Dracula

Dracula is an 1897 Gothic horror novel by Irish author Bram Stoker. It introduced the character of Count Dracula and established many conventions of subsequent vampire fantasy.[1] The novel tells the story of Dracula's attempt to move from Transylvania to England so that he may find new blood and spread the undead curse, and of the battle between Dracula and a small group of people led by Professor Abraham Van Helsing.

This article is about the novel. For the character, see Count Dracula. For other uses, see Dracula (disambiguation).

The cover of the first edition
AuthorBram Stoker
CountryUnited Kingdom
LanguageEnglish
GenreHorror, Gothic
PublisherArchibald Constable and Company (UK)
Publication date
26 May 1897 (1897-05-26TUK)
Pages418
OCLC1447002

Dracula has been assigned to many literary genres including vampire literature, horror fiction, gothic fiction, and invasion literature. The novel has spawned numerous theatrical, film, and television interpretations.

Plot
Stoker's handwritten notes on the characters in the novel

The story is told in an epistolary format, as a series of letters, diary entries, newspaper articles, and ships' log entries, whose narrators are the novel's protagonists, and occasionally supplemented with newspaper clippings relating events not directly witnessed. The events portrayed in the novel take place chronologically and largely in England and Transylvania within the same year between 3 May and 6 November. A short note at the end of the final chapter is written 7 years after the events outlined in the novel.

The tale begins with Jonathan Harker, a newly qualified English solicitor, visiting Count Dracula at his castle in the Carpathian Mountains on the border of Transylvania, Bukovina, and Moldavia, to provide legal support for a real estate transaction overseen by Harker's employer, Mr Peter Hawkins of Exeter. Initially impressed by Dracula's gracious manners, Harker soon realizes that he is Dracula's prisoner. Wandering the Count's castle against Dracula's admonition, Harker encounters three vampire sisters, from whom he is rescued by Dracula. Harker soon realizes that Dracula himself is also a vampire. After the preparations are made, Dracula leaves Transylvania and abandons Harker to the sisters. Harker barely escapes from the castle with his life.

Dracula boards a Russian ship, the Demeter, taking with him boxes of Transylvanian soil, which he requires in order to regain his strength. The ship weighs anchor at Varna and eventually runs aground on the shores of Whitby in north-east England. The captain's log narrates the gradual disappearance of the entire crew, until the captain alone remained, himself bound to the helm to maintain course. An animal resembling "a large dog" is seen leaping ashore. It is later learned that Dracula successfully purchased multiple estates under the alias 'Count De Ville' throughout London and devised to distribute the boxes to each of them utilizing transportation services as well as moving them himself. He does this to secure for himself lairs and the boxes of earth would be used as his graves which would grant safety and rest during times of feeding and replenishing his strength.

Harker's fiancée, Mina Murray, is staying with her friend Lucy Westenra, who is holidaying in Whitby. Lucy receives three marriage proposals from Dr. John Seward, Quincey Morris, and Arthur Holmwood (the son of Lord Godalming who later succeeds to the title himself[2]). Lucy accepts Holmwood's proposal while turning down Seward and Morris, but all remain friends. Dracula communicates with Seward's patient, Renfield, an insane man who wishes to consume insects, spiders, birds, and rats to absorb their life force. Renfield is able to detect Dracula's presence and supplies clues accordingly.

Soon Dracula is indirectly shown to be stalking Lucy. As time passes she begins to suffer from episodes of sleepwalking and dementia, as witnessed by Mina. When Lucy begins to waste away suspiciously, Seward invites his old teacher, Abraham Van Helsing, who immediately determines the true cause of Lucy's condition. He refuses to disclose it but diagnoses her with acute blood-loss. Van Helsing prescribes numerous blood transfusions to which he, Seward, Quincey, and Arthur all contribute over time. Van Helsing also prescribes garlic flowers to be placed throughout her room and weaves a necklace of withered garlic blossoms for her to wear. However she continues to waste away – appearing to lose blood every night.

Van Helsing attempts to protect Lucy with garlic but fate thwarts him each night, whether Lucy's mother removes the garlic from her room, or Lucy herself does so in her restless sleep. While both doctors are absent, Lucy and her mother are attacked by a wolf and Mrs Westenra, who has a heart condition, dies of fright. The doctors find two small puncture marks about Lucy's neck, which Dr Seward is at a loss to understand. After Lucy also dies, Van Helsing places a golden crucifix over her mouth, ostensibly to delay or prevent Lucy's vampiric conversion. Fate conspires against him again when Van Helsing finds the crucifix in the possession of one of the servants who stole it off Lucy's corpse.

Following Lucy's death and burial, the newspapers report children being stalked in the night by a "bloofer lady" (i.e., "beautiful lady").[3] Van Helsing, knowing Lucy has become a vampire, confides in Arthur, Seward, and Morris. The suitors and Van Helsing track her down and, after a confrontation with her, stake her heart, behead her, and fill her mouth with garlic. Around the same time, Jonathan Harker arrives from Budapest, where Mina marries him after his escape, and he and Mina join the campaign against Dracula.

The vampire hunters stay at Dr. Seward's residence, holding nightly meetings and providing reports based on each of their various tasks. Mina discovers that each of their journals and letters collectively contain clues through which they can track Dracula down. She tasks herself with collecting them, researching newspaper clippings, fitting the most relevant entries into chronological order and typing out copies to distribute to each of the party which they are to study. Jonathan Harker tracks down the shipments of boxed graves and the estates which Dracula has purchased in order to store them.

Van Helsing conducts research along with Dr. Seward to analyze the behaviour of their patient Renfield who they learn is directly influenced by Dracula. They also research historical events, folklore, and superstitions from various cultures to understand Dracula's powers and weaknesses. Van Helsing also establishes a criminal profile on Dracula in order to better understand his actions and predict his movements. Arthur Holmwood's fortune assists in funding the entire operation.

As they discover the various properties Dracula had purchased, the male protagonists team up to raid each property and are several times confronted by Dracula. Locating each of the boxed graves scattered throughout London, they pry them open to place and seal wafers of sacramental bread within. This act renders the boxes of earth completely useless to Dracula as he is unable to open, enter or further transport them.

After Dracula learns of the group's plot against him, he attacks Mina on three occasions, and feeds Mina his own blood to control her. This curses Mina with vampirism and changes her but does not completely turn her into a vampire. Van Helsing attempts to bless Mina through prayer and by placing a wafer of sacrament against her forehead, but it burns her upon contact leaving a wretched scar. Under this curse, Mina oscillates from consciousness to a semi-trance during which she perceives Dracula's surroundings and actions. Van Helsing is able to use hypnotism twice a day, at dawn and at sunset, to put her into this trance to further track Dracula's movements. Mina, afraid of Dracula's link with her, urges the team not to tell her their plans out of fear that Dracula will be listening. After the protagonists discover and sterilize 49 boxes found throughout his lairs in London, they learn that Dracula has fled with the missing 50th box back to his castle in Transylvania. They pursue him under the guidance of Mina.

They split up into teams once they reach Europe; Van Helsing and Mina go to Dracula's castle, while the others attempt to ambush the boat Dracula is using to reach his home. Van Helsing raids the castle and destroys the vampire sisters. Upon discovering Dracula being transported by Gypsies, the three teams converge and attack the caravan carrying Dracula in the 50th box of earth. After dispatching many Gypsies who were sworn to protect the Count, Harker shears Dracula through the throat with a kukri knife, while the mortally wounded Quincey stabs the Count in the heart with a Bowie knife. Dracula crumbles to dust, and Mina is freed from her curse of vampirism, as the scar on her forehead disappears. Soon after, Quincey dies from his wounds.

The book closes with a note left by Jonathan Harker seven years after the events of the novel, detailing his married life with Mina and the birth of their son, whom they name after all four members of the party, but address as Quincey. Young Quincey is depicted sitting on the knee of Van Helsing as they recount their adventure. Seward and Arthur have each gotten married.

Deleted ending

A small section was removed from a draft of the final chapter, in which Dracula's castle falls apart as he dies, hiding the fact that vampires were ever there.[4]

As we looked there came a terrible convulsion of the earth so that we seemed to rock to and fro and fell to our knees. At the same moment with a roar which seemed to shake the very heavens the whole castle and the rock and even the hill on which it stood seemed to rise into the air and scatter in fragments while a mighty cloud of black and yellow smoke volume on volume in rolling grandeur was shot upwards with inconceivable rapidity.

Then there was a stillness in nature as the echoes of that thunderous report seemed to come as with the hollow boom of a thunder-clap – the long reverberating roll which seems as though the floors of heaven shook. Then down in a mighty ruin falling whence they rose came the fragments that had been tossed skywards in the cataclysm.

From where we stood it seemed as though the one fierce volcano burst had satisfied the need of nature and that the castle and the structure of the hill had sunk again into the void. We were so appalled with the suddenness and the grandeur that we forgot to think of ourselves.

— Deleted excerpt from the original Dracula manuscript[5]

Characters
  • Count Dracula: A Transylvanian noble who has purchased a house in London.
  • Jonathan Harker: A solicitor sent to do business with Count Dracula; Mina's fiancé and prisoner in Dracula's castle.
  • Wilhelmina "Mina" Harker (née Murray): A schoolteacher and Jonathan Harker's fiancée (later his wife).
  • Arthur Holmwood: Lucy's suitor and later fiancé. He inherits the title of Lord Godalming upon his father's death.
  • Quincey Morris: An American cowboy and explorer; and one of Lucy's suitors.
  • Renfield: A patient at Seward's insane asylum who has come under the influence of Dracula.
  • John Seward: A doctor; one of Lucy's suitors and a former student of Van Helsing.
  • Abraham Van Helsing: A Dutch doctor, lawyer and professor; John Seward's teacher.
  • Lucy Westenra: A 19-year-old aristocrat; Mina's best friend; Arthur's fiancée and Dracula's first victim.
  • Three siren-like vampire women who serve Dracula. In some of the later adaptations to stage and screen, they are referred to as the Brides of Dracula.

Background

Between 1879 and 1898, Stoker was a business manager for the Lyceum Theatre in London, where he supplemented his income by writing many sensational novels, his most successful being the vampire tale Dracula published on 26 May 1897.[6]:269 Parts of it are set around the town of Whitby, where he spent summer holidays.[7]

Throughout the 1880s and 1890s, authors such as H. Rider Haggard, Rudyard Kipling, Robert Louis Stevenson, Arthur Conan Doyle, and H. G. Wells wrote many tales in which fantastic creatures threatened to destroy life on Earth. Invasion literature was at a peak, and Stoker's formula was very familiar by 1897 to readers of fantastic adventure stories. Victorian readers enjoyed Dracula as a good adventure story like many others, but it did not reach its legendary status until later in the 20th century when film versions began to appear.[8]

Shakespearean actor and friend of Stoker's Sir Henry Irving was a possible real-life inspiration for the character of Dracula. The role was tailor-made to his dramatic presence, gentlemanly mannerisms, and affinity for playing villain roles. Irving, however, never agreed to play the part on stage.

Before writing Dracula, Stoker spent seven years researching European folklore and stories of vampires, being most influenced by Emily Gerard's 1885 essay "Transylvania Superstitions" which includes content about a vampire myth.[9][10] The reputation for cruelty of the Romanian ruler of Wallachia Vlad III Dracula, which Stoker first learned about in 1881,[11] inspired the name of the count Dracula. However, Dracula's scholar Elizabeth Miller has remarked that aside from the name and some mention of Romanian history, the background of Stoker's Count bears no resemblance to that of Vlad III Dracula.[12] From 1890 to 1897 Stoker was a member of the London Library, where markings in Sabine Baring-Gould's “Book of Were-Wolves”, Thomas Browne's “Pseudodoxica Epidemica”, AF Crosse's “Round About the Carpathians” and Charles Boner's “Transylvania” are attributed to Stoker's research for Dracula.[13] Also some 1896 New York World clippings about Mercy Brown were found amongst Stoker's papers, but it is unsure how much the case could have influenced the novel.[14]

Later he also claimed that he had a nightmare, caused by eating too much crab meat, about a "vampire king" rising from his grave.[15]

Although it is a widely known vampire novel, Dracula was not the first. Johann Wolfgang von Goethe published The Bride of Corinth in 1797. ("From my grave to wander I am forc’d Still to seek The God’s long-sever’d link, Still to love the bridegroom I have lost, And the life-blood of his heart to drink;)[16] Later Sheridan Le Fanu's 1871 Carmilla,[17] about a lesbian vampire could have inspired Bram Stoker's Dracula, or Varney the Vampire,[18] a lengthy penny dreadful serial from the mid-Victorian period by James Malcolm Rymer. John Polidori created the image of a vampire portrayed as an aristocratic man, like the character of Dracula, in his tale "The Vampyre" (1819), based on Lord Byron's unfinished vampire story.

The Lyceum Theatre where Stoker worked between 1878 and 1898 was headed by actor-manager Henry Irving, who was Stoker's real-life inspiration for Dracula's mannerisms and who Stoker hoped would play Dracula in a stage version.[19] Irving never did agree to do a stage version, but Dracula's dramatic sweeping gestures and gentlemanly mannerisms drew their living embodiment from Irving.[19]

The Dead Un-Dead was one of Stoker's original titles for Dracula, and the manuscript was entitled simply The Un-Dead up until a few weeks before publication. Stoker's notes for Dracula show that the name of the count was originally "Count Wampyr", but Stoker became intrigued by the name "Dracula" while doing research, after reading William Wilkinson's book An Account of the Principalities of Wallachia and Moldavia with Political Observations Relative to Them (London 1820),[20] which he found in the Whitby Library and consulted a number of times during visits to Whitby in the 1890s.[21] The name Dracula was the patronym (Drăculea) of the descendants of Vlad II of Wallachia, who took the name "Dracul" after being invested in the Order of the Dragon in 1431. In the Old Romanian language, the word dracul (Romanian drac "dragon" + -ul "the") meant "the dragon" and Dracula meant "son of the dragon". In the present day however, dracul means "the devil".[22][23]

Publication

Dracula was published in London in May 1897 by Archibald Constable and Company. Costing six shillings, the novel was bound in yellow cloth and titled in red letters.[24] It was copyrighted in the United States in 1899 with the publication by Doubleday & McClure of New York.[25] But when Universal Studios purchased the rights, it came to light that Bram Stoker had not complied with a portion of US copyright law, placing the novel into the public domain.[26] In the United Kingdom and other countries following the Berne Convention on copyrights, the novel was under copyright until April 1962, fifty years after Stoker's death.[27]

Reaction and scholarly criticism

Reaction
1899 first American edition, Doubleday & McClure, New York

Dracula was not an immediate bestseller when it was first published, although reviewers were unstinting in their praise. The contemporary Daily Mail ranked Stoker's powers above those of Mary Shelley and Edgar Allan Poe, as well as Emily Brontë's Wuthering Heights.[28]

According to literary historians Nina Auerbach and David J. Skal in the Norton Critical Edition, the novel has become more significant for modern readers than it was for Victorian readers, most of whom enjoyed it just as a good adventure story. It reached its broad and iconic status only later in the 20th century when the movie versions appeared.[29] A. Asbjørn Jøn has also noted that Dracula has had a significant impact on the image of the vampire in popular culture, folklore, and legend.[30][31]

It did not make much money for Stoker. In the last year of his life, he was so poor that he had to petition for a compassionate grant from the Royal Literary Fund,[32] and his widow was forced to sell his notes and outlines of the novel at a Sotheby's auction in 1913, where they were purchased for a little over £2.[33] But then F. W. Murnau's unauthorized adaptation of the story was released in theatres in 1922 in the form of Nosferatu. Stoker's widow took affront and, during the legal battle that followed, the novel's popularity started to grow.[34]

Nosferatu was followed by a highly successful stage adaptation, touring the UK for three years before arriving in the US where Stoker's creation caught Hollywood's attention and, after the American 1931 movie version was released, the book has never been out of print.[35]

However, some Victorian fans were ahead of the time, describing it as "the sensation of the season" and "the most blood-curdling novel of the paralysed century".[36] Sherlock Holmes author Sir Arthur Conan Doyle wrote to Stoker in a letter, "I write to tell you how very much I have enjoyed reading Dracula. I think it is the very best story of diablerie which I have read for many years."[37] The Daily Mail review of 1 June 1897 proclaimed it a classic of Gothic horror, "In seeking a parallel to this weird, powerful, and horrorful story our mind reverts to such tales as The Mysteries of Udolpho, Frankenstein, The Fall of the House of Usher ... but Dracula is even more appalling in its gloomy fascination than any one of these."[38]

Similarly good reviews appeared when the book was published in the U.S. in 1899. The first American edition was published by Doubleday & McClure in New York.[39]

In his long essay, "Supernatural Horror in Literature", American horror author and historian of the genre, H. P. Lovecraft, acclaimed the novel saying, "But best of all is the famous Dracula, which has become almost the standard modern exploitation of the frightful vampire myth … How an Englishman fares within Dracula’s stronghold of terrors, and how the dead fiend’s plot for domination is at last defeated, are elements which unite to form a tale now justly assigned a permanent place in English letters."[40]

Scholarly criticism

In the last several decades, literary and cultural scholars have offered diverse analyses of Stoker's novel and the character of Count Dracula. C.F. Bentley reads Dracula as an embodiment of the Freudian id.[41] Carol A. Senf reads the novel as a response to the New Woman archetype,[42] while Christopher Craft sees Dracula as embodying latent homosexuality and sees the text as an example of a 'characteristic, if hyperbolic instance of Victorian anxiety over the potential fluidity of gender roles'.[43] Stephen D. Arata interprets the events of the novel as anxiety over colonialism and racial mixing,[44] and Talia Schaffer construes the novel as an indictment of Oscar Wilde.[45] Franco Moretti reads Dracula as a figure of monopoly capitalism,[46] though Hollis Robbins suggests that Dracula's inability to participate in social conventions and to forge business partnerships undermines his power.[47][48] Richard Noll reads Dracula within the context of 19th century alienism (psychiatry) and asylum medicine.[49] D. Bruno Starrs understands the novel to be a pro-Catholic pamphlet promoting proselytization.[50] Dracula is one of Five Books' most recommended books,[51] with literary scholars, science writers and novelists citing it as an influential text for topics such as sex in Victorian Literature,[52] best horror books[53] and criminology.[54]

Historical and geographical references

Dracula is a work of fiction, but it does contain some historical references; although it is a matter of conjecture and debate as to how much historical connection was deliberate on Stoker's part.

Attention was drawn to the supposed connections between the historical Transylvanian-born Vlad III Dracula (also known as Vlad Tepes) of Wallachia and Bram Stoker's fictional Dracula, following the publication of In Search of Dracula by Radu Florescu and Raymond McNally in 1972.[55]

During his main reign (1456–1462), "Vlad the Impaler" is said to have killed from 40,000 to 100,000 European civilians (political rivals, criminals, and anyone that he considered "useless to humanity"), mainly by impaling. The sources depicting these events are records by Saxon settlers in neighbouring Transylvania who had frequent clashes with Vlad III. Vlad III is revered as a folk hero by Romanians for driving off the invading Ottoman Turks, of whom his impaled victims are said to have included as many as 100,000.[56] There is no solid evidence that the Count in the novel was modelled on Vlad the Impaler of Wallachia.[57] At most, Stoker borrowed only the name Dracula and "scraps of miscellaneous information" about Romanian history, according to one expert, Elizabeth Miller; as well, and there are no comments about him in the author's working notes.[58][59]

Vlad the Impaler.

Historically, the name "Dracula" is derived from a Chivalric order called the Order of the Dragon, founded by Sigismund of Luxembourg (then king of Hungary) to uphold Christianity and defend the Holy Roman Empire against the Ottoman Turks. Vlad II Dracul, father of Vlad III, was admitted to the order around 1431, after which Vlad II wore the emblem of the order and later, as ruler of Wallachia, his coinage bore the dragon symbol, from which the name "Dracula" is derived since "dracul" in Romanian means "the dragon".[60] People of Wallachia only knew voievod (prince) Vlad III as Vlad Țepeș (the Impaler). The name "Dracula" became popular in Romania after publication of Stoker's book. Contrary to popular belief, the name Dracula does not translate to "son of the devil" in Romanian, which would be "fiul diavolului".

Stoker came across the name Dracula in his reading on Romanian history, and chose this to replace the name (Count Wampyr) originally intended for his villain.[61] Some Dracula scholars led by Elizabeth Miller argue that Stoker knew little of the historic Vlad III except for the name "Dracula" in addition to a few bits of Romanian history.[58] Stoker mentions that his Dracula fought against the Turks and was later betrayed by his brother, historical facts in the novel which point to Vlad III:

Who was it but one of my own race who as Voivode crossed the Danube and beat the Turk on his own ground? This was a Dracula indeed! Woe was it that his own unworthy brother, when he had fallen, sold his people to the Turk and brought the shame of slavery on them! Was it not this Dracula, indeed, who inspired that other of his race who in a later age again and again brought his forces over the great river into Turkey-land; who, when he was beaten back, came again, and again, though he had to come alone from the bloody field where his troops were being slaughtered, since he knew that he alone could ultimately triumph! (Chapter 3, pp. 19)

The Count's identity is later speculated on by Professor Van Helsing:

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. (Chapter 18, p. 145)

Many of Stoker's biographers and literary critics have found strong similarities to the earlier Irish writer Sheridan Le Fanu's classic of the vampire genre Carmilla. In writing Dracula, Stoker may also have drawn on stories about the sídhe,[62] some of which feature blood-drinking women. The Irish legend of Abhartach has also been suggested as a source.[63] It is also thought probable that his mother's stories of events during the severe cholera outbreak in Sligo in 1832 were influential, particularly themes of being buried while alive.[64]

In 1983, McNally additionally suggested that Stoker was influenced by the history of Hungarian Countess Elizabeth Bathory, who allegedly tortured and killed between 36 and 700 young women.[65] It was later a commonly believed rumor that she committed these crimes to bathe in their blood, believing that this preserved her youth.[66] Báthory's castle was also located in the Carpathian Mountains, just as Dracula's, albeit in a different region.

In her book The Essential Dracula, Clare Haword-Maden suggested that the castle of Count Dracula was inspired by Slains Castle, at which Bram Stoker was a guest of the 19th Earl of Erroll.[67] According to Miller, he first visited Cruden Bay in 1893, three years after work had begun on Dracula. Haining and Tremaine maintain that, during this visit, Stoker was especially impressed by Slains Castle's interior and the surrounding landscape. Miller and Leatherdale question the stringency of this connection.[68]

Possibly, Stoker was not inspired by a real edifice at all, but by Jules Verne's novel The Carpathian Castle (1892) or Anne Radcliffe's The Mysteries of Udolpho (1794).[69] A third possibility is that he copied information about Kemény Castle at Vécs from one of his sources on Transylvania, the book by Major E.C. Johnson.[70] A further option is that Stoker saw an illustration of Castle Bran (Törzburg) in the book on Transylvania by Charles Boner, or read about it in the books by Mazuchelli or Crosse.[71]

Many of the scenes in Whitby and London are based on real places that Stoker frequently visited, although he distorts the geography for the sake of the story in some cases. One scholar has suggested that Stoker chose Whitby as the site of Dracula's first appearance in England because of the Synod of Whitby, given the novel's preoccupation with timekeeping and calendar disputes.[47]

Daniel Farson, Leonard Wolf, and Peter Haining have suggested that Stoker received much historical information from Ármin Vámbéry, a Hungarian professor whom he met at least twice. Miller argues, "there is nothing to indicate that the conversation included Vlad, vampires, or even Transylvania", and "furthermore, there is no record of any other correspondence between Stoker and Vámbéry, nor is Vámbéry mentioned in Stoker's notes for Dracula."[72]

Official derivative publications

"Dracula's Guest"
Main article: Dracula's Guest
Cover of Dracula's Guest and Other Weird Stories, a collection of short stories authored by Bram Stoker

The short story "Dracula's Guest" was posthumously published in 1914, two years after Stoker's death. It was, according to most contemporary critics, the deleted first (or second) chapter from the original manuscript[73] and the one which gave the volume its name,[6]:325 but which the original publishers deemed unnecessary to the overall story.

"Dracula's Guest" 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 (possibly Count Dracula).

The short story climaxes in an old graveyard where the Englishman, caught in a blizzard, takes refuge in the marble tomb of "Countess Dolingen of Gratz". Within the tomb, he sees the Countess—apparently asleep and healthy—but before he can investigate further, a mysterious force throws him clear of the tomb. A lightning bolt then strikes the tomb, destroying it and incinerating the undead screaming countess. The Englishman then loses consciousness. He awakens to find a "gigantic" wolf lying on his chest and licking at his throat; however, the wolf merely 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". The Swedish scholar Rickard Berghorn noted that the description of the blonde countess in Dracula's Guest closely resembled the description of Josephine in the Powers of Darkness, which he used to argue that the countess and Josephine were meant to be the same character.[74]

Powers of Darkness
Main article: Powers of Darkness

In 1901, Dracula was translated into Icelandic by Valdimar Ásmundsson under the title Makt Myrkranna (Powers of Darkness) with a preface written by Stoker.[75] Not until 2014 was it noticed that Makt Myrkranna differed significantly from Stoker's version of Dracula.[75] The characters had different names, the book was shorter and there was more emphasis on sex than in the English version.[75] The Dutch scholar Hans Corneel de Roos wrote: "Although Dracula received positive reviews in most newspapers of the day...the original novel can be tedious and meandering....Powers of Darkness, by contrast, is written in a concise, punchy style; each scene adds to the progress of the plot."[75] In Makt Myrkranna, Dracula is in contact with various ambassadors in what is hinted at is a bid for world domination.[76] The majority of Makt Myrkranna concerns Thomas Harker's (as Jonathan Harker is called here) stay at Dracula's castle in Transylvania, with the rest of novel being a rushed and barely fleshed out story.[76]

De Roos has argued that the differences between the English original of Dracula and the Icelandic version were not due to changes made by Ásmundsson, but rather that he was using a different, older manuscript of Dracula provided to him by Stoker, which the latter had discarded for the English version.[75] De Roos has argued that some aspects of Makt Myrkranna were due to Ásmundsson and other aspects were parts of Dracula that Stoker had removed due to concerns about government censorship.[76]

Dracula the Un-dead
Main article: Dracula the Un-dead

In 2009, a sequel was published, written by Bram Stoker's great grand-nephew Dacre Stoker and Ian Holt.

Dracul

Dacre Stoker and J. D. Barker will write a prequel to Dracula titled Dracul. An interpretation of the missing 101 pages of the original novel, it was pieced together from Bram Stoker's editorial notes, artifacts, and journals.[77]

Adaptations
Bela Lugosi as Count Dracula in the 1931 film.

The story of Dracula has been the basis for numerous films and plays. Stoker himself wrote the first theatrical adaptation, which was presented at the Lyceum Theatre on 18 May 1897 under the title Dracula, or The Undead shortly before the novel's publication and performed only once, in order to establish his own copyright for such adaptations. This adaption was first published only a century later in October 1997.[78] The first motion picture to feature Dracula was Dracula's Death, produced in Hungary in 1921.[79] The now-lost film, however, was not an adaptation of Stoker's novel, but featured an original story.[80]

F. W. Murnau's unauthorised film adaptation Nosferatu was released in 1922, and the popularity of the novel increased considerably, owing to an attempt by Stoker's widow to have the film removed from public circulation.[81] Prana Film, the production company, had been unable to obtain permission to adapt the story from Bram's widow Florence Stoker, so screenwriter Henrik Galeen was told to alter numerous details to avoid legal trouble. Galeen transplanted the action of the story from 1890s England to 1830s Germany and reworked several characters, dropping some (such as Lucy and all three of her suitors), and renaming others (Dracula became Orlok, Jonathan Harker became Thomas Hutter, Mina became Ellen, and so on). This attempt failed to avoid a court case, however; Florence Stoker sued Prana Film, and all copies of the film were ordered to be destroyed. However, the company was bankrupt, and Stoker only recovered her legal fees in damages. Some copies survived and found their way into theatres. Eventually, Florence Stoker gave up the fight against public displays of the film.[26] Subsequent rereleases of the film have typically undone some of the changes, such as restoring the original character names (a practice also followed by Werner Herzog in his 1979 remake of Murnau's film Nosferatu the Vampyre).

Florence Stoker licensed the story to playwright Hamilton Deane, whose 1924 stage play adaptation toured England for several years before settling down in London. In 1927, American stage producer Horace Liveright hired John L. Balderston to revise Deane's script in advance of its American premiere. Balderston significantly compressed the story, most notably consolidating or removing several characters. The Deane play and its Balderston revisions introduced an expanded role and history for Renfield, who now replaced Jonathan Harker as Dracula's solicitor in the first part of the story; combined Mina Harker and Lucy Westenra into a single character named Lucy (though both Mina and Lucy would appear in the subsequent film); and omitted both Arthur Holmwood and Quincey Morris entirely. When the play premiered in New York, it was with Bela Lugosi in the title role, and with Edward van Sloan as Abraham Van Helsing, roles which both actors (as well as Herbert Bunston as Dr. Seward) reprised for the English-language version of the 1931 Universal Studios film production. The 1931 film was one of the most commercially successful adaptations of the story to date; it and the Deane/Balderston play that preceded it set the standard for film and television adaptations of the story, with the alterations to the novel becoming standard for later adaptations for decades to come. Universal Studios continued to feature the character of Dracula in many of their horror films from the 1930s and 1940s.

Christopher Lee as the title character in Dracula (1958)

In 1958, film company Hammer Film Productions followed the success of its The Curse of Frankenstein from the previous year with Dracula, released in the United States as Horror of Dracula, directed by Terence Fisher. Fisher's production featured Christopher Lee as Dracula and Peter Cushing as Van Helsing. It was an international hit for Hammer Film, and Lee fixed the image of the fanged vampire in popular culture.[82][83] Both Lee and Cushing reprised their roles multiple times over the next decade and a half, concluding with The Legend of the 7 Golden Vampires (with Cushing but not Lee) in 1974. Christopher Lee also took on the role of Dracula in Count Dracula, a 1970 Spanish-Italian-German co-production notable for its adherence to the plot of the original novel. Playing the part of Renfield in that version was Klaus Kinski, who later played Dracula himself in 1979's Nosferatu the Vampyre.

In 1977, the BBC made Count Dracula, a 155-minute adaptation for television starring Louis Jourdan. Later film adaptations include John Badham's 1979 Dracula, starring Frank Langella and inspired by the 1977 Broadway revival of the Deane/Hamilton play, and Francis Ford Coppola's 1992 Bram Stoker's Dracula, starring Gary Oldman. The character of Count Dracula has remained popular over the years, and many films have used the character as a villain, while others have named him in their titles, including Dracula's Daughter and The Brides of Dracula.

gollark: That sure is a band of some kind?
gollark: I disagree with this.
gollark: Necessarily, under anarchoprimitivism.
gollark: It is not likely that this sort of thing would never happen again.
gollark: Apparently, humanity was reduced to something like 10000 people in 70000 BC or so due to some bad thing which happened at that time.

See also

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Bibliography
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