Dracula

by Stoker, Bram

This passage, which would have no parallel in any journalistic account today, is so rich with detail that the setting itself becomes something of a supernatural character.

  This is one of the most powerful iconic images in an already iconic book. We’ve spoken of vivid detail and the need for showing in a narrative to create powerful and memorable images. How important is image? Those lacking in any sort of theological knowledge know that a cross (literal or suggested) is symbolic of Christianity or Christ. Our captain lashed to the wheel is symbolic of “allegiance to duty” and of horror. (And, in a moment, when we bring in the religious symbol, yet more!)

  Okay, any clues as to the identity of the “immense dog”? Remember the earlier encounters with four-legged beasts back in Transylvania? Though we have not yet had a detailed inventory of “the powers of Dracula,” we’ve certainly had clues as to what some of his supernatural abilities might be.

  Little fragments of information woven into the narrative to provide the reader insight into later events or to serve as foreshadowing are sometimes referred to as plants.

  Now the imagery is added to and becomes even more horrifying, and with the cross, still more powerful.

  Are we again being treated to a little Stoker humor? Even if we’re not quite certain about the “dog,” we know this particular “canine” is not going to be easily befriended!

  Epistolary technique at work: Our reporter will totally misread the situation while we will know the nature of the horror aboard the Demeter, a horror that has now come to England.

  Once more, the use of the epistalory form allows a new voice to be heard. There is nothing jarring when we are introduced to this new voice. Charged as he was with “presenting just the facts,” and without the time for verbosity (or an audience that would appreciate it!), the captain gives us what is mostly lean and clean reportage in almost a well-developed, twentieth-century telegraphic style. For this section of the narrative, this is both an economical means of giving us a great deal of information in relatively few words as well as a model of clarity.

  Simple and Direct is the title of Jacques Barzun’s excellent “how to write” book. That title itself is sound advice for writers.

  Again, by allowing the reader to know information that the narrator lacks, we are horrified by the impending doom upon the Demeter, and each entry becomes more frightening than the last.

  In his own words, the captain, who has shown himself to be a man not given to superstitious belief, is now admitting there might be something weird going on.

  Every so often, a motion picture provides imagery superior to that which a combination of words and our own brains might give us. The scenes aboard ship in the 1922 film Nosferatu are perhaps more effective than what the novel provides, because viewers in the audience see the vampire stalking and killing (and we see a goodly supply of rats, too).

  That doesn’t lessen what Stoker accomplishes with his “vampire mainly offstage” scenes aboard ship, but it does give us something to consider about the different ways in which the same basic material might be presented.

  Aha, but we know better. The captain, at this point, is still the earnest but unreliable narrator. Because we know more about Dracula than does he, we are much the wiser.

  We will later learn that Dracula, a “dark lord of Nature,” can conjure fog and mist. Is this something we might call “reverse foreshadowing”?

  Thus exits our captain.

  And thus Stoker, playing with chronology, was free, because of the epistolary technique, to give us first the dead man and then, in a flashback with none of a flashback’s plot-stopping disadvantages, to provide an explanation for it.

  Stoker might be stretching out the “dog anecdote,” thereby making it a shaggy-dog story. And yet note how the author of the news clipping misses the connection between the presence of a massive dog on board and the lack of any description of a dog in the captain’s journal …

  Lucy is still “not right,” Mina is still worried about Jonathan, and …

  Swales is dead. Swales had spoken of death coming for him, a realistic prospect in that he was truly “the ancient mariner.”

  But Stoker simply zings this in—and we realize the author has played fair. He set it up.

  And we know who is responsible for Swales’s death.

  Throughout Dracula, there is evidence that Stoker does indeed trust his readers.

  Chapter 8

  MINA MURRAY’S JOURNAL

  SAME DAY, 11 O’CLOCK P.M.—Oh, but I am tired! If it were not that I had made my diary a duty I should not open it tonight. We had a lovely walk. Lucy, after a while, was in gay spirits, owing, I think, to some dear cows who came nosing towards us in a field close to the lighthouse, and frightened the wits out of us. I believe we forgot everything, except of course, personal fear, and it seemed to wipe the slate clean and give us a fresh start. We had a capital ‘severe tea’ at Robin Hood’s Bay in a sweet little old-fashioned inn, with a bow window right over the seaweed-covered rocks of the strand. I believe we should have shocked the ‘New Woman’ with our appetites. Men are more tolerant, bless them! Then we walked home with some, or rather many, stoppages to rest, and with our hearts full of a constant dread of wild bulls. Lucy was really tired, and we intended to creep off to bed as soon as we could. The young curate came in, however, and Mrs. Westenra asked him to stay for supper. Lucy and I had both a fight for it with the dusty miller. I know it was a hard fight on my part, and I am quite heroic. I think that some day the bishops must get together and see about breeding up a new class of curates, who don’t take supper, no matter how hard they may be pressed to, and who will know when girls are tired. Lucy is asleep and breathing softly. She has more colour in her cheeks than usual, and looks, oh so sweet. If Mr. Holmwood fell in love with her seeing her only in the drawing room, I wonder what he would say if he saw her now. Some of the ‘New Women’ writers will some day start an idea that men and women should be allowed to see each other asleep before proposing or accepting. But I suppose the ‘New Woman’ won’t condescend in future to accept. She will do the proposing herself. And a nice job she will make of it too! There’s some consolation in that. I am so happy tonight, because dear Lucy seems better. I really believe she has turned the corner, and that we are over her troubles with dreaming. I should be quite happy if I only knew if Jonathan … God bless and keep him.

  11 AUGUST.—Diary again. No sleep now, so I may as well write. I am too agitated to sleep. We have had such an adventure, such an agonizing experience. I fell asleep as soon as I had closed my diary… Suddenly I became broad awake, and sat up, with a horrible sense of fear upon me, and of some feeling of emptiness around me. The room was dark, so I could not see Lucy’s bed. I stole across and felt for her. The bed was empty. I lit a match and found that she was not in the room. The door was shut, but not locked, as I had left it. I feared to wake her mother, who has been more than usually ill lately, so threw on some clothes and got ready to look for her. As I was leaving the room it struck me that the clothes she wore might give me some clue to her dreaming intention. Dressing-gown would mean house, dress outside. Dressing-gown and dress were both in their places. “Thank God,” I said to myself, “she cannot be far, as she is only in her nightdress.” I ran downstairs and looked in the sitting room. Not there! Then I looked in all the other rooms of the house, with an ever-growing fear chilling my heart. Finally, I came to the hall door and found it open. It was not wide open, but the catch of the lock had not caught. The people of the house are careful to lock the door every night, so I feared that Lucy must have gone out as she was. There was no time to think of what might happen. A vague over-mastering fear obscured all details. I took a big, heavy shawl and ran out. The clock was striking one as I was in the Crescent, and there was not a soul in sight. I ran along the North Terrace, but could see no sign of the white figure which I expected. At the edge of the West Cliff above the pier I looked across the harbour to the East Cliff, in the hope or fear, I don’t k
now which, of seeing Lucy in our favourite seat. There was a bright full moon, with heavy black, driving clouds, which threw the whole scene into a fleeting diorama of light and shade as they sailed across. For a moment or two I could see nothing, as the shadow of a cloud obscured St. Mary’s Church and all around it. Then as the cloud passed I could see the ruins of the abbey coming into view, and as the edge of a narrow band of light as sharp as a sword-cut moved along, the church and churchyard became gradually visible. Whatever my expectation was, it was not disappointed, for there, on our favourite seat, the silver light of the moon struck a half-reclining figure, snowy white. The coming of the cloud was too quick for me to see much, for shadow shut down on light almost immediately, but it seemed to me as though something dark stood behind the seat where the white figure shone, and bent over it. What it was, whether man or beast, I could not tell. I did not wait to catch another glance, but flew down the steep steps to the pier and along by the fish-market to the bridge, which was the only way to reach the East Cliff. The town seemed as dead, for not a soul did I see. I rejoiced that it was so, for I wanted no witness of poor Lucy’s condition. The time and distance seemed endless, and my knees trembled and my breath came laboured as I toiled up the endless steps to the abbey. I must have gone fast, and yet it seemed to me as if my feet were weighted with lead, and as though every joint in my body were rusty. When I got almost to the top I could see the seat and the white figure, for I was now close enough to distinguish it even through the spells of shadow. There was undoubtedly something, long and black, bending over the half-reclining white figure. I called in fright, “Lucy! Lucy!” and something raised a head, and from where I was I could see a white face and red, gleaming eyes. Lucy did not answer, and I ran on to the entrance of the churchyard. As I entered, the church was between me and the seat, and for a minute or so I lost sight of her. When I came in view again the cloud had passed, and the moonlight struck so brilliantly that I could see Lucy half reclining with her head lying over the back of the seat. She was quite alone, and there was not a sign of any living thing about.

  When I bent over her I could see that she was still asleep. Her lips were parted, and she was breathing, not softly as usual with her, but in long, heavy gasps, as though striving to get her lungs full at every breath. As I came close, she put up her hand in her sleep and pulled the collar of her nightdress close around her, as though she felt the cold. I flung the warm shawl over her, and drew the edges tight around her neck, for I dreaded lest she should get some deadly chill from the night air, unclad as she was. I feared to wake her all at once, so, in order to have my hands free to help her, I fastened the shawl at her throat with a big safety pin. But I must have been clumsy in my anxiety and pinched or pricked her with it, for by-and-by, when her breathing became quieter, she put her hand to her throat again and moaned. When I had her carefully wrapped up I put my shoes on her feet, and then began very gently to wake her. At first she did not respond, but gradually she became more and more uneasy in her sleep, moaning and sighing occasionally. At last, as time was passing fast, and for many other reasons, I wished to get her home at once, I shook her forcibly, till finally she opened her eyes and awoke. She did not seem surprised to see me, as, of course, she did not realize all at once where she was. Lucy always wakes prettily, and even at such a time, when her body must have been chilled with cold, and her mind somewhat appalled at waking unclad in a churchyard at night, she did not lose her grace. She trembled a little, and clung to me. When I told her to come at once with me home, she rose without a word, with the obedience of a child. As we passed along, the gravel hurt my feet, and Lucy noticed me wince. She stopped and wanted to insist upon my taking my shoes, but I would not. However, when we got to the pathway outside the churchyard, where there was a puddle of water, remaining from the storm, I daubed my feet with mud, using each foot in turn on the other, so that as we went home, no one, in case we should meet any one, should notice my bare feet.

  Fortune favoured us, and we got home without meeting a soul. Once we saw a man, who seemed not quite sober, passing along a street in front of us. But we hid in a door till he had disappeared up an opening such as there are here, steep little closes, or ‘wynds’, as they call them in Scotland. My heart beat so loud all the time sometimes I thought I should faint. I was filled with anxiety about Lucy, not only for her health, lest she should suffer from the exposure, but for her reputation in case the story should get wind. When we got in, and had washed our feet, and had said a prayer of thankfulness together, I tucked her into bed. Before falling asleep she asked, even implored, me not to say a word to any one, even her mother, about her sleep-walking adventure. I hesitated at first, to promise, but on thinking of the state of her mother’s health, and how the knowledge of such a thing would fret her, and think too, of how such a story might become distorted, nay, infallibly would, in case it should leak out, I thought it wiser to do so. I hope I did right. I have locked the door, and the key is tied to my wrist, so perhaps I shall not be again disturbed. Lucy is sleeping soundly. The reflex of the dawn is high and far over the sea …

  SAME DAY, NOON.—All goes well. Lucy slept till I woke her and seemed not to have even changed her side. The adventure of the night does not seem to have harmed her, on the contrary, it has benefited her, for she looks better this morning than she has done for weeks. I was sorry to notice that my clumsiness with the safety-pin hurt her. Indeed, it might have been serious, for the skin of her throat was pierced. I must have pinched up a piece of loose skin and have transfixed it, for there are two little red points like pin-pricks, and on the band of her nightdress was a drop of blood. When I apologised and was concerned about it, she laughed and petted me, and said she did not even feel it. Fortunately it cannot leave a scar, as it is so tiny.

  SAME DAY, NIGHT.—We passed a happy day. The air was clear, and the sun bright, and there was a cool breeze. We took our lunch to Mulgrave Woods, Mrs. Westenra driving by the road and Lucy and I walking by the cliff-path and joining her at the gate. I felt a little sad myself, for I could not but feel how absolutely happy it would have been had Jonathan been with me. But there! I must only be patient. In the evening we strolled in the Casino Terrace, and heard some good music by Spohr and Mackenzie, and went to bed early. Lucy seems more restful than she has been for some time, and fell asleep at once. I shall lock the door and secure the key the same as before, though I do not expect any trouble tonight.

  12 AUGUST.—My expectations were wrong, for twice during the night I was wakened by Lucy trying to get out. She seemed, even in her sleep, to be a little impatient at finding the door shut, and went back to bed under a sort of protest. I woke with the dawn, and heard the birds chirping outside of the window. Lucy woke, too, and I was glad to see, was even better than on the previous morning. All her old gaiety of manner seemed to have come back, and she came and snuggled in beside me and told me all about Arthur. I told her how anxious I was about Jonathan, and then she tried to comfort me. Well, she succeeded somewhat, for, though sympathy can’t alter facts, it can make them more bearable.

  13 AUGUST.—Another quiet day, and to bed with the key on my wrist as before. Again I awoke in the night, and found Lucy sitting up in bed, still asleep, pointing to the window. I got up quietly, and pulling aside the blind, looked out. It was brilliant moonlight, and the soft effect of the light over the sea and sky, merged together in one great silent mystery, was beautiful beyond words. Between me and the moonlight flitted a great bat, coming and going in great whirling circles. Once or twice it came quite close, but was, I suppose, frightened at seeing me, and flitted away across the harbour towards the abbey. When I came back from the window Lucy had lain down again, and was sleeping peacefully. She did not stir again all night.

  14 AUGUST.—On the East Cliff, reading and writing all day. Lucy seems to have become as much in love with the spot as I am, and it is hard to get her away from it when it is time to come home for lunch or tea or dinner. This afternoon she made a
funny remark. We were coming home for dinner, and had come to the top of the steps up from the West Pier and stopped to look at the view, as we generally do. The setting sun, low down in the sky, was just dropping behind Kettleness. The red light was thrown over on the East Cliff and the old abbey, and seemed to bathe everything in a beautiful rosy glow. We were silent for a while, and suddenly Lucy murmured as if to herself …

  “His red eyes again! They are just the same.” It was such an odd expression, coming apropos of nothing, that it quite startled me. I slewed round a little, so as to see Lucy well without seeming to stare at her, and saw that she was in a half dreamy state, with an odd look on her face that I could not quite make out, so I said nothing, but followed her eyes. She appeared to be looking over at our own seat, whereon was a dark figure seated alone. I was quite a little startled myself, for it seemed for an instant as if the stranger had great eyes like burning flames, but a second look dispelled the illusion. The red sunlight was shining on the windows of St. Mary’s Church behind our seat, and as the sun dipped there was just sufficient change in the refraction and reflection to make it appear as if the light moved. I called Lucy’s attention to the peculiar effect, and she became herself with a start, but she looked sad all the same. It may have been that she was thinking of that terrible night up there. We never refer to it, so I said nothing, and we went home to dinner. Lucy had a headache and went early to bed. I saw her asleep, and went out for a little stroll myself. I walked along the cliffs to the westward, and was full of sweet sadness, for I was thinking of Jonathan. When coming home, it was then bright moonlight, so bright that, though the front of our part of the Crescent was in shadow, everything could be well seen, I threw a glance up at our window, and saw Lucy’s head leaning out. I opened my handkerchief and waved it. She did not notice or make any movement whatever. Just then, the moonlight crept round an angle of the building, and the light fell on the window. There distinctly was Lucy with her head lying up against the side of the window sill and her eyes shut. She was fast asleep, and by her, seated on the window sill, was something that looked like a good-sized bird. I was afraid she might get a chill, so I ran upstairs, but as I came into the room she was moving back to her bed, fast asleep, and breathing heavily. She was holding her hand to her throat, as though to protect if from the cold.