He writes, "Lucy Westenra, but yet how changed. The sweetness was turned to adamantine, heartless cruelty, and the purity to voluptuous wantonness" (Stoker 225). It is clear that wantonness is not a characteristic to be admired in Victorian times, because he compares her wantonness to cruelty, as well. Clearly, both these novels echo the time they were written and society's views on women. Women play insignificant and "wanton" roles in both books, and they are a source of motherly love and distress. One critic, however, feels the novel may be a beacon of change, too. He writes, "Dracula is not only a threat but also imaginative and physical vitality, a catalyst for change. The novel suggests that a new understanding of sexuality and decay is necessary for any attempt to attain social order and growth" (Boone). What is most interesting about these two novels is that they portray relatively like views of women, yet one was written by a man, and the other a woman, indicating how pervasive (and persuasive) society's view of women was at the time, but that at least one author thought those views warranted societal change. To give his novel excitement, Stoker creates Transylvania as a home for vampires and other evil beings, also using an exotic locale, but associating evil with that locale that still lives on today. Shelley uses exotic locations, but does not manage to infuse them with evil the way Stoker does, and that sets these two novels apart.
While there are many similarities between these two horror novels, there are some clear differences, as well. There is a distinct Christian influence in "Dracula" that has been noted by many critics and reviewers. The characters often call on God throughout the novel, such as, "God pity me! Look down on a poor soul in worse than mortal peril; and in mercy pity those to whom she is dear!' Then she began to rub her lips as though to cleanse them from pollution" (Stoker 288). On the other hand, Shelley uses God more in times of despair, and there is not such a feeling of good and evil, God vs. The devil in her story. Instead, it focuses on the weaknesses of man and their desires, without as much interest in the spiritual side of the story.
In addition, Stoker sets his novel mostly in Victorian London, a location that many of his early readers could certainly relate to, while Shelley prefers much more exotic locations, such as the North Pole, Geneva, and Scotland, which gives an air of ...
Yet another difference between these two horror classics is the way they are written. Stoker creates a type of literary journal with letters and even some "newspaper" articles thrown in, while Shelly's work is a narrative, looking back at events after they occurred. While Shelley creates a few letters for the opening and closing of her book, most of it is told by Victor Frankenstein himself, it is written in a first person narrative, creating a marked difference between the works. In addition, "Dracula" uses several narrators and protagonists, while "Frankenstein" uses only two, Victor himself and Robert Walton, the ship's captain that finds Frankenstein on the ice.
In conclusion, these two classic horror novels helped begin and continue the genre of horror fiction, and they remain two of the most recognized horror novels even today. They indicate the morals and social issues of the times, but they also are thought provoking, using common themes to raise the consciousness of the reader. Women and the place they play in society is easily recognized in the two novels, and they have other similarities, as well. Ultimately, they both serve a vital role in the genre of horror fiction.
Boone, Troy. "He Is English and Therefore Adventurous: Politics, Decadence, and 'Dracula." Studies in the Novel 25.1 (1993): 76+.
Nitchie, Elizabeth. Mary Shelley: Author of "Frankenstein." Westport, CT: Greenwood Press, 1970.
Hoeveler, Diane Long. "3 Frankenstein, Feminism, and Literary Theory." The Cambridge Companion to Mary Shelley. Ed. Esther Schor. Cambridge, England: Cambridge University Press, 2003. 45-60.
Schor, Esther, ed. The Cambridge Companion to Mary Shelley. Cambridge, England: Cambridge University Press, 2003.
Shelley, Mary Wollstonecraft. Frankenstein or,…
To give his novel excitement, Stoker creates Transylvania as a home for vampires and other evil beings, also using an exotic locale, but associating evil with that locale that still lives on today. Shelley uses exotic locations, but does not manage to infuse them with evil the way Stoker does, and that sets these two novels apart.
Frankenstein and Enlightenment The Danger of Unregulated Thought in Frankenstein Mary Shelley's Frankenstein; Or, the Modern Prometheus, considered by many to be one of the first science-fiction novels written, is rife with anti-Enlightenment undertones. Shelley's novel, first published in 1818 and republished in 1831, examines the roles of science and religion, and provides a commentary on the dangers of playing God. Considering that Mary Shelley was the daughter of two prominent Enlightenment
Frankenstein An Analysis of Mary Shelley's Frankenstein Mary Wollstonecraft Shelley wrote in her 1831 introduction to the reprint of Frankenstein that "supremely frightful would be the effect of any human endeavour to mock the stupendous mechanism of the Creator of the world" (x). These words not only indicate the manner of her thought on the night she conceived the idea for her gothic novel, they also reflect, as she notes, the ideas
Her list includes the following: culture / Nature reason / Nature male/female mind/body ( Nature) master/slave reason/matter (physicality) rationality/animality ( Nature) human / Nature (non-human) civilised/primitive ( Nature) production/reproduction ( Nature) self/other At first glance, this list seems to capture the basic groupings and gender associations that are at work in Mary Shelley's novel. The Creature exemplifies animality, primitiveness, and physicality, whereas Victor represents the forces of civilization, rational production, and culture. Victor is part of a happy family
The creature grew fond of the family and perceived them to be his protectors. He laboriously studied the family; he learned about their relations to one another, he felt their moods and he practiced their language. He had hoped to be accepted as a member of the family and developed a plan for revealing himself. He decided to first approach the elderly, blind father; the creature hoped to gain
Frankenstein & Romanticism How Romanticism is Demonstrated in Frankenstein In less than six years, Mary Shelley's Frankenstein will be 200 years old. This novel, indicative of the romantic period, is a compelling narrative with numerous themes and vivid imagery to consider. In the context of romanticism, Frankenstein is a worthwhile piece of literature to examine. Literature and art of the romantic period is characterized with an emphasis on intense emotional reactions, specifically
What Victor is saying is that in order to create a living being from the dead, he must haunt the graveyards like a human ghoul and experiment on live animals to "animate" "lifeless clay," being the deceased remains of human beings. From this admission, it is abundantly obvious that Victor, like Prometheus, sees "clay" as the foundation for creation, a substance which is part of the earth itself and