Bram Stoker’s novel Dracula is known and read all over the world ever since it was first published 1987. It is regarded as a classic work of horror literature, and as such has attracted the attention of many scholars and students in the field of literary studies. As with many other canonical books, one reason for the novel’s popularity lies in the number of possible
interpretations. But even though the possibilities are many, over the years certain readings have come to dominate the discourse.
This paper aims for a reading of Dracula that is less common. The focus in the following chapters lies on the concepts of captivity presented in the novel. Their content is meant to answer the following questions: How is captivity explored as a literary concept or device? How is it framed in the larger context of the narrative? Is there more to captivity as a concept in the novel than literal imprisonment?
Table of Contents
1. Introduction
2. Genre, Style, and Narrative of Dracula
3. Captive Characters in “Dracula”
3.1 Jonathan Harker
3.2 Count Dracula
3.3 Lucy Westenra
3.4 Mina Harker
3.5 Renfield
4. Conclusion
Research Objectives and Key Themes
This paper examines Bram Stoker’s Dracula through the lens of a captivity narrative, aiming to explore how physical and psychological imprisonment functions as a central literary device rather than just a literal state of confinement. The research investigates how different characters experience various forms of captivity and how these experiences reflect power dynamics, vulnerability, and protection within the narrative.
- Analysis of Dracula as an Imperial Gothic novel.
- Examination of captivity as both a physical and psychological condition.
- Character studies of Jonathan Harker, Count Dracula, Lucy Westenra, Mina Harker, and Renfield.
- The role of diary entries and letters in exerting control over traumatic experiences.
- The duality of captivity as both a mechanism of power and a form of protection.
Excerpt from the Book
3.1 Jonathan Harker
Jonathan Harker is the first character introduced in the story. The first four chapters of the novel consist of his journal entries and describe his journey towards “the Castle Dracula” and his experiences in dealing with the eponymous Count Dracula. Although initially treated as a guest, Harker soon discovers the true nature of his stay: “The castle is a veritable prison, and I [Harker] am a prisoner!” Concerning the choice of the word ‘prison’ here, it is notable that its meaning and use in the novel differs from the common definition of a prison as a place where criminals spend time as a punishment for their crimes. Jonathan Harker is not a prisoner in this sense of the word, since he is “without that protection of the law which is even a criminal’s right and consolation.” He is an innocent man held captive by a source outside his control instead of a criminal, albeit his treatment at Castle Dracula and his actions both create the impression of Harker being an inmate of a regular prison.
Upon learning about his status as a prisoner of the castle, Harker immediately attempts to revert back to being a free man. His first course of action has him “trying every door and peering out of every window” in order to find an escape route, but to no avail. Harker’s status as a sole prisoner of Castle Dracula changes on the 19th of May. After deducing the Count’s malicious intent, Harker is told to predate a letter speaking of his departure to the 29th of June. This forced testimony in combination with Dracula having declared to the three female vampires that they “shall kiss him” once Harker’s work is done transforms him from a mere prisoner of a castle into a death row inmate. Since he was a witness of Dracula tossing a “dreadful bag” with a child inside it to his underlings, Harker realizes that such a death awaits him if he stays inactive. Thus, he is even more determined to escape.
Summary of Chapters
1. Introduction: This chapter introduces the focus on captivity in Dracula and outlines the methodological approach of analyzing five specific characters.
2. Genre, Style, and Narrative of Dracula: This section situates the novel within the Imperial Gothic genre and explores the significance of its epistolary format as a tool for captives to gain agency.
3. Captive Characters in “Dracula”: This central chapter analyzes how five key figures experience, resist, or facilitate captivity in different ways.
3.1 Jonathan Harker: Discusses Harker's transition from an innocent guest to a prisoner of Castle Dracula and his efforts to maintain control.
3.2 Count Dracula: Explores the Count's self-imposed and supernatural limitations, reframing him as a captive to his own vampiric nature.
3.3 Lucy Westenra: Examines how Lucy's confinement is intended as a protection against the vampire and her eventual loss of agency.
3.4 Mina Harker: Analyzes the dual nature of Mina’s captivity, specifically the protective function of the "holy circle" during her struggle against vampirism.
3.5 Renfield: Looks at Renfield’s literal imprisonment in the asylum and his mirrored relationship with Dracula as both a prisoner and a captor.
4. Conclusion: Synthesizes the findings to conclude that Dracula utilizes captivity as a multi-faceted concept that explores power, fear, and liberation.
Keywords
Dracula, Bram Stoker, Captivity, Imperial Gothic, Epistolary Narrative, Jonathan Harker, Count Dracula, Lucy Westenra, Mina Harker, Renfield, Imprisonment, Vampirism, Power Dynamics, Literary Analysis, Victorian Literature
Frequently Asked Questions
What is the core subject of this paper?
The paper explores the concept of captivity in Bram Stoker's Dracula, moving beyond literal imprisonment to analyze how it functions as a literary device and a psychological state.
What are the primary thematic areas covered?
The themes include the Imperial Gothic genre, the function of diary and letter narratives, the power dynamics between captor and captive, and the role of protection versus restriction.
What is the primary research goal?
The goal is to analyze how captivity is explored as a literary concept and how it frames the narrative, questioning whether it constitutes more than simple physical restraint.
What scientific method is employed?
The paper utilizes a literary analysis approach, focusing on character-based case studies to interpret the novel as a "captivity narrative."
What does the main body of the paper cover?
The main body examines five specific characters—Jonathan Harker, Count Dracula, Lucy Westenra, Mina Harker, and Renfield—to illustrate different modes of captivity.
Which keywords best characterize this work?
Captivity, Imperial Gothic, power dynamics, imprisonment, character studies, and the epistolary format are central to the study.
How is Count Dracula himself a prisoner in the narrative?
The author argues that Dracula is limited by his undead nature, specifically his inability to walk in sunlight and the specific physical repulsions (like holy objects) that govern his movement.
What makes the "holy circle" significant for Mina Harker?
The holy circle acts as a paradoxical space that is both a prison to the person inside and a protective barrier against the vampire, highlighting captivity as a positive, protective force.
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- Thomas Akehurst (Autor:in), 2021, Houses, Castles and Holy Circles. Concepts of Captivity in Bram Stoker’s "Dracula", München, GRIN Verlag, https://www.grin.com/document/1215562
