Organized Religion in the Victorian Era
The Victorian Era saw fluctuations in the prominence of organized religion. At its zenith, religious influence was widespread. Morality and Christianity, in particular, permeated every facet of life. Stoker's incorporation of Christian symbols such as the cross and the eucharist wafer as tools against the malevolent Dracula highlights this idea. However, by the close of the century, when Stoker penned Dracula, the moral direction was less distinct, and many individuals faced a crisis of faith. This shift was largely prompted by the release of several scientific works that questioned traditional religious beliefs. Among the most notable was Charles Darwin's Origin of Species (1859).

Sexuality in the Victorian Era
The Victorian Era was marked by many contradictions. Publicly, men and women endeavored to appear virtuous and conservative. They adhered to strict courtship protocols, maintained an outward indifference to sex, and always sought to behave with propriety—at least in public. Privately, however, the reality was quite different. Despite the era's restrictive norms, there was a thriving prostitution industry. While this was generally tolerated, homosexuality was deemed deviant and criminal. For part of the Victorian Era, homosexuality was punishable by death. By the 1890s, this penalty had been reduced to imprisonment, which was the fate of the renowned author Oscar Wilde.

During the Victorian Era, pornography found a substantial audience. In 1890, an anonymous writer published My Secret Life, an extensive autobiography detailing the author's sexual experiences and providing an unvarnished look at the darker aspects of Victorian society. While some examined sex academically, exploring the sociological and psychological dimensions of human sexuality, others struggled to differentiate these scholarly studies from pornography intended solely for arousal. One prevalent concern about pornography was its potential to incite sexually criminal behavior, such as rape.

Jack the Ripper
In the late 1880s, as Stoker was preparing to write his novel, London's East End was plagued by a mysterious serial killer known as Jack the Ripper. Although these crimes did not involve sexually deviant acts like rape, the majority of the Ripper's victims were prostitutes, leading some to speculate that the killer's motivations might have been sexual in nature, possibly stemming from sexual repression.

Health and Medicine in the Victorian Era
Victorians were deeply concerned about their health, particularly in London, where overcrowded and unsanitary conditions frequently led to widespread disease. Medicine in the 19th century was still in its infancy, and medical education lacked regulation. Consequently, many doctors were inexperienced and often caused more harm than good to their patients. In the novel, the characters' health is a recurring theme. Lucy undergoes numerous blood transfusions in an effort to save her life; various characters fall ill throughout the story. When Jonathan escapes from Dracula's castle, he reaches a hospital where Mina nurses him back to health. Even after his recovery, Mina remains vigilant, worried that Jonathan might suffer a relapse. Both Lucy's mother and Arthur Holmwood's father experience illnesses during the novel. Additionally, after donating blood to Lucy, the male characters need to rest to regain their strength and prevent falling ill themselves.

The evocative settings in Bram Stoker's "Dracula" serve not only as a backdrop for the unfolding drama but play an integral role in enhancing the novel's themes and atmosphere. Stoker's careful juxtaposition of the exotic and the familiar creates a dynamic narrative landscape that adds depth to the story. As the plot unfolds between the mysterious Transylvania and the more familiar shores of England, readers are drawn into a world where the boundaries between the known and the unknown blur.

The Enigmatic Transylvania

Transylvania, shrouded in mystery and folklore, opens and closes the narrative of "Dracula." Stoker, having never visited the region, relied heavily on research to construct a vivid depiction, one that successfully immerses readers into its dark, gothic allure. The novel commences with Jonathan Harker's journey to this foreign land on May 3 of an indeterminate year. Through Harker's eyes, readers experience an initial sense of wonder at the country's striking landscapes, diverse cultures, and tantalizing cuisine. However, as he approaches Count Dracula's castle, this wonder transforms into a palpable sense of dread. Harker's realization of his capture as Dracula's prisoner marks a pivotal shift from curiosity to terror, establishing the thematic tone of entrapment and fear.

Stoker's depiction of Transylvania is widely celebrated for its atmospheric tension, achieved through detailed descriptions that evoke a sense of foreboding. This part of the novel spans the first four chapters, expertly setting the stage for the supernatural elements that follow. The final chapter returns to Transylvania, with the narrative culminating on November 1, All Saints' Day. This cyclical return to the place of origin mirrors the theme of eternal struggle, as the characters confront Dracula on his home turf, the epilogue of a journey that began months prior.

Whitby: A Gateway to the Supernatural

While Transylvania serves as the novel's enigmatic bookends, the heart of "Dracula" unfolds in England, primarily in the coastal town of Whitby. This setting is not merely incidental but intricately woven into the fabric of the narrative. Situated in the northeast of England, Whitby embodies a sense of isolation intrinsic to an island nation, suggesting vulnerability to foreign threats. This geographical context reinforces the novel's underlying tension between security and danger, familiar and foreign.

Whitby’s historical significance amplifies its role within the story. As the site of a seventh-century abbey and the pivotal Synod of Whitby in 664, the town resonates with echoes of England's religious and cultural past. The ruins of the abbey cast a gothic shadow over the landscape, aligning perfectly with the novel's atmosphere. These remnants of bygone times are quintessential elements of Gothic literature, serving as symbols of decay and the passage of time. Moreover, the town's religious heritage dovetails with the novel’s exploration of the battle between good and evil, making Whitby an apt setting for the supernatural events that transpire.

Blending Landscapes and Themes

Stoker's strategic use of Transylvania and Whitby as settings underscores the central theme of "Dracula"—the clash between primal, ancient forces and the modern world. Transylvania, with its timeless landscapes and traditions, represents a realm beyond the reach of contemporary society. Conversely, Whitby, with its historical but still living spiritual traditions, serves as the battleground for these forces, a place where the past and present collide.

The juxtaposition of these locations highlights the novel’s exploration of fear and fascination with the unknown. Through Harker's initial journey to Transylvania, readers are introduced to a world steeped in legend and the supernatural, igniting a sense of intrigue that is meticulously sustained throughout the narrative. As the story transitions to Whitby, this intrigue transforms, drawing the characters—and the readers—into a more immediate confrontation with the supernatural.

Conclusion in Place

Ultimately, Stoker’s intricate settings play a crucial role in "Dracula," not only by providing a backdrop for the story but by enriching its themes and heightening its suspense. The carefully crafted environments of Transylvania and Whitby are more than mere locations; they are active participants in the narrative. Through their unique characteristics and historical implications, they deepen the reader's engagement, drawing them into a world where the supernatural feels eerily plausible. The settings of "Dracula" thus serve as a testament to the power of place in literature, reminding us of the profound impact an evocative landscape can have on storytelling.

Bram Stoker's Dracula is a novel that has been lauded and criticized in equal measure. Some readers find the narrative uneven, alternating between gripping tension and lackluster stretches. However, its blend of gothic horror, epistolary style, and rich symbolism has cemented its place as a classic of the genre.

Captivating Beginnings

The novel opens with Jonathan Harker's journey to Transylvania, which is arguably the most compelling part of the book. This section is replete with suspense as Harker discovers the sinister nature of his host, Count Dracula. The atmospheric description of the eerie landscape and Harker’s dawning realization of his perilous situation immediately ensnare the reader's attention, laying the groundwork for the otherworldly horror to come.

The Shift in Narrative Technique

Following the initial tension, the narrative takes a distinct turn as Stoker employs an epistolary format. This shift contrasts markedly with the preceding events, as the storyline meanders through the light-hearted exchanges between two young women. This technique introduces a slower pace, which some may find detracts from the momentum established earlier. Yet, this method also allows diverse perspectives and voices to emerge, contributing to a broader understanding of the unfolding events.

The Enigmatic Presence of Dracula

One of the book's most enduring challenges is maintaining interest when Count Dracula is offstage. The character's magnetism far exceeds that of the supporting cast, causing a perceptible lull when he is absent. Dracula’s enigmatic allure and sinister charisma captivate readers, and his presence injects vitality into the narrative, highlighting the disparity when attention shifts to less compelling characters.

Dialect and Characterization

Stoker's use of dialect in character speech is another polarizing aspect of the novel. His attempts at capturing the accents of Quincey Morris, the Texan, and Van Helsing, the Dutchman, are inconsistent. Though the dialect may fall short of authenticity, it underscores the diversity within the group combating Dracula. This multicultural assemblage of characters reflects the global threat posed by the vampire, suggesting a unity forged through shared purpose rather than nationality.

Symbols of Blood and Marriage

After the death and burial of Lucy, a passage in the novel has sparked considerable debate. Dr. Seward chronicles a peculiar conversation with Van Helsing, marked by the "King Laugh" speech. This moment, where Van Helsing explains his laughter in response to Arthur's feeling of marriage to Lucy post-transfusion, invites interpretation. The transfusions, received from multiple men, hint at deeper themes of blood ties and marital bonds, though the exact significance remains elusive. Through this symbolism, Stoker weaves complex ideas about blood, life, and death intertwined with personal relationships.

For nearly a century, Dracula has captivated readers, largely due to its exploration of a fundamental human conflict: the battle between good and evil. Stoker highlights the intricacies of this clash by depicting virtuous characters drawn to malevolence. One notable example is Jonathan Harker, a lawyer who travels to Transylvania and nearly falls victim to three female vampires at Dracula's castle. He seems to almost welcome the attack before Dracula intervenes. This scene, among others, illustrates that evil, symbolized by the vampires, is an almost irresistible force that demands immense spiritual fortitude to resist. Ultimately, it requires the collective effort of a group of men from different nations to vanquish the vampiric count. Stoker's novel serves as a symbolic exploration of a timeless human struggle.

Additional Commentary

Although Dracula deals with unsettling themes, contemporary young readers may not find the novel extremely frightening and might overlook its sexual undertones. The prevalence of violence in modern films and television has created a significant gap between today's readers and Stoker's original Victorian audience. The suspense and terror that define Dracula's most gripping moments rely more on the reader's imagination than on explicit descriptions.

The novel's sexuality is so subdued that it might go unnoticed by younger readers, despite being a common topic in critical analyses of the work. Recent vampire films, particularly comedies, have capitalized on the inherent sexuality of the vampire myth. Even the earliest film adaptations focus on male vampires preying on beautiful women, often depicted in seductive nightwear.
The themes of violence and sexuality in the novel are crucial. Blood, which connects these two elements, is used symbolically to represent life and relationships and carries religious connotations. Dracula, as the embodiment of evil, threatens all that is good not merely by causing death but by drinking blood, thereby disrupting the other characters' relationships. For instance, Mina is bitten but not killed by Dracula, leading to her emotional estrangement from her husband, friends, and even God.

Beyond the evident conflict between good and evil, some critics have identified an East-West struggle and interpret Dracula as a political allegory. This perspective is reinforced by the novel's setting and the diverse nationalities of its characters.

In the end, this classic horror novel is ultimately reassuring, as the vampire is destroyed and the surviving characters return to their normal lives. The promise of redemption is so pronounced that even the malevolent Dracula appears peaceful in the moment after he is stabbed and before his body disintegrates into dust.

1890s: During the Victorian Era in England, sexual attitudes are highly repressed and kept private. Yet, the period is rife with pornography, prostitution, and other illicit activities, indicating that human sexual desires are not entirely suppressed. The introduction of photography ushers pornography into a new era.

Today: In most Western countries today, sex is a very public topic. It has become a central element in advertising campaigns, television shows, and films. However, certain groups, such as conservative Christian organizations, continue to push for the suppression of sexual content in the media.

1890s: In England, Oscar Wilde is imprisoned for his homosexuality.

Today: Although U.S. President Bill Clinton pledges to support gay rights during his tenure, many in the LGBTQ+ community are disheartened by his "don't ask, don't tell" policy for the military. This policy permits homosexuals to serve as long as their sexual orientation remains undisclosed.

1890s: Bram Stoker explores themes of damnation and unholiness in his novel Dracula, where several characters' souls are endangered. Should Dracula succeed, he will turn others into soulless beings.

Today: Ethical and moral debates about cloning reach a climax when a private company announces the successful cloning of the first human. Some fear the creation of a homogenous human race engineered to look a certain way.

1890s: Londoners are still in shock from the murders committed by Jack the Ripper, an unidentified killer who murdered at least five women in the East End in 1888.

Today: The mystery of Jack the Ripper remains unsolved for over a century. However, in 2002, renowned mystery author Patricia Cornwell asserts that the killer was the famous artist Walter Sickert.

Dracula holds significant cultural importance. Although Stoker was not the first author to explore the vampire myth, the nineteenth century saw numerous works featuring vampires. One notable example is Sheridan Le-Fanu's Carmilla (1872), which Stoker read during his youth. However, it is Stoker's portrayal of the vampire legend that has achieved the most lasting popularity and exerted the greatest influence on twentieth-century literature and cinema.

In his book Vampires Unearthed (1983), Martin Riccardo recounts a survey conducted by Madame Tussaud's Wax Museum to identify the world's "most hated person." Dracula placed fifth in this survey. This clearly demonstrates that Stoker's creation continues to captivate the imagination of readers.

Numerous adaptations of Dracula have been made into films, most of which diverge significantly from the novel's plot. The first film adaptation was the German silent film Nosferatu, released in 1922. Due to it being an unauthorized adaptation, the director, F. W. Murnau, altered the setting and characters' names, although the core storyline remains largely the same.

More widely recognized is the 1931 film version of Dracula, directed by Tod Browning and featuring Bela Lugosi in the title role. Lugosi became synonymous with the character of Dracula and subsequently starred in numerous other vampire films. At his request, he was buried wearing his vampire cape. Unlike the vampire in Nosferatu, Lugosi's portrayal of Dracula was both attractive and charming, shaping the vampire image seen in many films, including the 1979 remake of Dracula, directed by John Badham and starring Frank Langella.

Dracula has been adapted into numerous films. However, the 1931 version titled Dracula truly shaped the iconic image of the count. This classic film starred Bela Lugosi in the lead role, was produced by Universal Studios, and directed by Tod Browning. You can find it on VHS and DVD through Universal Home Video.

In 1992, Dracula saw another adaptation with the film Bram Stoker's Dracula, one of the rare titles that acknowledge the original author. Directed by Francis Ford Coppola and released by Columbia Pictures, the movie featured a star-studded cast, including Gary Oldman as Dracula, Keanu Reeves as Jonathan Harker, Winona Ryder as Mina Murray, Anthony Hopkins as Professor Van Helsing, and Cary Elwes as Arthur Holmwood. This film is available on VHS and DVD from Columbia/Tristar Home Video.

Dracula has also inspired several parody films. One notable example is Dracula: Dead and Loving It (1995), directed by Mel Brooks and released by Columbia Pictures. Mel Brooks also played Professor Van Helsing. The cast includes Leslie Nielsen as Count Dracula, Steven Weber as Jonathan Harker, and Amy Yasbeck as Mina Murray. This film is available on VHS from Castle Rock Home Video.

An unabridged audiobook adaptation of Dracula was released in 2002 and is available from Brilliance Audio.

Farson, Daniel. The Man Who Wrote Dracula. New York: St. Martin's, 1976. Authored by Bram Stoker's grandnephew, this biography is widely regarded as the most comprehensive of the limited Stoker biographies available.

King, Stephen. Danse Macabre. New York: Berkeley Books, 1986. While King's book offers an overview of horror literature and films post-1950, it also includes an insightful analysis of Dracula and other classic horror novels.

Twitchell, James B. Dreadful Pleasures: An Anatomy of Modern Horror. New York: Oxford University Press, 1985. Twitchell delves into the allure of horror for its predominantly teenage audience. His chapter on vampires discusses Stoker's novel along with earlier and later vampire portrayals.

Sources
Bentley, C. F., "The Monster in the Bedroom: Sexual Symbolism in Bram Stoker's Dracula," in Literature and Psychology, Vol. 22, No. 1, 1972, pp. 27-34.

MacGillivray, Royce, "Dracula: Bram Stoker's Spoiled Masterpiece," in Queen's Quarterly, Vol. 79, No. 4, Winter 1972, pp. 518-27.

Moss, Stephanie, "Bram Stoker," in Dictionary of Literary Biography, Vol. 178, British Fantasy and Science-Fiction Writers Before World War I, edited by Darren Harris-Fain, Gale Research, 1997, pp. 229-37.

"Novel Notes: Dracula," in the Bookman, Vol. 12, No. 71, August 1897, p. 129.

Review of Dracula, in the Athenaeum, No. 3635, June 26, 1897, p. 235.

Richardson, Maurice, "The Psychoanalysis of Ghost Stories," in the Twentieth Century, Vol. 166, No. 994, December 1959, pp. 419-31.

Stoker, Bram, Dracula, edited by Maurice Hindle, Penguin, 1993.

Summers, Montague, "The Vampire in Literature," in The Vampire: His Kith and Kin, 1928, reprint, University Books, 1960, pp. 271-340.

Further Reading
Belford, Barbara, Bram Stoker: A Biography of the Author of "Dracula", Knopf, 1996.

In this engaging biography, Belford delves into the life of Stoker, who has always remained less renowned than his iconic creation, Dracula. As Belford illustrates, this was true during Stoker's own lifetime, as he was often overshadowed by his employer, the actor Henry Irving.

Gerard, Emily, The Land beyond the Forest: Facts, Figures, and Fancies from Transylvania, AMS Press, 2001.

This travel book, originally published in the late 1880s, is believed by many to have been one of Stoker's sources for the Transylvanian segments of his novel. The book also discusses the area's vampire legends.

McNally, Raymond T., and Radu Florescu, In Search of Dracula: A True History of Dracula and Vampire Legends, Little, Brown, 1975.

This well-known Dracula reference examines the real-life connections between Stoker's titular character and the historical figure, Vlad the Impaler.

Pool, Daniel, What Jane Austen Ate and Charles Dickens Knew: From Fox Hunting to Whist—The Facts of Daily Life in Nineteenth-Century England, Touchstone Books, 1994.

This highly informative companion is perfect for readers interested in learning about the language, culture, and customs of nineteenth-century England, including courtship practices and Victorian views on sex. It serves as an essential guide to Stoker's novel.