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Stoker’s descriptions of the setting develop suspense and indicate danger throughout the novel, forming a key aspect of Dracula's gothic genre. This is most evident in the novel’s opening, as Jonathan describes his journey into the Carpathian Mountains, recounting both the natural beauty and foreboding aspects of the scenery.

he was in life a most wonderful man. Soldier, statesman, and alchemist. Which latter was the highest development of the scientific knowledge of his time. He had a mighty brain, a learning beyond compare, and a heart that knew no fear and no remorse... there was no branch of knowledge of his time that he did not essay. [15] Dracula has an appreciation for ancient architecture prefers purchasing old houses, saying "a new home would kill me" and that it takes a century to make one habitable. [24] is reviewed between 08.30 to 16.30 Monday to Friday. We're experiencing a high volume of enquiries so it may take us Schaffer, Talia (1994). " "A Wilde Desire Took Me": the Homoerotic History of Dracula". ELH. 61 (2): 381–425. doi: 10.1353/elh.1994.0019. ISSN 1080-6547. S2CID 161888586.

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In their annotated version of Stoker's notes, Eighteen-Bisang and Miller dedicated an appendix to what the novel might have looked like had Stoker adhered to his original concept. [47] Dracula is ultimately a novel about the battle between the forces of good and evil. It has a traditional structure, beginning with exposition, climaxing midway through, and ending with a resolution of good conquering evil. Plot points in Dracula Dracula has been interpreted as an expression of anxiety about eastern Europeans invading western Europe, as represented by a Transylvanian who arrives in London and terrorizes its residents. Others see Stoker’s novel as an exploration of suppressed sexual desire and a reaction to the patriarchal and conservative norms broadly prevalent in Britain during the Victorian period. Notably, it inverts the era’s stereotypical gender roles through the highly sexualized actions of the female vampires. Yet Dracula can also be seen as the evil of temptation personified as he preys on women who must then be protected by the men around them (though those men still fail, particularly in Lucy’s case). The novel’s complexity, especially in its representation of gender, allows numerous, sometimes contradictory, interpretations. Glover, David (1996). Vampires, Mummies, and Liberals: Bram Stoker and the Politics of Popular Fiction. Duke University Press. ISBN 978-0-8223-1798-2.

Arnds, Peter (2015). "Gypsies and Jews as Wolves in Realist Fiction". Lycanthropy in German Literature. London: Palgrave Macmillan. pp.69–96. doi: 10.1057/9781137541635_5. ISBN 978-1-137-54163-5. Dracula's powers and weaknesses vary greatly in the many adaptations. Previous and subsequent vampires from different legends have had similar vampire characteristics. Since there is no omniscient narrator we, the reader, do not know all of the information instantly. For instance, when Lucy falls ill, even though we may suspect there are darker forces at Play, this is not confirmed until Van Helsing arrives to assess what is causing her mysterious illness.Eighteen-Bisang & Miller 2008, p.301: "Most of his novels are sentimental romances in which the hero tries to win the love of a woman."