Dracula and The Bloody Chamber Comparison
Theme The Bloody Chamber Dracula Comparison
Setting TBC Jonathan’s passage through Transylvania towards the Both Carter and Stoker use setting to
The maiden moves ‘away from Paris’ into the ‘faery solitude’ of the Marquis’ castle. Carpathian Mountains begins with pleasant scenery ‘a portray a shift in narrative from safe to
The castle represents the deepest, darkest parts of the mind of the narrator bewildering mass of fruit blossom’ in ‘green sloping land’ precarious and life-threatening.
She is almost simultaneously confined within but free to roam in her mind – ‘this encourages a false sense of security o The shift from the cosy
lovely prison of which I was both the inmate and the mistress’ Harker notes that ‘every known superstition in the world daytime of Transylvania to the
‘Switching on every light I could find’ – perhaps her opening her mind is gathered into the horseshoe of the Carpathians’ – the dark desolate nigh time and
Carter’s construction of the castle with both the language of light and openness and loss of the West’s comfort and civilised nature is the Count’s castle
the language of seclusion allows for multiple avenues of exploration, including the accentuated within the early chapters as Harker says o The maiden from TBC leaving
giddy heights of enlightenment and the deep, dark vaults of personal terror ‘there were many things new to me’ her comfortable Paris to the
Tiger’s Bride The distance between England and Transylvania Marquis’ castle
‘this lovely land… no harsh wind… but then the snow comes, you cannot escape it’ – symbolises the distance between the progress and Both Carter and Stoker use setting as a
The initial impression is a beautiful land, but then there is a much more ominous tone outlook to superstition between the two places connection to their characters
and emphasises the land as being destructive While previously the setting of the Carpathians was o Erl-King is connected to the
‘melancholy introspective region; a sunless featureless landscape… a cruel city’ beautiful, the tone shifts as ‘the shadows of the night forest – he dies through
‘decembral solitude’ began to creep around us’ after the daytime ends. The strangulation of his own hair
Just as The Beast’s appearance is a façade, so is the character’s initial impression of night is a ‘growing twilight’ that ‘seemed to merge into o Lady of the House of Love is
Southern Italy – the description of the town creates a sombre, unsettling mood one dark mistiness of gloom’. Stoker repeats key ideas of the haunted house
Carter’s description of the Beast’s palace creates a sense of deteriorating decadence. It nightfall to produce a relentlessness that seems to o Dracula is connected to
presents how the beast has abandons his humanity and let his animalism take over as submerge the valley in a darkness. Transylvania – he gets weaker
he is no longer concerned with maintaining the appearance of the aristocrat - ‘gaping Stoker uses metonymy for darkness to stand for mystery in England, unknown
doors and broken windows’, ‘the tiles came crashing down’ and the supernatural. environment
The Erl-King Dracula’s castle creates entrapment as it is ‘a veritable Both authors can use setting to portray
A strong sense of entrapment and imprisonment from the ‘vertical bars’ of light and prison’ with ‘doors, doors, doors everywhere, and all innocence and corruption
the trees that ‘enclose’ locked and bolted’ o The Snow Child – the white
The narrative chances from a 3rd person narrator ‘the woods enclose. You step The imagery of the sea when Dracula arrives to Whitby landscape reflects the purity
between the first trees’ to the intimacy of a first-person narrative ‘I felt I was in a inflicts terror and proves his power over the forces of and innocence of the child
house of nets’ – we find ourselves entering a surreal maze-like text nature as the ‘wind roared like thunder’ and ‘the waves o The shift from the innocent
The Lady of the House of Love rose in growing fury’ so the ‘glassy sea was like a roaring countryside in Dracula to the
‘the dark entrails of the mansion’ – linking to dismemberment, the place is given a and devouring monster’. This dramatic pathetic fallacy ominous setting of the castle
horrific and gory feel sets the novel for the climax and Dracula’s arrival, o The portrayal of Whitby
‘lightless, cavernous interior’ creating a sense of impending doom before the Count arrives
Countess is also referred to as part of the setting ‘she herself is a haunted house’,
blurring boundaries
Death The Bloody Chamber Dracula’s death can be seen as transformative – his Both Stoker and Carter portray sexual
The death of the Marquis’ wives can be seen as monstrous and sexual at the same power of being the supernatural, powerful entity of the violence with death; by doing so, they
Theme The Bloody Chamber Dracula Comparison
Setting TBC Jonathan’s passage through Transylvania towards the Both Carter and Stoker use setting to
The maiden moves ‘away from Paris’ into the ‘faery solitude’ of the Marquis’ castle. Carpathian Mountains begins with pleasant scenery ‘a portray a shift in narrative from safe to
The castle represents the deepest, darkest parts of the mind of the narrator bewildering mass of fruit blossom’ in ‘green sloping land’ precarious and life-threatening.
She is almost simultaneously confined within but free to roam in her mind – ‘this encourages a false sense of security o The shift from the cosy
lovely prison of which I was both the inmate and the mistress’ Harker notes that ‘every known superstition in the world daytime of Transylvania to the
‘Switching on every light I could find’ – perhaps her opening her mind is gathered into the horseshoe of the Carpathians’ – the dark desolate nigh time and
Carter’s construction of the castle with both the language of light and openness and loss of the West’s comfort and civilised nature is the Count’s castle
the language of seclusion allows for multiple avenues of exploration, including the accentuated within the early chapters as Harker says o The maiden from TBC leaving
giddy heights of enlightenment and the deep, dark vaults of personal terror ‘there were many things new to me’ her comfortable Paris to the
Tiger’s Bride The distance between England and Transylvania Marquis’ castle
‘this lovely land… no harsh wind… but then the snow comes, you cannot escape it’ – symbolises the distance between the progress and Both Carter and Stoker use setting as a
The initial impression is a beautiful land, but then there is a much more ominous tone outlook to superstition between the two places connection to their characters
and emphasises the land as being destructive While previously the setting of the Carpathians was o Erl-King is connected to the
‘melancholy introspective region; a sunless featureless landscape… a cruel city’ beautiful, the tone shifts as ‘the shadows of the night forest – he dies through
‘decembral solitude’ began to creep around us’ after the daytime ends. The strangulation of his own hair
Just as The Beast’s appearance is a façade, so is the character’s initial impression of night is a ‘growing twilight’ that ‘seemed to merge into o Lady of the House of Love is
Southern Italy – the description of the town creates a sombre, unsettling mood one dark mistiness of gloom’. Stoker repeats key ideas of the haunted house
Carter’s description of the Beast’s palace creates a sense of deteriorating decadence. It nightfall to produce a relentlessness that seems to o Dracula is connected to
presents how the beast has abandons his humanity and let his animalism take over as submerge the valley in a darkness. Transylvania – he gets weaker
he is no longer concerned with maintaining the appearance of the aristocrat - ‘gaping Stoker uses metonymy for darkness to stand for mystery in England, unknown
doors and broken windows’, ‘the tiles came crashing down’ and the supernatural. environment
The Erl-King Dracula’s castle creates entrapment as it is ‘a veritable Both authors can use setting to portray
A strong sense of entrapment and imprisonment from the ‘vertical bars’ of light and prison’ with ‘doors, doors, doors everywhere, and all innocence and corruption
the trees that ‘enclose’ locked and bolted’ o The Snow Child – the white
The narrative chances from a 3rd person narrator ‘the woods enclose. You step The imagery of the sea when Dracula arrives to Whitby landscape reflects the purity
between the first trees’ to the intimacy of a first-person narrative ‘I felt I was in a inflicts terror and proves his power over the forces of and innocence of the child
house of nets’ – we find ourselves entering a surreal maze-like text nature as the ‘wind roared like thunder’ and ‘the waves o The shift from the innocent
The Lady of the House of Love rose in growing fury’ so the ‘glassy sea was like a roaring countryside in Dracula to the
‘the dark entrails of the mansion’ – linking to dismemberment, the place is given a and devouring monster’. This dramatic pathetic fallacy ominous setting of the castle
horrific and gory feel sets the novel for the climax and Dracula’s arrival, o The portrayal of Whitby
‘lightless, cavernous interior’ creating a sense of impending doom before the Count arrives
Countess is also referred to as part of the setting ‘she herself is a haunted house’,
blurring boundaries
Death The Bloody Chamber Dracula’s death can be seen as transformative – his Both Stoker and Carter portray sexual
The death of the Marquis’ wives can be seen as monstrous and sexual at the same power of being the supernatural, powerful entity of the violence with death; by doing so, they
