1. Dracula and the Horror Genre A Context in Which to Understand the Novel

2. What is the Horror Genre? It is any medium intended to scare, unsettle, or horrify the audience. It is any medium intended to scare, unsettle, or horrify the audience. Historically, the cause of the "horror" experience has often been the intrusion of a supernatural element into everyday human experience. Historically, the cause of the "horror" experience has often been the intrusion of a supernatural element into everyday human experience.

3. Definition of Horror Webster's Collegiate Dictionary gives the primary definition of horror as "a painful and intense fear, dread, or dismay." It stands to reason then that "horror fiction" is fiction that elicits those emotions in the reader. Webster's Collegiate Dictionary gives the primary definition of horror as "a painful and intense fear, dread, or dismay." It stands to reason then that "horror fiction" is fiction that elicits those emotions in the reader. It doesn't have to be full of ghosts, ghouls, and things to go bump in the night. Its only true requirement is that it elicit an emotional reaction that includes some aspect of fear or dread. It doesn't have to be full of ghosts, ghouls, and things to go bump in the night. Its only true requirement is that it elicit an emotional reaction that includes some aspect of fear or dread.

4. One Author’s View of Horror… In his 1982 anthology Prime Evil, author Douglas Winter stated, "Horror is not a genre, like the mystery or science fiction or the western. It is not a kind of fiction, meant to be confined to the ghetto of a special shelf in libraries or bookstores. Horror is an emotion." In his 1982 anthology Prime Evil, author Douglas Winter stated, "Horror is not a genre, like the mystery or science fiction or the western. It is not a kind of fiction, meant to be confined to the ghetto of a special shelf in libraries or bookstores. Horror is an emotion."

5. One Author’s View of Horror… Robert McCammon, one of the founders of HWA, said, "Horror fiction upsets apple carts, burns old buildings, and stampedes the horses; it questions and yearns for answers, and it takes nothing for granted. It's not safe, and it probably rots your teeth, too. Horror fiction can be a guide through a nightmare world, entered freely and by the reader's own will. And since horror can be many, many things and go in many, many directions, that guided nightmare ride can shock, educate, illuminate, threaten, shriek, and whisper before it lets the readers loose." (Twilight Zone Magazine, Oct 1986) Robert McCammon, one of the founders of HWA, said, "Horror fiction upsets apple carts, burns old buildings, and stampedes the horses; it questions and yearns for answers, and it takes nothing for granted. It's not safe, and it probably rots your teeth, too. Horror fiction can be a guide through a nightmare world, entered freely and by the reader's own will. And since horror can be many, many things and go in many, many directions, that guided nightmare ride can shock, educate, illuminate, threaten, shriek, and whisper before it lets the readers loose." (Twilight Zone Magazine, Oct 1986)

6. Horror’s Personal Touch What makes horror literature so pervasive is that its need to evoke the necessary atmosphere and sense of emotional dread is utterly dependent on who we are as readers -- as people. Horror, by nature, is a personal touch -- an intrusion into our comfort levels. It speaks of the human condition and forcibly reminds us of how little we actually know and understand. What makes horror literature so pervasive is that its need to evoke the necessary atmosphere and sense of emotional dread is utterly dependent on who we are as readers -- as people. Horror, by nature, is a personal touch -- an intrusion into our comfort levels. It speaks of the human condition and forcibly reminds us of how little we actually know and understand.

7. History of the Horror Genre Modern horror fiction found its roots in the gothic novels that exploded into popularity in the late 18th and early 19th centuries. Modern horror fiction found its roots in the gothic novels that exploded into popularity in the late 18th and early 19th centuries. Early horror works used mood and subtlety to deliver an eerie and otherworldly flavor, but usually eschewed extensive explicit violence. Early horror works used mood and subtlety to deliver an eerie and otherworldly flavor, but usually eschewed extensive explicit violence. Edgar Allan Poe was one of the first horror writers. Edgar Allan Poe was one of the first horror writers.

8. Horror’s Downfall Instead of "evolving, ever-changing," horror became defined -- typecast if you will -- forced to conform to a certain method and a certain manner. Publishers flooded the market with books that matched this formula, giving readers more and more of what they demanded. Hollywood got into the act, making movie after movie with the same basic themes, the same old scares, so much so that today we have horror films that parody these very elements. Instead of "evolving, ever-changing," horror became defined -- typecast if you will -- forced to conform to a certain method and a certain manner. Publishers flooded the market with books that matched this formula, giving readers more and more of what they demanded. Hollywood got into the act, making movie after movie with the same basic themes, the same old scares, so much so that today we have horror films that parody these very elements.

9. Gothic Elements in Dracula The Gothic novel took shape mostly in England from 1790 to 1830 and falls within the category of Romantic literature. The Gothic novel took shape mostly in England from 1790 to 1830 and falls within the category of Romantic literature. It acts as a reaction against the rigidity and formality of other forms of Romantic literature. It acts as a reaction against the rigidity and formality of other forms of Romantic literature.

10. Importance of Setting Setting is greatly influential in Gothic novels. It not only evokes the atmosphere of horror and dread, but also portrays the deterioration of the world. Setting is greatly influential in Gothic novels. It not only evokes the atmosphere of horror and dread, but also portrays the deterioration of the world.

11. Characters of the Gothic Novel The hero is usually undeniably good while the villain is the manifestation of evil and has usually fallen from grace. The hero is usually undeniably good while the villain is the manifestation of evil and has usually fallen from grace. Even though it deals with the sublime and supernatural, the underlying theme of the fallen hero applies to the real world as well. Even though it deals with the sublime and supernatural, the underlying theme of the fallen hero applies to the real world as well. The element of damsel in distress is also evident. The element of damsel in distress is also evident.

12. Gothic Fear Once we look past the terror aspect, we can connect to gothic literature on a human level. Once we look past the terror aspect, we can connect to gothic literature on a human level. Fears of murder, rape, sin, and the unknown are fears that we face in life. In the gothic world, they are merely multiplied. Fears of murder, rape, sin, and the unknown are fears that we face in life. In the gothic world, they are merely multiplied.

13. Author Background Bram Stoker was born in Dublin, Ireland. Bram Stoker was born in Dublin, Ireland. His mother told him fantastic stories. His mother told him fantastic stories. He moved to London to oversee a theater. He moved to London to oversee a theater.

14. Supernatural in Familiar Settings Dracula moves from the mysterious and unfamiliar East (Transylvania) to the modern and familiar world of London. Dracula moves from the mysterious and unfamiliar East (Transylvania) to the modern and familiar world of London. This represents a clash of two worlds, one of superstition and one of logic. This represents a clash of two worlds, one of superstition and one of logic.

15. Clash Between Scientific Advancements and Consequences While scientific advancements enhanced the Victorian age, many people felt that they undercut the belief system of the Victorian era. While scientific advancements enhanced the Victorian age, many people felt that they undercut the belief system of the Victorian era. In addition, the danger in the novel lies in the fact that the modern world failed to realize the danger that Dracula posed. In addition, the danger in the novel lies in the fact that the modern world failed to realize the danger that Dracula posed.

16. Abandonment of Traditional Beliefs, Values, and Religion Characters of the modern world can not access the power of religious and supernatural to fight a supernatural force. Characters of the modern world can not access the power of religious and supernatural to fight a supernatural force. They do not realize the power that lies in religious symbols. They do not realize the power that lies in religious symbols.

17. Female Sexuality As Victorian women, the female characters of the novel are held up on a pedestal. As Victorian women, the female characters of the novel are held up on a pedestal. They are expected to be pure, innocent, and helpless. They are expected to be pure, innocent, and helpless. Any woman who deviates from that, especially in regards to sexuality, puts her soul in jeopardy. Any woman who deviates from that, especially in regards to sexuality, puts her soul in jeopardy.

18. Symbols in the Novel Blood: Victorians were obsessed with the life- giving qualities of blood. Blood symbolizes life. The perversion of it symbolizes the loss of the soul. Blood has religious, historical, and ancestral meanings. Blood: Victorians were obsessed with the life- giving qualities of blood. Blood symbolizes life. The perversion of it symbolizes the loss of the soul. Blood has religious, historical, and ancestral meanings. Religious Icons: Religious icons like the crucifix and the Eucharist hold special powers in the novel. Religious Icons: Religious icons like the crucifix and the Eucharist hold special powers in the novel.

19. Characters in Dracula Dracula: A supernatural force of evil, he sustains life by consuming the blood of others. However, it has resulted in the loss of his soul. He is a threat to modernity. Stoker claimed he was not Vlad the Impaler, but rather a descendent of his. One of his goal for the novel was to modernize the gothic novel by moving the setting to a modern and advanced society. Dracula: A supernatural force of evil, he sustains life by consuming the blood of others. However, it has resulted in the loss of his soul. He is a threat to modernity. Stoker claimed he was not Vlad the Impaler, but rather a descendent of his. One of his goal for the novel was to modernize the gothic novel by moving the setting to a modern and advanced society.

20. Characters in Dracula Van Helsing: He is the hero of the novel. He is the only character of the novel to successfully straddle the ancient world with the modern one. Van Helsing: He is the hero of the novel. He is the only character of the novel to successfully straddle the ancient world with the modern one. Dr. Seward: While a good character, his lack of imagination makes him inept as a doctor. Dr. Seward: While a good character, his lack of imagination makes him inept as a doctor. Arthur Holmwood: He later becomes Lord Godalming. He is Lucy’s fiancé. Arthur Holmwood: He later becomes Lord Godalming. He is Lucy’s fiancé.

21. Characters in Dracula Quincy Morris: An American from Texas, he too seeks the hand of Lucy. When she denies him, he still comes to her aid. Quincy Morris: An American from Texas, he too seeks the hand of Lucy. When she denies him, he still comes to her aid. Jonathan Harker: Mina’s husband and ultimate Victorian male. He is devoted to the protection of his wife. Jonathan Harker: Mina’s husband and ultimate Victorian male. He is devoted to the protection of his wife.

22. Characters in Dracula Mina: She is the ultimate Victorian woman. Everything she does is for the good of her husband. She is the conservative male fantasy. While she sympathizes with the “New Woman”, she is unable to and does not want to become this. Mina: She is the ultimate Victorian woman. Everything she does is for the good of her husband. She is the conservative male fantasy. While she sympathizes with the “New Woman”, she is unable to and does not want to become this.

23. Characters in Dracula Lucy: While she has all the goodness that Mina does, her female fantasies and the threat she poses to male self-control lead to disastrous consequences for herself and the men who love her. Lucy: While she has all the goodness that Mina does, her female fantasies and the threat she poses to male self-control lead to disastrous consequences for herself and the men who love her. Three Sisters: The fallen women of the novel, they are the dream and nightmare of female sexuality. Three Sisters: The fallen women of the novel, they are the dream and nightmare of female sexuality.

24. Characters in Dracula Renfield: He is a mental patient in Dr. Seward’s asylum. A consumer of life forces, he has a strange connection to Dracula. Renfield: He is a mental patient in Dr. Seward’s asylum. A consumer of life forces, he has a strange connection to Dracula.