Wednesday 3rd March 2019
Essay Plan: Compare the ways in which the writers of your two texts present violence.
Introduction:
Both Dracula and Dorian Gray are works of gothic literature born out of a changing
face of Fin-de-siecle Victorian London under the stringent rule of Queen Victoria.
Context: A prevalent feature of gothic and supernatural fiction from this era is
violence as a means of forcefully reasserting the natural order of morality in the
pious Victorian society by showing readers a horrific vision of what can happen if
moral codes are transgressed.
The eponymous characters of both novels are guilty of deviating from Victorian
morality and ultimately meet an undignified and violent end which could be seen as
a form of punishment for their transgressions and sin.
Whilst in ‘The Picture of Dorian Gray,’ Dorian Gray meets a brutal demise caused by
his own impulsive act of violence against his portrait, in ‘Dracula’ all the vampires,
including Dracula, are violently decapitated and staked at the heart.
Point one:
Within both texts, violence is portrayed as impulsive, reflecting upon the new
Victorian interest in the psyche and multiple selves.
There is a duality to both eponymous characters; looking firstly at Dracula, who
appears to be a hospitable gentleman fitting in with Victorian ideals of dandyism and
chivalry from the outset of the novel.
In Jonathan’s journey, a sense of foreboding is built up through the pathetic fallacy
of the “dark rolling clouds” and the “oppressive sense of thunder,” foreshadowing
the violence that will occur at Dracula’s castle.
Evidently, the Count’s hospitability lures Jonathan into a false sense of security, as
Stoker’s use of the epistolary format allows him to reveal that Jonathan’s vague
sense of “fear” and foreboding has been “dissipated” by the “light and warmth and
the Count’s courteous welcome.”
Context: Dracula’s villainous nature would be especially shocking to a Victorian
audience, because of the way in which he meets the Victorian standard of being a
respectable host, yet is still capable of shocking acts of violence.
Nevertheless, Jonathan’s initial instincts prove to be correct in the shaving scene
when the Count breaks his façade as the sight of Jonathan’s blood instantaneously
triggers “a sudden demoniac fury” in him, causing him to attempt an act of violence
against Jonathan, lunging at his throat, but is warded off by the “crucifix,”
emphasising his evil nature.
Context: The fact that Dracula’s attack was prevented by a religious relic reinforces
Victorian beliefs that religion is an omnipotent force that could be used as a means
of protection against supernatural evil and violence.
Essay Plan: Compare the ways in which the writers of your two texts present violence.
Introduction:
Both Dracula and Dorian Gray are works of gothic literature born out of a changing
face of Fin-de-siecle Victorian London under the stringent rule of Queen Victoria.
Context: A prevalent feature of gothic and supernatural fiction from this era is
violence as a means of forcefully reasserting the natural order of morality in the
pious Victorian society by showing readers a horrific vision of what can happen if
moral codes are transgressed.
The eponymous characters of both novels are guilty of deviating from Victorian
morality and ultimately meet an undignified and violent end which could be seen as
a form of punishment for their transgressions and sin.
Whilst in ‘The Picture of Dorian Gray,’ Dorian Gray meets a brutal demise caused by
his own impulsive act of violence against his portrait, in ‘Dracula’ all the vampires,
including Dracula, are violently decapitated and staked at the heart.
Point one:
Within both texts, violence is portrayed as impulsive, reflecting upon the new
Victorian interest in the psyche and multiple selves.
There is a duality to both eponymous characters; looking firstly at Dracula, who
appears to be a hospitable gentleman fitting in with Victorian ideals of dandyism and
chivalry from the outset of the novel.
In Jonathan’s journey, a sense of foreboding is built up through the pathetic fallacy
of the “dark rolling clouds” and the “oppressive sense of thunder,” foreshadowing
the violence that will occur at Dracula’s castle.
Evidently, the Count’s hospitability lures Jonathan into a false sense of security, as
Stoker’s use of the epistolary format allows him to reveal that Jonathan’s vague
sense of “fear” and foreboding has been “dissipated” by the “light and warmth and
the Count’s courteous welcome.”
Context: Dracula’s villainous nature would be especially shocking to a Victorian
audience, because of the way in which he meets the Victorian standard of being a
respectable host, yet is still capable of shocking acts of violence.
Nevertheless, Jonathan’s initial instincts prove to be correct in the shaving scene
when the Count breaks his façade as the sight of Jonathan’s blood instantaneously
triggers “a sudden demoniac fury” in him, causing him to attempt an act of violence
against Jonathan, lunging at his throat, but is warded off by the “crucifix,”
emphasising his evil nature.
Context: The fact that Dracula’s attack was prevented by a religious relic reinforces
Victorian beliefs that religion is an omnipotent force that could be used as a means
of protection against supernatural evil and violence.
