Explore the ways your two texts explore fears in contemporary
society
Introduction:
Stoker’s presentation of a distinctly foreign monster, one who threatens
England’s imperial power and delicate sensibilities, seems initially to contrast
Wilde’s far more nuanced suggestion that the real monster lies within all of us.
However, both authors use traditional Gothic conventions in “The Picture of
Dorian Gray” and “Dracula” to explore contemporary social fears through their
monsters.
Setting
Urban Gothic - PODG suggests that threat comes from inside the very city
(katabasis).
● “the streets like the black web of some sprawling spider” - animalistic
language suggests secret insidious threat coming to life.
● Also significant that the home of Dorian’s evil is the dockyards/East End - a
typically poor area of London - Wilde villainises the poverty and suggests
it's more susceptible to evil. Dorian, an aristocrat, who perpetuates this
evil - builds off social fear that behind the drawing room doors lies a world
of depravity.
● The docks are a literal location, and metaphysical representation, of sin.
Dracula:
● Castle Dracula as isolated and antiquated - builds terror and functions off
Gothic trope
● “Broken battlements showed a jagged line against the moonlit sky” -
derelict, alliteration of “b” plosive emphasises harsh landscape.
Symbolism of it blocking out the light implies this is a place of
corruption//evil.
● Uses contemporary fear of the other - the location is so terrifying because
the typical Victorian reader would believe Eastern Europe was uncivilised
and dangerous.
Final comparative point:
● In their journeys to these locations, both feature a silent coach driver
● “Strange driver” who can control wolves
● Dorian you have the “hansom” that transports him to London - directly
linked to London specifically, suggests its the home of evil.
, ● Symbolic of Charon in Greek literature
Doubling
● Dorian’s double is his portrait - brings into play superstition and the
supernatural monsters
● “the hideous lines that seared the wrinkling forehead or crawled around
the heavy sensual mouth” - personification brings portrait to life
● “It was from within, apparently, that the foulness and horror had come”
● AO3: Undermines belief in physiognomy from 19th century
● Social fear of the aristocracy secretly engaging in depravity
● HOWEVER Dracula’s double is Van Helsing, who’s a symbol of good
● Described as a “foreign gentleman” - parallels Dracula, but uses his
mysticism for good rather than corruption
● Reflects more broad duality between science and the supernatural
● Builds off social fear of the occult, and directly correlates it with the
foreign.
Good vs Evil
Dracula:
● The crusaders against Dracula reflects more broadly the Victorian fight
against immorality and decay of religion
● Dracula’s animalisation suggests he’s inhuman and undermines natural
order - fear of reverse colonialism (AO3) explored through money,
suggests he threatens England’s power, therefore emphasises battle
between good and evil because it becomes a national war.
● “Check to the king!” - playfulness undermines severity of conflict, shows
there are 2 distinct sides
● “It was like a miracle” - Dracula’s death paralleled with religious
symbolism suggests their actions are Godly.
Dorian:
● Basil is physical manifestation of Dorian’s consciousness
● Dorian must kill him (ie. rid himself of moral compass) in order to fully
succeed at his evil
● “Pray, Dorian, pray” and “The prayer of your repentance shall be
answered also”
society
Introduction:
Stoker’s presentation of a distinctly foreign monster, one who threatens
England’s imperial power and delicate sensibilities, seems initially to contrast
Wilde’s far more nuanced suggestion that the real monster lies within all of us.
However, both authors use traditional Gothic conventions in “The Picture of
Dorian Gray” and “Dracula” to explore contemporary social fears through their
monsters.
Setting
Urban Gothic - PODG suggests that threat comes from inside the very city
(katabasis).
● “the streets like the black web of some sprawling spider” - animalistic
language suggests secret insidious threat coming to life.
● Also significant that the home of Dorian’s evil is the dockyards/East End - a
typically poor area of London - Wilde villainises the poverty and suggests
it's more susceptible to evil. Dorian, an aristocrat, who perpetuates this
evil - builds off social fear that behind the drawing room doors lies a world
of depravity.
● The docks are a literal location, and metaphysical representation, of sin.
Dracula:
● Castle Dracula as isolated and antiquated - builds terror and functions off
Gothic trope
● “Broken battlements showed a jagged line against the moonlit sky” -
derelict, alliteration of “b” plosive emphasises harsh landscape.
Symbolism of it blocking out the light implies this is a place of
corruption//evil.
● Uses contemporary fear of the other - the location is so terrifying because
the typical Victorian reader would believe Eastern Europe was uncivilised
and dangerous.
Final comparative point:
● In their journeys to these locations, both feature a silent coach driver
● “Strange driver” who can control wolves
● Dorian you have the “hansom” that transports him to London - directly
linked to London specifically, suggests its the home of evil.
, ● Symbolic of Charon in Greek literature
Doubling
● Dorian’s double is his portrait - brings into play superstition and the
supernatural monsters
● “the hideous lines that seared the wrinkling forehead or crawled around
the heavy sensual mouth” - personification brings portrait to life
● “It was from within, apparently, that the foulness and horror had come”
● AO3: Undermines belief in physiognomy from 19th century
● Social fear of the aristocracy secretly engaging in depravity
● HOWEVER Dracula’s double is Van Helsing, who’s a symbol of good
● Described as a “foreign gentleman” - parallels Dracula, but uses his
mysticism for good rather than corruption
● Reflects more broad duality between science and the supernatural
● Builds off social fear of the occult, and directly correlates it with the
foreign.
Good vs Evil
Dracula:
● The crusaders against Dracula reflects more broadly the Victorian fight
against immorality and decay of religion
● Dracula’s animalisation suggests he’s inhuman and undermines natural
order - fear of reverse colonialism (AO3) explored through money,
suggests he threatens England’s power, therefore emphasises battle
between good and evil because it becomes a national war.
● “Check to the king!” - playfulness undermines severity of conflict, shows
there are 2 distinct sides
● “It was like a miracle” - Dracula’s death paralleled with religious
symbolism suggests their actions are Godly.
Dorian:
● Basil is physical manifestation of Dorian’s consciousness
● Dorian must kill him (ie. rid himself of moral compass) in order to fully
succeed at his evil
● “Pray, Dorian, pray” and “The prayer of your repentance shall be
answered also”
