#dracula meta

[skeletonsloverockcandy]

One thing I’m seeing on this re-read of Dracula Daily that I’m already really enjoying, it’s all the little details we didn’t catch before

When we first started we didn’t know who Jonathan Harker was and to us he was just a silly little British man who was ignoring the obvious warning signs, so there was a comedic element to the dramatic irony of him going to Castle Dracula

But now that we know who Jonathan is and we care about him, it hits much harder all the subtle horror elements we missed while focusing on this good friend telling us about his travels

From the first entry, people picking up on the dog barking under his window and being like “is that Dracula? Does it start this early?” Being skeeved out by Dracula’s overly familiar letter to Jonathan, which at first seemed perfectly reasonable except for the name attached at the end, and picking up on all the terrible foreshadowing for what will be Jonathan’s living hell over the next month in his Castle.

And people this time picking up on the bravery of the wife of the innkeeper who gave him a crucifix, begging him to stay or wait, to not go to the castle, of the terror of knowing that Dracula was in correspondence with her husband to get the letter to Jonathan and the sort of subtle threat they must be under at all times, of the significance of “for your mother’s sake” knowing what Dracula does to children. She is no longer perceived as a random background character, but an active player forced to be a bystander who is trying desperately to help this ignorant soul in any way she can even if she knows it might be useless.

I love people realizing Jonathan is skeptical and off-put, but not enough to deter his mission. He’s not oblivious, just making an effort to remain open-minded to the culture and superstitions and beliefs he is not familiar with, since he’s aware it will be wildly different from his own (to the best of his ability for being an Englishman from the 1890s) and pointedly dismissing the things that might be red flags as an attempt to rationalize because nothing truly concerning has happened yet to provoke him to leave, and he doesn’t want to be deterred by something he’s getting worked up for for no reason yet, he couldn’t do his job otherwise and people are depending on him

Idk, I just like this deeper analysis and thought now that people are already familiar and attached to his character, and now know what happens, so they can properly point out when something is foreshadowing later events or themes in the novel, and they can pick up on it quicker

Even something as simple as people noticing the other meals mentioned in the first entry because of all the focus on Paprika Hendl last year makes me happy :)

I like that they are giving our protagonist more credit now, knowing the character he turns into later in the novel (a badass)

It is satisfying :)))

[vickyvicarious]

"He is young and strong; there are kisses for us all."

May 16

"He is so young and strong and of blood so pure that we need not defibrinate it."

September 8

Thinking about this echo, and the way Lucy and the suitors + Van Helsing provide a kind of opposing force to Jonathan and the vampire ladies + Dracula.

In both cases, we have the young, appealing innocent who is soon to be married and has entered a new phase of their life (Jonathan/Lucy). Both have an older foreign man become very interested in them and very fond of them in their own way (Dracula/Van Helsing). Both have three 'admirers' who want to 'love' them (vampire ladies/suitor squad).

Of course, noting this is nothing new. Plenty of people (and I myself) have pointed out these and other parallels between all these individuals. But I want to go a little farther with it today.

A vampire's 'love' is one of corruption and consumption. Jonathan was held captive in Dracula's castle, and forced against his will to adopt a largely nocturnal schedule*; he had to adapt in this and many other ways to his captor's way of life. The vampires had him in their control from the start, and he had to behave in certain ways to please Dracula lest he suffer consequences of his displeasure. Dracula was extremely possessive of Jonathan, right up until he wasn't going to be around anymore, and then he was happy to throw him aside for the others to devour. Despite this 'sharing', he and the vampire women are at odds and dismissive of one another (he spends most of his time shooing them away from Jonathan, they scoff at and mock him), and whatever love may have been there in the past is clearly long gone.

Human love is one of dedication and trust. The suitors (and later Van Helsing) all come to Lucy. Both initially, in visiting her to make their proposals at her house, and then later on coming to her home when she is ill; they come to her side when she is in need, and they drop what they're doing to adapt to her. When Lucy has to turn two suitors down, she feels awful about not being able to please them all, but each of them emphasizes that they don't hold it against her at all, and they will remain devoted to her friendship. None of them are possessive of her. (Admittedly, Van Helsing does somewhat frequently work to keep Lucy's loved ones apart from her, ushering Arthur away or drugging her to sleep when he's there; but he also invites them to come and help her with their transfusions.) Arthur, the one she has chosen at the exclusion of the other suitors, is notable for being especially welcoming to the others. It is on his behest that both Jack and Quincey arrive to help Lucy in the first place, and he is extremely grateful for and welcoming of their efforts in that vein (pardon the pun):

"Young miss is bad, very bad. She wants blood, and blood she must have or die. My friend John and I have consulted; and we are about to perform what we call transfusion of blood—to transfer from full veins of one to the empty veins which pine for him. John was to give his blood, as he is the more young and strong than me"—here Arthur took my hand and wrung it hard in silence—"but, now you are here, you are more good than us, old or young, who toil much in the world of thought. Our nerves are not so calm and our blood not so bright than yours!"

And this quote brings me to the next detail I find so interesting. In order to finally escape alive, Jonathan turns many of Dracula's tricks against him. Just to name a few, he does things such as: wall-climbing, sneaking around while Dracula is asleep, stealing Dracula's belongings. There are a lot of reversals between them in the last few days, both in Jonathan's explorations and his attack on Dracula. He's 'fighting fire with fire', so to speak, and it works to get him out of the castle. Later on, we see even more of this when he is hunting Dracula down near the end of the book.

He's far from the only person to do such a thing. Dracula himself is very deliberately doing this sort of thing throughout much of the book, from imitating Jonathan in the Castle to innovating ways to work around old vampiric limitations. And Mina is of course a whole example on her own of weaponizing the enemy's own tools against him. But so is this Van Helsing + suitor squad group in a really interesting way. Even Lucy herself, though due to circumstances, she's not the most intentional/active participant in doing so. Let's look back at that quote above again. Van Helsing says that Lucy "wants blood, and blood she must have" - in order to stop her from becoming a supernatural vampire, instead they willingly perform a sort of medical vampirisim. Here we once again see the contrast between modernity and the supernatural, and interestingly, how they overlap to cross purposes.

Dracula takes Lucy's blood away. Van Helsing (by proxy at first) gives it back. Dracula wants Lucy to become a vampire, and drink the blood of those around her. Van Helsing, in giving her transfusions, enables her to drink in their blood in order to prevent her from becoming a vampire. The three vampire women wanting to gang up on Jonathan and drain him of his strength. The three suitors join together to take turns sacrificing their own strength in order to supply Lucy with more when she's in need of it.

Dracula wants her to take, just as he and the vampire women do. In fact, almost everything he does to turn her involves depriving her of things: restful sleep, blood, eventually her mother. But in her friends, Lucy is surrounded by people who love her and give freely, and this saves her (at least temporarily). They all work together and love one another in a way deeply at odds with Dracula and other vampires' form of consumptive 'love'.

And so their vampiric actions of transferring blood between bodies are life-saving instead of life-taking. Jack and Van Helsing even remember a version which is all the more a mimic of vampiric body language and leans way into the vampire-as-disease metaphor, with the reference to the time Jack sucked "from [Van Helsing's] wound so swiftly the poison of the gangrene" - it's got the mouth on skin, the sucking, but it's taking away illness rather than infecting someone. It also fosters a long-standing dedication and love, which in turn lends itself to the saving of someone else. This too ties in to the way vampiric love isolates, while human love connects.

* Lucy, meanwhile, in fighting against her terrible dreams, often attempts to be awake at night and is unable to do so. A more nocturnal schedule would make her safer, since her sleeping state is where Dracula has the most influence over her.

[freuleinanna]

one thing I suddenly got very not-normal about is how mina is, of course, praised for her gentle heart, but her resolute mind also, and she is called gallant, and she is often described with words / emotion that the novel usually saves for men – to the point when van helsing says:

Ah, that wonderful Madam Mina! She has man's brain, a brain that a man should have were he much gifted, and a woman's heart.

and I was thinking how this was gradually introduced, but then actually, no

she has been our dear mina forever, but her full name is masculine in roots: wilhelmina. a female derivative of wilhelm (wilhelm, or william, the conquerer is the first who jumps to mind). and you know what the name means? resolute protection. she has always been there, a quiet warrior, a true protector, even when she herself was being protected – and she never asked her men to protect her. they just collectively decided to, and it was bittersweet and wholesome, but mina was anxious for action too. she, in fact, kept working her best to protect her mancrowd in the meantime. she was giving instructions, using imperatives right and left, strategizing like a war general.

it's just so dear to me that wonderful madam mina is there, but there is also hiding in her that feral side, commanding respect on a whole other level, that makes men count her equal. my feral wilhelmina is the best.

[fanishjuli]

for three years I've been hearing about the Lucy Westerna polyship with her three husbands but now that I'm finally listening to re: dracula I have to point out that, by October most of these people could easily be into eachother if the way they talk/write about each other is any indication. like yes all of them worship the ground beneath Mina's feet but also they keep being sweet about the other guys as well

[another-chaotic-bisexual-vampire]

"Right over the town is the ruin of Whitby Abbey, which was sacked by the Danes, and which is the scene of part of 'Marmion,' where the girl was built up in the wall."

there's a beautiful sort of irony that, in 1897, Mina was excited to visit the ruins of Whitby Abbey, not for the historic church itself, but because it was in her fave gothic novel, Marmion... ... and now, over a hundred years later, tourists from around the world visit Whitby Abbey, not for the historic church itself, but because it was in their fave gothic novel Dracula

[peachesanmemes]

I saw your DD graph asking for other ideas, so... if you still have any desire to do further Dracula graphs I'd be curious to see how the word count per character breaks down (not how much they speak but how much they write. Adding all their diary entries together, etc.). Obviously Mina wins by default from having typed up the whole novel but outside of that detail, how much did each person author?

Thank you so much for this ask! What an interesting data set this one is! Lots of unexpected information.

So first off, if you just want to visualize the author breakdown, ta-dahhhh!

Seward was staunchly in the lead, talking his head off and burning through those wax recording drums like no ones business. Poor Mina for having to transcribe it all. In total his words made up 39.3% of Dracula. Nearly 40%!

Seward unsurprisingly had the most individual entries overall at 47, and had the longest streak for being the narrator in an entry at 10 days (09/02 - 09/11) with Mina following right behind at 9 days (08/10 - 08/19)

Mina surprisingly was 3rd overall both in word count and number of entries. She wasn't even in the top 3 for most words in a day which is as follows.

1 - Seward October 3rd - 9942 words

2 - Seward September 29th - 7206 words

3 - Jonathan October 3rd - 5944 words

Van Helsing only had 9 entries total but still came in number 4 for word count, in front of Lucy. It's interesting to note that the amount a person writes doesn't correlate to the amount of time they are being written about/appear. Which is why Arthur and Quincey don't even beat out the newspaper clippings for words, lol.

There are lots of authors we only hear from a single time, like Sister Agatha. So I've decided to make a small fry pie as well. (Authors under ~500 words)

The captain of the Demeter and Van Helsing both had more days written than Lucy! Though I didn't break up number of entries, like when the log of the Demeter had 3 or 4 on one day or Lucy wrote a letter and in her diary.

If there is any data I haven't presented here that you're interested in feel free to tag me or shoot me an ask like this lovely person did!

[the-crooked-library]

On Horror, Queerness, Mirrors, and Dracula

Your wish is my command (you may or may not regret this). 

Here’s the thing - I love horror, and I love patterns, and I think the best horror is always in some sense symmetrical.  It might not be obvious, but what’s the point of staring into an abyss if you can’t see your own face reflected back?  The symmetry itself comes in any number of different twists, whether it is familial, communal, erotic, or individual, and most of these apply to Bram Stoker’s Dracula. 

The centre of our novel rests on the Harkers.  So, starting with Jonathan - his experience in Transylvania is a twisted version of his life back home.  Dracula is reserved but eloquent, seemingly caring and occasionally affectionate, he reads train schedules and they spend hours upon hours in conversation; which is a dark mirror to Jonathan’s train schedule-loving, passionate but serious Mina.  It may even be said that the Count is re-enacting a caricature of traditional heteronormative domesticity - he maintains the household, waits on his guest himself, and blows him kisses from the stairs.  His possessiveness of Jonathan is the only way a vampire like Dracula is capable of understanding the bond Jonathan shares with Mina.  The Count states that he, too, feels love; but he is written by a closeted gay man in the late 19th century, so his imitation of married life is both a lie and a tragedy.  He is a shorthand for forbidden, wrong, and corrupting desires. 

At the same time, Mina herself also has a same-sex connection in the beginning of the story, and her relationship with Lucy mirrors the relationship between Jonathan and Dracula.  They cling to each other, in a sense; despite being excited about the prospect of their impending marriages, there is some trepidation associated with this new stage in life.  A common part of a dowry used to be a shroud, simply due to the frequency at which Victorian wives died in childbirth soon after the wedding; and even provided a survival, the transition to married life was still a loss of innocence.  As such, Lucy’s affection for Mina is the last expression of her girlhood, and she herself is the personification of Mina’s.  Lucy is, therefore, the direct antithesis of the Count; her death and subsequent rising change Mina the same way that Dracula does Jonathan, establishing a firm duality between the Harkers and their respective vampires. 

The other characters are reflections of each other, as well; the suitors defend while the brides terrify, Van Helsing wants to preserve life while Renfield wishes to consume it - and even further, the old Hungarian lady cares enough about  a stranger to give Jonathan a cross for protection, while Lucy’s own mother lets Dracula into the house herself, selfishly ignorant of her daughter’s needs and the doctor’s orders.  Another parallel is drawn again between Jonathan and Renfield, who represents directly what he could have been, had he not escaped from Dracula’s grasp; which makes Renfield’s vehement, last-ditch attempt to protect Mina perhaps all the more poignant.  In him, she sees the resilience of Jonathan’s humanity; while he gets to see exactly what she could become after her turning  - in Dracula himself.  These dualities are integral to the story’s thematic structure, and therefore inextricable from each character’s development. 

There is really too much to say about each individual dynamic to fit into one rant, but for the current purposes, I can forgo the details.  They all converge as it is on Jonathan and Mina, and thus, the central theme of this story is devotion.  If Jonathan had truly broken, like Renfield, Mina would have stayed by his side; and if she had fully turned, like Dracula, he would have adored whatever shred of her still remained.  In madness and in death, in happiness and sorrow, in sickness and in health - until the echoes start to sound like wedding vows. 

@stripedshirtgay​

@bluberimufim​

[thecarnivorousmuffinmeta]

Dracula (1897 novel) thoughts?

I've read it once, but it was many years ago now, so not sure how much this still apply if I read it again today.

I liked it, I thought it was an excellent horror novel, and tellingly it was genre defining and one of the first of its kind. Dracula served as the inspiration for books, movies, and plays for over a century, but also because of that... there's things we have in modern fiction that just weren't there in Dracula.

In particular, I thought the first half starring Jonathon was far and away the best part. It's tense, terrifying, we have a great buildup of mystery with things like the terrified villagers, Count Dracula being the world's biggest creep, Jonathon's increasing desperation then escape attempts, the "WHAT THE FUCK" brides, and the whole thing is riveting.

Then we get to the second half which I'll call the Scooby Gang half. It still has some great stuff, such as Reinfeld being turned into a thrall, Lucy's ridiculous life that very quickly becomes her being a victim/bride of Dracula, Mina's slow wasting away and being much smarter than all the other characters but it doesn't mean shit, but we also get to suffer through Van Hellsing, Harker, and the gang being the world's most ridiculous detectives trying to figure out how the devil they're going to kill Dracula.

It's not bad, but that part does noticeably drag compared to earlier parts of the novel, and leads us to a death of Dracula that's a little... anticlimactic.

But it is a good novel and telling that it's been the inspiration for so many things.

[veikonvihannekset]

I am thinking, once again, of Lucy Westenra, and how she is at the heart of both the tragedy and the triumph of the story.

It is unutterably tragic that Lucy Westenra had so many people who loved her, but none of them could save her; none of them could even be by her side in those moments of sheer, stark terror. None of them could know what she felt when she was too weak to write.

It is tragic and unfair that Lucy was forced to choose between the three men she loved, to drive wedges between those her affectionate heart yearned to embrace, and she would never know how they could come together. That all the people she loved could have come together from the start, without jealousy or barrier, but they didn’t know how to do it; they couldn’t do it in time to save her. They gave their blood for her, but it wasn’t enough.

Lucy’s tragedy reads specifically as a commentary on the barriers that the institution of the nuclear family throws up between people who care for each other, but do not have the space, or the time, to be present for each other; in particular, on the isolation it brings to women. As long as Lucy had Mina by her side, she was not alone. But when Mina was called to Jonathan’s side, she could not intrude; she could not ask her for what she was not in a position to give. Mina’s first duty, in that society, was to her husband, and at that time there was no-one to take that burden off her. If only Lucy had dared to confide in Mina; if only Mina had been in a position to notice, and act! If only either of them could have talked to her mother!

If only Van Helsing had confided in her, or in her mother, as to the actual source of her malaise! It is, perhaps, understandable that Van Helsing didn’t confide in them; such a tale could scarcely have been credible to her mother. It might have caused her weak heart to fail entirely; it might have caused her to lose all confidence in Van Helsing’s treatment. It would have brought more horror and distress to two women already trapped in a ghastly situation.

But what a relief it might have been to Lucy, to hear a tale that would have illuminated the root of her suffering! To feel less alone through those long terrible nights! Not to mention the possibility, however slight, that they might have believed in Van Helsing’s story, and acted; that she might have been saved. That all those gallant friends who were ready to give their blood for her might have done more, if they had known what to do.

When the polycule comes together to defeat the evil, it is by pooling their knowledge and their resources, and by embracing each other without hesitation or restraint. It is only by doing this that they are able to defeat Dracula, who acts by finding people when they are alone and weak in the darkness, and kills them while other people are too preoccupied to act on their behalf. It is by acting always together, by being ready to sacrifice all for each other, that they are able to defeat him in the end.

It is by the illumination of their scientific method, their rigorous curiosity, and their shared study, that they are able to defeat the darkness of Dracula, that feeds on people’s ignorance and isolation. But it is also Lucy’s triumph, that all these people she loved could find common cause in her name. That they could, for a little while, set at naught the boundaries that society throws up between people’s hearts. They could not do it in time to save her, but they could do it. I think the girl who wished that she could have three husbands, who wanted to share everything with Mina without reserve, would have found joy in that.

[shadow-pixelle]

I've taken to listening to Re: Dracula either when I'm cooking or when I'm doing laundry, and I've gotta say; the sound design in this? Excellent. I'm sitting in a laundrette, people wandering in and out, it's bright outside and a solid 17c or so, there's people walking and shopping in the street, and yet I felt so hauntingly alone during the Jonathan segments I had to catch up on today. It was beautiful, honestly, how utterly creeping it was. The sense of desolation in his voice as he scrambles around the house, finding only locked doors? I was getting chills despite the fact that I'm boiling to death from the weather.

Also both Mina and Lucy are so goddamn sweet. I love their voices. The sleepover vibes are real. It's wild the sort of things you pick up in audio that you miss in reading, huh.

[thebibi]

I got an ask about the parallels between the older man/younger man relationships, specifically Dracula/Jonathan, and Van Helsing/Seward in Dracula but since it includes spoilers I'm going to include it under the cut!

What you said about old men having complex relationships with young men in Dracula got me thinking! Dracula is the old man. Young Jonathan comes to him in his land. Then Dracula does the same, and hurts him more. Van Helsing is the old man. Young Jack comes to him in his land. Years later Van Helsing does the same, and helps him more. There's power imbalance between the Count and Jonathan, which the Count exploits to the exptreme. Van Helsing and student Jack had mutual respect and no abuse of power. Dracula fed on Jonathan to restore his own life before the journey, Jack sucked van Helsing's (unclean|) blood to save his life. Due to this, van Helsing owes him a favor and they're bound by mutual love. Dracula is an old man who prays on the young man under his power, van Helsing is a guide and a role model. Funnily, both of them touch the younger man unprompted or barge in, but Dracula is invasive and power establishing, while van Helsing is genuine friendliness and familiarity.

You are so right! But there's another relationship that gets lost in all this: Renfield and Jack's antagonistic relationship. (Dracula Spoilers Below)

I think its interesting how much Jack becomes Renfield's tormentor, as a kind of inverse of what happens to Jonathan in Dracula's castle. Jack's asylum is in fact a large home, similar to a mansion, and he chooses Renfield to obssess over just like how Dracula chooses Jonathan.

In terms of structure I find it really clever that the majority of Jack's interactions and fascination with Renfield happen after Jonathan attempts to escape the castle, and way before Van Helsing enters the story. Its like a pendulum swing, going from Dracula, who is very clearly a predator, to Renfield, who is misunderstood yet enthralled by Dracula, to finally Van Helsing, who is seen as a savior.

Renfield doesn't get any respect for his personal well being and his privacy is compromised because of Jack. I think there is a scene where, after Renfield gets sick from eating the birds, Jack takes his diary and attempts to read it. This reminded me of how Dracula read Jonathan's letters and burned the shorthand written one to Mina. Also, how Renfield attacks and drinks Jack's blood after solitary confinement is reminiscent of how Jonathan attacks Dracula in his coffin, scarring him permanently. They are both lashing out at the abuse they've received.

Then there's Renfield and Van Helsing both being subjected to Jack's study of them. And I honestly believe Renfield reminded Jack of Van Helsing in some way or the other. So there is something to be said of all three relationships. All three old men maintain a level of secrecy from their younger male counterparts, and they all desire to overcome loneliness and become relevant again. For Dracula that's power and conquest, for Renfield, validation and a longer life, and for Van Helsing, to be respected and part of a family again.

I'm sure there are more parallels that others can point out. But these were the ones that I could recall easily.

[skeletonsloverockcandy]

Man, each year I get to it, I love the May 5th entry and what it means. I take something new from it each time. Like last year I noticed the sacrifices and efforts the Driver and the other passengers made to try and save Jonathan, a stranger to them, by showing up early, by giving him gifts, by blessing him, despite the danger that puts them in. Especially when Dracula, as the driver, points it out to the Driver of the first coach, what he was trying to do, and scares him by pointing out what he said (despite it being heard far out of normal earshot and over the sound of horses galloping).

This year though, I notice that, but I see some of the smaller details too. Like how the mountains are full of blooming fruit trees, and how we are so used to the “gothic” aesthetic we almost forget it’s Spring. How Jonathan takes notice and comfort in the view, despite the growing unease he feels because of the people around him. He is trying to distract himself from how scared he’s getting based on their warnings. Warding him from the Evil Eye.

"No, no," he said; "you must not walk here; the dogs are too fierce"; and then he added, with what he evidently meant for grim pleasantry—for he looked round to catch the approving smile of the rest—"and you may have enough of such matters before you go to sleep."

I also take notice of this from the driver, as it’s almost a morbid gallows humor that he clearly knows to expect the wolves, and knowing what happens later, I’m sure the people here have a horrible fear of them, knowing what Dracula can do…and what he does to that poor mother later.

There were dark, rolling clouds overhead, and in the air the heavy, oppressive sense of thunder. It seemed as though the mountain range had separated two atmospheres, and that now we had got into the thunderous one.

We also get here what might be our first indication that the Count can control the weather to an extent.

They were driven by a tall man, with a long brown beard and a great black hat, which seemed to hide his face from us.

All I can imagine is Dracula in a fake beard now lol.

"You are early to-night, my friend." The man stammered in reply:—

"The English Herr was in a hurry," to which the stranger replied:—

"That is why, I suppose, you wished him to go on to Bukovina. You cannot deceive me, my friend; I know too much, and my horses are swift."

But God, this must have been terrifying for the driver and the passengers. What would Dracula do to punish them for trying to escape him? Would he dare make an example in front of the Englishman right now, or would he grant them mercy to say nothing else as Jonathan is unsuspectingly led to his doom, so they think.

"Denn die Todten reiten schnell"— ("For the dead travel fast.")

The strange driver evidently heard the words, for he looked up with a gleaming smile.

It feels like they’re all in on some sick joke that they know the punchline to, but Jonathan doesn’t, so with the dramatic irony, it feels like we the readers are the same peasants, trying to do anything to save or warn Jonathan but it’s already too late.

I also notice how quickly Dracula tries to shift the power dynamic with Jonathan, and have him doubt his sanity so soon, and he’s not even in the castle yet.

He drives him in circles to try and disorient Jonathan and make him feel even more lost, also keeping him out for far later and making Jonathan question if he’s dreaming or if what he’s seeing is real. I’d also bet more than anything that wine he offer Jonathan on the coach that Jonathan didn’t end up taking was drugged. Because it’s far easier to disorient an unconscious passenger in the dark than it is to disorient a conscious passenger. But he still does a pretty darn good job.

Then there’s the blue flames, which Jonathan doesn’t know how to react to as they seem supernatural and he doesn’t know how to rationalize it yet, so he takes it as if he’s dreaming.

This gave me a sort of shock, for I suppose the general superstition about midnight was increased by my recent experiences. I waited with a sick feeling of suspense.

Jonathan also has already felt the fear and nerves associated with the supernatural and superstition after what all of the townsfolk have told him, and later he tries to brush this off and rationalize again, try not to get too scared, but a part of him already realizes something is wrong.

Then a dog began to howl somewhere in a farmhouse far down the road—a long, agonised wailing, as if from fear.

I also want to point this out, as it’s right before the wolves surround the coach, but it’s the second time a “dog” has been mentioned howling in the night, and with this evidence, I bet Dracula uses the wolves as a threat to keep the peasants and townsfolk in line, as he can’t munch down on everyone. But it shows how powerful he is and what a threat he poses. I wonder who the wolves kill in the night.

Also how Jonathan, as an Englishman where there were no more native wolves, can’t even imagine that’s what they were and thinks they are dogs.

And it makes sense now that earlier when Jonathan was getting out his good ol’ polyglot dictionary, how the two words mean the same thing.

"vrolok" and "vlkoslak"—both of which mean the same thing, one being Slovak and the other Servian for something that is either were-wolf or vampire.

As Dracula, as we see later, can transform into a wolf himself, and so there is probably less distinction between the two in this culture than we have tried to establish in the modern day.

Once there appeared a strange optical effect: when he stood between me and the flame he did not obstruct it, for I could see its ghostly flicker all the same.

Ah, I wonder if this is an early indication that Dracula cannot be depicted through traditional means? Like how he can’t be seen in the mirror. Certain lights just, pass through him.

I shouted and beat the side of the calèche, hoping by the noise to scare the wolves from that side, so as to give him a chance of reaching the trap.

We also see Jonathan taking an active and proactive approach, in this manner trying to be helpful and aid his (what he assumes human) driver. With these sorts of actions already, I can see signs of the man who will pick up a shovel to try and do what needs to be done. Who takes a knife and vows action, not hesitating.

He is polite right now, he’s on business. He doesn’t know what’s coming. But regardless, that person is still in him, and he’s capable of taking great action and doing great things for the sake of survival and doing what he thinks is right.

And Dracula commanding the wolves to stop as the driver, and the cloud passing overhead, I feel is like a subtle display of power and threat to Jonathan. He’s still playing pretend, but when Jonathan does figure out he was the coach the whole time, and he plays coy, the Count knows Jonathan will remember this threat, and it feels that much more sinister.

Jonathan still questions and thinks he fell asleep, as he doesn’t see how he’d have missed the approach of the castle otherwise, but I think he was awake because it was dark, and the count was intentionally taking him a winding and confusing path under a lot of fear. Though if he did fall asleep, I’m that much more terrified about how Dracula was driving him about, now secure in the knowledge that Jonathan would be thoroughly isolated and lost.

And the thing that nearly gives Dracula away twice as the driver is the strength of his grip on Jonathan’s hand, also lacing a subtle threat.

through these frowning walls and dark window openings it was not likely that my voice could penetrate.

Well this is just scary knowing how trapped Jonathan becomes later, knowing he wouldn’t be able to hear the outside world, and how the outside world might not be able to hear him, and how he’s already acknowledging that.

The time I waited seemed endless, and I felt doubts and fears crowding upon me. What sort of place had I come to, and among what kind of people? What sort of grim adventure was it on which I had embarked?

He already is expressing doubts and fears, he isn’t ignorant of what situation he might be in, and it’s only later when he tries to rationalize with the count and is given the comforts manipulation of food and sleep, that he tries to dismiss these fears and take the Count at his word.

Was this a customary incident in the life of a solicitor's clerk sent out to explain the purchase of a London estate to a foreigner? Solicitor's clerk! Mina would not like that. Solicitor—for just before leaving London I got word that my examination was successful; and I am now a full-blown solicitor!

Okay, this is just really cute. Mina said You passed the Bar, you Deserve to call yourself a Solicitor Jonathan <3

Also explains a lot that Jonathan is a fresh faced baby lawyer who just passed the bar and needs this assignment. He’s probably hoping that after this pay day he can marry Mina and have enough for them to start making a life together. Also says a lot for Dracula’s strategy to him to get someone young, inexperienced, and unfamiliar with the area, who might be seen as “expendable” so that Jonathan’s sudden “disappearance” might go unremarked by those in charge (though Mina would notice).

I began to rub my eyes and pinch myself to see if I were awake. It all seemed like a horrible nightmare to me, and I expected that I should suddenly awake, and find myself at home, with the dawn struggling in through the windows, as I had now and again felt in the morning after a day of overwork. But my flesh answered the pinching test, and my eyes were not to be deceived. I was indeed awake and among the Carpathians. All I could do now was to be patient, and to wait the coming of the morning.

Again, those early signs of doubt and fear from Jonathan, showing his unease already at the situation. We did not deserve to be clowning on him so much when this book club first started. It’s not his fault he’s not genre aware 😔 I’m sorry Jonathan.

And when Drac does show up to open the door:

"Welcome to my house! Enter freely and of your own will!" He made no motion of stepping to meet me, but stood like a statue, as though his gesture of welcome had fixed him into stone.

I wonder if he’s like that because he needs to be invited into places to be there, so if it’s almost like a supernatural hold of importance for him to offer the same thing. Almost like a subtle joke or curse with the knowledge that after Jonathan enters, he won’t be allowed to leave of his own will

holding out his hand grasped mine with a strength which made me wince, an effect which was not lessened by the fact that it seemed as cold as ice—more like the hand of a dead than a living man.

I also like how all the clues are there, and since Jonathan has written them down and taken note of them, the expression on them must be some of the things he’s piercing together about his own fears as well that he’s afraid to voice aloud or in his journal, because if he voices his suspicions, they might become more real to him.

The strength of the handshake was so much akin to that which I had noticed in the driver, whose face I had not seen, that for a moment I doubted if it were not the same person to whom I was speaking

See? He knows what’s up, he’s just afraid to say it.

I also didn’t pick up that Jonathan’s room is octagonal for some reason. I wonder if there’s any reason for that or symbolism with the 8 sides?

Also the letter from Mr. Hawkin’s feels very ominous in retrospect knowing what’s coming and how Dracula will treat Jonathan:

"I must regret that an attack of gout, from which malady I am a constant sufferer, forbids absolutely any travelling on my part for some time to come; but I am happy to say I can send a sufficient substitute, one in whom I have every possible confidence. He is a young man, full of energy and talent in his own way, and of a very faithful disposition. He is discreet and silent, and has grown into manhood in my service. He shall be ready to attend on you when you will during his stay, and shall take your instructions in all matters."

I feel like Dracula knew to take advantage of that, and also this feels like him basically reading the menu for an ideal victim once his business is said and done, so I get shivers, brrrrr.

Hitherto I had noticed the backs of his hands as they lay on his knees in the firelight, and they had seemed rather white and fine; but seeing them now close to me, I could not but notice that they were rather coarse—broad, with squat fingers. Strange to say, there were hairs in the centre of the palm. The nails were long and fine, and cut to a sharp point. As the Count leaned over me and his hands touched me, I could not repress a shudder. It may have been that his breath was rank, but a horrible feeling of nausea came over me, which, do what I would, I could not conceal.

I also like that while Jonathan is describing Dracula, he notice his hands. And I am also struck with how little it is brought up that he has hair on his palms, and I can see the more wolf-like nature of this vampire mythology. I wonder if Bram Stoker intended for werewolves and vampires to be the same thing in his novel? They are certainly compared and have similar powers and weaknesses, so it’s possible I guess.

Also Dracula has corpse-breath lol. Nasty.

I saw the first dim streak of the coming dawn. There seemed a strange stillness over everything; but as I listened I heard as if from down below in the valley the howling of many wolves.

Ah ha! Also the first foreshadowing we get for the importance of dawn and dusk in the novel, as we know later how important timing becomes for our protagonists, so seeing its affects already make me smile at the recognition of the signs so early.

"Listen to them—the children of the night. What music they make!" Seeing, I suppose, some expression in my face strange to him, he added:—

"Ah, sir, you dwellers in the city cannot enter into the feelings of the hunter."

And ah, an iconic line. Though I just get second hand angry and uncomfortable at Dracula’s insistence that he’s a “hunter” 🤢. God I just hate him haha.

I am all in a sea of wonders. I doubt; I fear; I think strange things, which I dare not confess to my own soul. God keep me, if only for the sake of those dear to me!

And literally Day 1 of being in the castle and Jonathan is already questioning his sanity and piecing things together he’s afraid to even voice in his journal. This is the second time in as many days he has already wished that those around him find this journal and laments should anything bad happen to him. It creates the impression of one who knows they’re walking into danger but must go on anyway.

But I love Jonathan so much, and I definitely really like the May 5th entry, and it does so much work to set up what happens later.

[vickyvicarious]

"My Friend.--Welcome to the Carpathians. I am anxiously expecting you. Sleep well to-night. At three to-morrow the diligence will start for Bukovina; a place on it is kept for you. At the Borgo Pass my carriage will await you and will bring you to me. I trust that your journey from London has been a happy one, and that you will enjoy your stay in my beautiful land. Your friend, DRACULA.

Wow, what a welcoming and friendly letter! This Dracula guy seems like a good host, doesn't he?

...Except, no, of course not. I admit, in any other situation this would be the worst bad-faith reading of a relatively polite and friendly note. But knowing Dracula and the kind of games he likes to play, I feel like I can spot some unpleasant undertones. He's doing a couple things here immediately, in fact, which continue on throughout Jonathan's stay.

He's being overfamiliar, immediately overstepping a professional relationship for a more intimate one. He's being commanding, telling Jonathan what to do, even if under the guise of wishing him well. He's being possessive - maybe not quite the word? Here I don't mean it as in "you can't have him, he's mine" so much as it is arranging things for him and expecting Jonathan to fall in line and do what he wants. Jonathan is his new toy and will play along, will be manipulated into whatever Dracula wants him to do, even without direct instructions. Dracula has control of the situation as a whole, and Jonathan in particular. He is also being sarcastic, making little jokes to himself about how he knows the real situation here and Jonathan doesn't yet.

Also, significantly, he hasn't told Jonathan where he's going. And sure, he's arranged the travel so it's not a big issue. He'll still be able to get there. But he's going to be dependent on Dracula to do so, and he won't know the way out afterwards. More to come on this score when Dracula actually drives Jonathan to the castle.

[cassette394]

Unconscious cerebration has finally done its work; a coherent aromantic reading of Dracula just came to me, fully formed, as I washed my face.

I was thinking about the Harkers, obviously, in the wake of October 3rd and seeing @see-arcane's meta about what it means to unconditionally love a proto-vampire circulating. I was thinking about the ways in which the Harkers' marriage is already unconventional, in so many of the same ways in which Jonathan's resolution about the "holiest love" is. They are, forever, "too" focused on their own happiness, over the expectations off their society. They married too close to each other in age, with little consideration for social climbing, with little consideration for gender norms, with Jonathan lying half-dead still recuperating from deep madness. They are prepared to make the unconventional work, if that's what it takes to be together.

But, you might say, "what has this to do with aromanticism? That all sounds deeply romantic to me!" And to that I say, does it, necessarily? I will admit, I am relying deeply on my own biases to make this call, but where so many romance stories squick me, the Harkers don't. I see their devotion and recognize it as something that can coexist with romance, but does not rely on it. I see them as, above anything else, above knowing each other or valuing each other or even loving each other, needing each other. And a relationship built around that core can grow for any number of reasons.

Fundamentally, Dracula is a predator. He preys on individuals as a means of preying on communities, and when he can manage it, on whole societies. We see, in the way he preys on Lucy, a commitment to undermining society by debasing the very ideal of an English marriage. Hell, as many of us have said, his initial placing of Jonathan in the roll of gothic heroine begins to debase the ideals of English gender roles. Dracula debases these things because he sees that England values them, and assumes that their destruction must be followed by demoralization and apathy towards his control.

But I believe Jonathan and Mina already see the artifice, certainly of the ideals of the "Englishman" and the "Englishwoman," and perhaps of marriage itself. These constructs are not values they hold, but tools they use to allow themselves to build a life together. And if the Count is going to break those tools, what's stopping them from stealing his tools and using them instead?

Society didn't have a place for the way Mina Murray and Jonathan Harker needed each other. This is conjecture, but I find it likely that many tried to use the ideal of the conventional marriage to attempt to separate them. They married each other in a hospital room to commit to needing each other anyway, and in that action gave their relationship propriety. Dracula doesn't want the Harkers together, and so used the threat of vampirism to try to weaken them. But how could that be a threat, when they are both still here?

[spacedemodulator]

I love the mention of Ellen Terry in Our Correspondent's account of the Bloofer Lady. For decades she was the leading actress of the Lyceum Theatre that Bram Stoker helped manage, so the shout-out here is incredibly cute.

I think the affectionate vibe of our heroic polycule may be a reflection of how much Stoker loved his company of thespians, and of the special relationships that can form among a community of artists where people may be a bit more free and vulnerable with each other than people in more conventional trades.

@re-dracula

[hoshi-kawaii]

During this pause on Dracula Daily, all I can think about is how the trapped Jonathan must still be pooping and Dracula must be cleaning it up.

Back then you would just go on a pot and the servants had to dump it out. Since Dracula is the one doing all the jobs of the servants, Dracula is dumping Jonathan's bedpan every day.