Female Sexuality and Modesty in Dracula

Dracula is often overlooked for its more literal interpretations, such as the idea that it's about the spread of syphilis or even a love letter to Oscar Wilde. However, one of the more profound aspects of the novel is its exploration of Victorian views on female sexuality. The women in the novel, such as Lucy and Mina, are portrayed as idealized embodiments of modesty and obedience. They are depicted as passive and submissive, devoid of vibrant sexuality.

On one hand, Lucy and Mina exemplify the bourgeois conventions of the time, which meant suppressing any desires or passions. On the other hand, the vampire women in Dracula's castle are presented as the opposite: they are opium-wasted, syphilitic, and purely sexual. This stark contrast underscores the Victorian fear of unbridled female sexuality. The idea of women being involuntarily bound by the male gaze, as suggested by Dracula’s statement to Mina, "now you shall come to my call," highlights the anxiety surrounding women's sexuality and the perceived need to control it.

Anti-Semitism and the Exotic

Stoker's Dracula is also laced with anti-Semitic undertones. The Count himself is often interpreted as an archetype of the Jew, with his ancient lineage, sinister power, and connection to a secret society. This portrayal aligns with the anti-Semitic sentiments of the period, reflecting a deep-seated fear and prejudice towards Jewish people. The narrative constructs Dracula as an Eastern European figure of power, wealth, and an exotic other. The only one-time Jewish character in the novel, Hildesheim, is depicted in a stereotypical manner, which further reinforces the negative imagery associated with Jews in Victorian society.

The juxtaposition of Dracula's aesthetic and the actual Jewish character, Hildesheim, serves to blur the lines between the perceived Eastern European other and the Jewish other. The fear of the circumcised penis, as a symbol of strange and foreign pleasure, also ties into these broader anxieties. Moreover, this fear of foreign elements and the unknown in Dracula resonates with similar themes found in other works of the period, like Demeter, where the othering of both female sexuality and Jewish people is depicted in a negative light.

The Gothic Genre and Beyond

Dracula can be considered a genre of its own, representing a unique form of fantasy fiction. While some scholars credit H.P. Lovecraft as the creator of a distinct genre, this essay argues that Stoker's work is equally, if not more, influential. Dracula blends elements of realism with the fantastical, creating a narrative that transcends mere horror fiction. It explores psychological fears, social norms, and cultural anxieties in a way that is both haunting and thought-provoking.

The novel is not just a story about vampires; it is a reflection of the Victorian era's complex socio-political landscape. Stoker's work is a testament to the power of literature to mirror and critique the society in which it is created. Through Dracula, Stoker challenges the norms of the time, offering a critique of modish conformity and a celebration of the untamed.

This examination of Dracula reveals a rich tapestry of themes and narratives that extend beyond the vampire myth. Whether it is through the portrayal of female sexuality, the representation of Jewish people, or the exploration of the exotic, Stoker's work remains a fascinating and enduring exploration of human fears and desires.