Count Dracula

Stoker's creation

Bram Stoker's novel takes the form of an epistolary tale, in which Count Dracula's characteristics, powers, abilities, and weaknesses are narrated by multiple narrators, from different perspectives.

Count Dracula is an undead, centuries-old vampire, and a Transylvanian nobleman who claims to be a Székely descended from Attila the Hun. He inhabits a decaying castle in the Carpathian Mountains near the Borgo Pass. Unlike the vampires of Eastern European folklore, which are portrayed as repulsive, corpse-like creatures, Dracula is handsome and charismatic, with a veneer of aristocratic charm, and well-educated, speaking fluent English and German in addition to his native Romanian. In his conversations with Jonathan Harker, he expresses pride in his boyar heritage and nostalgia for the past, which he admits has become only a memory of heroism, honor, and valor in modern times. The character of Count Dracula created by Stoker has become one of the best-known fictional figures of the Victorian era.

One thing he said which I shall put down as nearly as I can; for it tells in its way the story of his race: "We Székelys have a right to be proud, for in our veins flows the blood of many brave races who fought as the lion fights, for lordship... they found the Huns, whose warlike fury had swept the earth like a living flame, till the dying peoples held that in their veins ran the blood of those old witches, who, expelled from Scythia, had mated with the devils in the desert. Fools, fools! What devil or what witch was ever so great as Attila, whose blood is in these veins?... And when the Hungarian flood swept eastward, the Székelys were claimed as kindred by the victorious Magyars, and to us for centuries was trusted the guarding of the frontier of Turkey-land... Ah, young sir, the Székelys – and the Dracula as their heart's blood, their brains, and their swords – can boast a record that mushroom growths like the Habsburgs and the Romanoffs can never reach."

Early life

Details of his early life are undisclosed, but it is mentioned that

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.

Dracula studied the black arts at the academy of Scholomance in the Carpathian Mountains, overlooking the town of Sibiu (also known as Hermannstadt) and has a deep knowledge of alchemy and magic. Taking up arms, as befitting his rank and status as a voivode, he led troops against the Turks across the Danube. His nemesis Abraham Van Helsing speculates that he and Vlad the Impaler may be one and the same: "He must indeed have been that Voivode Dracula who won his name against the Turk, over the great river on the very frontier of Turkey-land. If it be so, then was he no common man: for in that time, and for centuries after, he was spoken of as the cleverest and the most cunning, as well as the bravest of the sons of the land beyond the forest." Dead and buried in a great tomb in the chapel of his castle, Dracula returns from death as a vampire and lives for several centuries in his castle with three beautiful female vampires beside him.

Narrative

"Dracula's Guest", published in Stoker's posthumous collection Dracula's Guest and Other Weird Stories, was written at the same time as Dracula, either as an episode in early drafts of the novel or a standalone story. The narrative follows an unnamed Englishman traveller as he wanders around Munich before leaving for Transylvania. It is Walpurgis Night and the young Englishman foolishly leaves his hotel, in spite of the coachman's warnings, and wanders through a dense forest alone. Along the way, he feels that he is being watched by a tall and thin stranger. The story climaxes in an old graveyard, where the Englishman encounters a sleeping female vampire called Countess Dolingen in a marble tomb with a large iron stake driven into it. This malevolent beautiful vampire awakens from her marble bier to conjure a snowstorm before being struck by lightning and returning to her eternal prison. The Englishman's troubles are not quite over, as he is dragged away by an unseen force and rendered unconscious. He awakens to find a gigantic wolf lying on his chest and licking his throat. It keeps him warm and protects him until help arrives. When the Englishman is finally taken back to his hotel, a telegram awaits him from his expectant host Dracula, with a warning about "dangers from snow and wolves and night".

In Dracula, the eponymous vampire has decided to move from Transylvania to London. He summons Jonathan Harker, a newly qualified English solicitor, to his castle to provide legal support for a real estate transaction overseen by Harker's employer. In truth, Dracula wishes to keep Harker alive long enough to complete the legal transaction and to learn as much as possible about England. He at first charms Harker with his cordiality and historical knowledge, and even rescues him from the clutches of the three female vampires in the castle. Harker realizes that his host is a vampire after finding him during the day in a deathlike sleep in one of 50 boxes of Transylvanian soil hidden in a secret passage beyond his bedroom, and later finding him in his bedroom again with a partially rejuvenated appearance and blood dripping from the corners of his mouth.

Dracula leaves his castle and boards a Russian ship, the Demeter, taking along with him the boxes, which he needs to regain his strength and rest during daylight. During the voyage to Whitby, a coastal town in northern England, he sustains himself on the ship's crew members. Only one body is later found, that of the captain, who is found tied up to the ship's helm. The captain's log is recovered and tells of strange events that had taken place during the ship's journey. Dracula leaves the ship in the form of a dog and runs up the 199 steps to the graveyard of St Mary's Church in the shadow of the Whitby Abbey ruins.

Characteristics

Although early in the novel Dracula dons a mask of cordiality, he often flies into fits of rage when his plans are frustrated. When Dracula's brides attempt to seduce Jonathan Harker, Dracula physically assaults one and ferociously berates them for their insubordination.

Dracula has an appreciation for ancient architecture and prefers purchasing old houses, saying "a new home would kill me" and that it takes a century to make one habitable.

Dracula is very proud of his warrior heritage, proclaiming his pride to Harker on how the Székely people are infused with the blood of heroes. He also expresses an interest in the history of the British Empire, speaking admiringly of its people. He has a somewhat primal and predatory worldview, pities ordinary humans for their revulsion to their darker impulses, feels human emotions and often says that he can love.

Though usually portrayed as having a strong Eastern European accent, the original novel only specifies that his spoken English is excellent, though strangely toned.

His appearance varies in age. He is described early in the novel as thin, with a long white moustache, pointed ears and sharp teeth. It is also noted later in the novel (Chapter 11 subsection "The Escaped Wolf") by a zookeeper who sees him that he has a hooked nose and a pointed beard with a streak of white in it. He is dressed all in black and has hair on his palms. Harker describes him as an old man with "cruel looking" red eyes, giving an effect of "extraordinary pallor".

I saw... Count Dracula... with red light of triumph in his eyes, and with a smile that Judas in hell might be proud of.

As the novel progresses, Dracula is described as taking on an increasingly youthful appearance with a healthier skin color, darker hair, and a more robust and vigorous physique the more blood he consumes. After Harker strikes him with a shovel, he is left with a scar on his forehead which he bears throughout the course of the novel.

Dracula also possesses great wealth, and has Romani people in his homeland who are loyal to him as servants and protectors.

Powers and weaknesses

Count Dracula is portrayed in the novel using many different supernatural abilities, and is believed to have gained his abilities through dealings with the devil. Chapter 18 of the novel describes many of the abilities, limitations and weaknesses of vampires and Dracula in particular. Dracula has superhuman strength which, according to Van Helsing, is equivalent to that of 20 strong men. He does not cast a shadow or have a reflection from mirrors. He is immune to conventional means of attack; a sailor tries to stab him in the back with a knife, but the blade goes through his body as though it is air. He can defy gravity to a certain extent and possesses superhuman agility, able to climb vertical surfaces upside down in a reptilian manner. He can travel onto unhallowed ground, such as the graves of suicides and those of his victims. He has powerful hypnotic and telepathic abilities. He also has the ability to "within limitations" vanish and reappear elsewhere at will. If he knows the path, he can come out from anything or into anything regardless of how close it is bound or even if it is soldered shut.

Dracula has amassed cunning and wisdom throughout centuries and is unable to die of senescence. He can command animals such as rats, owls, bats, moths, foxes and wolves. His control is limited, as seen when the party first enters his house in London. He summons thousands of rats to swarm and attack the group and Holmwood summons his trio of terriers to battle them. The dogs prove very efficient rat killers. Terrified by their onslaught, the rats flee of their own volition.

Dracula can also manipulate the weather and, within his range, is able to direct the elements, such as storms, fog and mist.

Shapeshifting

Dracula can change form at will, able to grow and become small, his featured forms in the novel being that of a bat, a large wolf and a mist. When the moonlight is shining, he can travel as elemental dust within its rays. He is able to pass through tiny cracks or crevices while retaining his human form or in the form of a vapour; described by Van Helsing as the ability to slip through a hairbreadth space of a tomb door or coffin. This is also an ability used by his victim Lucy as a vampire. When the party breaks into her tomb, they open the sealed coffin to find her corpse is no longer located within.

Vampirism

One of Dracula's powers is the ability to turn others into vampires by biting them. According to Van Helsing:

When they become such, there comes with the change the curse of immortality; they cannot die, but must go on age after age adding new victims and multiplying the evils of the world. For all that die from the preying of the Undead become themselves Undead, and prey on their kind. And so the circle goes on ever widening, like as the ripples from a stone thrown in the water. Friend Arthur, if you had met that kiss which you know of before poor Lucy die, or again, last night when you open your arms to her, you would in time, when you had died, have become nosferatu, as they call it in Eastern Europe, and would for all time make more of those Un-Deads that so have filled us with horror.

The vampire bite itself does not cause death. It is the method vampires use to drain blood of the victim and to increase their influence over them. This is described by Van Helsing:

The nosferatu do not die like the bee when he sting once. He is only stronger, and being stronger, have yet more power to work evil.

Victims who are bitten by a vampire and do not die, are hypnotically influenced by them:

Those children whose blood she suck are not yet so much worse; but if she live on, Un-Dead, more and more lose their blood and by her power over them they come to her.

Van Helsing later describes the aftermath of any bitten victims that are still alive when the vampire has been killed:

But if she die in truth, then all cease; the tiny wounds of the throats disappear, and they go back to their plays unknowing of whatever has been.

As Dracula slowly drains Lucy's blood, she dies from acute blood loss and later transforms into a vampire, despite the efforts of Seward and Van Helsing to provide her with blood transfusions.

Limitations of his powers

Dracula is much less powerful in daylight and is only able to shift his form at dawn, noon, and dusk (he can shift his form freely at night or if he is at his grave). The sun is not fatal to him, as sunlight does not burn and destroy him upon contact, though most of his abilities cease.

The sun that rose on our sorrow this morning guards us in its course. Until it sets to-night, that monster must retain whatever form he now has. He is confined within the limitations of his earthly envelope. He cannot melt into thin air nor disappear through cracks or chinks or crannies. If he goes through a doorway, he must open the door like a mortal.

His power ceases, as does that of all evil things, at the coming of the day. Only at certain times can he have limited freedom. If he be not at the place whither he is bound, he can only change himself at noon or exact sunrise or sunset.

Later interpretations of the character, and vampires in general, would amplify this trait into an outright fatal weakness, making it so that even the first rays of sunrise are capable of reducing a vampire to ash.

He is also limited in his ability to travel, as he can only cross running water at low or high tide. Owing to this, he is unable to fly across a river in the form of a bat or mist or even by himself board a boat or step off a boat onto a dock unless he is physically carried over with assistance. He is also unable to enter a place unless invited to do so by someone of the household, even a visitor; once invited, he can enter and leave the premises at will.

Weaknesses

Dracula is commonly depicted with a bloodlust which he is seemingly unable to control. Adaptations sometimes call this uncontrollable state 'the thirst'.

There are items which afflict him to the point he has no power and can even calm him from his insatiable appetite for blood. He is repulsed by garlic, as well as sacred items and symbols such as crucifixes and sacramental bread.

...at the instant I saw that the cut had bled a little, and the blood was trickling over my chin. I laid down the razor, turning as I did so half round to look for some sticking plaster. When the Count saw my face, his eyes blazed with a sort of demoniac fury, and he suddenly made a grab at my throat. I drew away and his hand touched the string of beads which held the crucifix. It made an instant change in him, for the fury passed so quickly that I could hardly believe that it was ever there.

Placing the branch of a wild rose upon the top of his coffin will render him unable to escape it; a sacred bullet fired into the coffin could kill him so that he remain true-dead.

Mountain-ash is also described as a form of protection from a vampire, although the effects are unknown. This was believed to be used as protection against evil spirits and witches during the Victorian era.

The state of rest to which vampires are prone during the day is described in the novel as a deathlike sleep in which the vampire sleeps open-eyed, is unable to awaken or move, and also may be unaware of any presence of individuals who may be trespassing. Dracula is portrayed as being active in daylight at least once to pursue a victim. Dracula also purchases many properties throughout London 'over the counter' which shows that he does have the ability to have some type of presence in daylight.

on a pile of newly dug earth, lay the Count! He was either dead or asleep. I could not say which, for eyes were open and stony, but without the glassiness of death, and the cheeks had the warmth of life through all their pallor. The lips were as red as ever. But there was no sign of movement, no pulse, no breath, no beating of the heart. I bent over him, and tried to find any sign of life, but in vain... I thought he might have the keys on him, but when I went to search I saw the dead eyes, and in them dead though they were, such a look of hate, though unconscious of me or my presence, that I fled from the place, and leaving the Count's room by the window.

Other abilities

While universally feared by the local people of Transylvania and even beyond, Dracula commands the loyalty of the Romani people, as well as a band of Slovaks who transport his boxes on their way to London and to serve as an armed convoy bringing his coffin back to his castle. The Slovaks and Romani appear to know his true nature, for they laugh at Harker when he tries to communicate his plight, and betray Harker's attempt to send a letter through them by giving it to the Count.

Dracula seems to be able to hold influence over people with mental disorders, such as Renfield, who is never bitten but who worships Dracula, referring to him over the course of the novel as "Master" and "Lord". Dracula also afflicts Lucy with chronic sleepwalking, putting her into a trance-like state that allows them not only to submit to his will but also seek him and satisfy his need to feed.

Dracula's powers and weaknesses vary greatly in the many adaptations. Previous and subsequent vampires from different legends have had similar vampire characteristics.

Character development subsequent to the novel

Dracula has been portrayed by more actors in more visual media adaptations of the novel than any other horror character. Actors who have played him include Bela Lugosi, John Carradine, Lon Chaney Jr., Christopher Lee, Francis Lederer, Denholm Elliott, Jack Palance, Louis Jourdan, Rudolf Martin, Frank Langella, Klaus Kinski, Gary Oldman, Leslie Nielsen, George Hamilton, David Niven, Charles Macaulay, Keith-Lee Castle, Ray Liotta, Gerard Butler, Duncan Regehr, Richard Roxburgh, Marc Warren, Rutger Hauer, Stephen Billington, Dominic Purcell, Jonathan Rhys Meyers, Luke Evans, Claes Bang, Javier Botet and Bill Skarsgård. In 1922, Max Schreck starred as Count Orlok (an adaptation of Count Dracula) in Nosferatu. In 2003, Count Dracula, as portrayed by Lugosi in the 1931 film, was named as the 33rd greatest movie villain by the AFI. In 2013, Empire magazine ranked Lee's portrayal as Dracula the 7th Greatest Horror Movie Character of All Time.

The character is closely associated with the western cultural archetype of the vampire, and remains a popular Halloween costume.

Count Dracula appears in Mad Monster Party? voiced by Allen Swift. This version is shown to be wearing a monocle. Count Dracula is among the monsters that Baron Boris von Frankenstein invites to the Isle of Evil to show off the secret of total destruction and announce his retirement from the Worldwide Organization of Monsters.

Sesame Street character Count von Count is based on Bela Lugosi's interpretation of Count Dracula and Jack Davis' design for Dracula from Mad Monster Party?.

Count Dracula appears in Mad Mad Mad Monsters (a "prequel of sorts" to Mad Monster Party?) voiced again by Allen Swift. He and his son are invited by Baron Henry von Frankenstein to attend the wedding of Frankenstein's monster and its mate at the Transylvania Astoria Hotel.

Dracula is the primary antagonist of the Castlevania video game series and the first two seasons of the Castlevania animated Netflix series. He also appears as Gabriel Belmont, the main protagonist of the Lords of Shadow reboot video game series.

Modern and postmodern analyses of the character

Already in 1958, Cecil Kirtly proposed that Count Dracula shared his personal past with the historical Transylvanian-born Voivode Vlad III Dracula of Wallachia, also known as Vlad the Impaler or Vlad Țepeș. Following the publication of In Search of Dracula by Radu Florescu and Raymond McNally in 1972, this supposed connection attracted much popular attention. This work argued that Bram Stoker based his Dracula on Vlad the Impaler.

Historically, the name "Dracula" is the family name of Vlad Țepeș' family, a name derived from a fraternal order of knights called the Order of the Dragon, founded by Sigismund of Luxembourg (king of Hungary and Bohemia, and Holy Roman Emperor) to uphold Christianity and defend the Empire against the Ottoman Turks. Vlad II Dracul, father of Vlad III, was admitted to the order around 1431 because of his bravery in fighting the Turks and was dubbed Dracul ("dragon" or "devil"), thus his son became Dracula ("of the dragon"). From 1431 onward, Vlad II wore the emblem of the order and later, as ruler of Wallachia, his coinage bore the dragon symbol.

Stoker came across the name Dracula in his reading on Romanian history, and chose this to replace the name (Count Wampyr) that he had originally intended to use for his villain. Some Dracula scholars, led by Elizabeth Miller, have questioned the depth of this connection as early as 1998. They argue that Stoker in fact knew little of the historic Vlad III, "Vlad the Impaler", and that he used only the name "Dracula" and some miscellaneous scraps of Romanian history. Also, there are no comments about Vlad III by name in the author's working notes. The Dutch author Hans Corneel de Roos has shown that Stoker's research did include Vlad III Dracula and his father Vlad II Dracul, but in his source, An Account of the Principalities of Wallachia and Moldavia: With Various Political Observations Relating to Them by William Wilkinson, they were not identified by their given names, nor were Vlad III's impaling deeds mentioned, and the father was inaccurately called Voivode Dracula as with his son, instead of Dracul. From Wilkinson, Stoker got the notion that "Dracula" meant "devil".

Stoker was the personal assistant of actor Sir Henry Irving and the business manager of the West End's Lyceum Theatre, which Irving owned. Stoker saw Irving perform at the Lyceum, and Dracula's mesmeric qualities are seen as a dark, gothic caricature of Irving's charismatic on-stage persona, with the actor displaying a gloomy, chilling intensity and having a powerful hold over his audience. In 2002 historian Louis S. Warren writes:

Portrayals