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The novel has a suspenseful Tone, indicative of its gothic genre. Suspense is built through the use of epistolary form. By presenting the story through the journals, letters, and accounts of various characters, Stoker gradually reveals elements of the story to the reader. He is aided by powers of necromancy and divination of the dead, that all who die by his hand may reanimate and do his bidding. [28] Bloodletting [ edit ] The novel's characters are often said to represent transgressive sexuality through the performance of their genders. The primary sexual threat posed by Count Dracula is, Christopher Craft writes, that he will "seduce, penetrate, [and] drain another male", [62] with Jonathan Harker's excitement about being penetrated by three vampire women serving as a mask and proxy for his homosexual desire. [62] His excitement also inverts standard Victorian gender roles; in succumbing to the vampire women, Harker assumes the traditionally feminine role of sexual passivity while the vampire women assume the masculinised role of acting. [63] Sexual depravity and aggression were understood by the Victorians as the exclusive domain of Victorian men, while women were expected to submit to their husband's sexual wishes. Harker's desire to submit, and the scene's origin as a dream Stoker had, highlights the divide between societal expectations and lived realities of men who wanted more freedom in their sexual lives. [64] In the British version of the text, Harker hears the three vampire women whispering at his door, and Dracula tells them they can feed on him tomorrow night. In the American version, Dracula insinuates that he will be feeding on Harker that night: "To-night is mine! To-morrow is yours!" Nina Auerbach and David J. Skal, in the Norton Critical Edition of the text, posit that Stoker thought the line would render the novel unpublishable in 1897 England, and that "the America that produced his hero Walt Whitman would have been more tolerant of men feeding on men". [65]

Sommerlad, Joe (13 July 2017). "Celebrating Eiko Ishioka's extraordinary costumes for Bram Stoker's Dracula". The Independent . Retrieved 13 July 2021. Clasen, Mathias (2012). "Attention, Predation, Counterintuition: Why Dracula Won't Die". Style. 46 (3–4): 378–398. ISSN 0039-4238. JSTOR 10.5325/style.46.3-4.378. In 2003, Count Dracula, as portrayed by Lugosi in the 1931 film, was named as the 33rd greatest movie villain by the AFI. [50] In 2013, Empire magazine ranked Lee's portrayal as Dracula the 7th Greatest Horror Movie Character of All Time. [51] He was the second son of Vlad Dracul, who became the ruler of Wallachia in 1436. Vlad and his younger brother, Radu, were held as hostages in the Ottoman Empire in 14The novel's depiction of women continues to divide critics. Elaine Showalter writes that Lucy Westenra and Mina Harker represent different aspects of the New Woman. [g] According to Showalter, Lucy represents the "sexual daring" of the New Woman, evidenced by how she wonders why a woman cannot marry three men if they all desire her. [67] Mina, meanwhile, represents the New Woman's "intellectual ambitions", citing her occupation as a schoolmaster, her keen mind, and her knowledge of shorthand. [67] Carol A. Senf writes that Stoker was ambivalent about the New Woman phenomenon. Of the novel's five vampires, four are women, and all are aggressive, "wildly erotic", and driven only by their thirst for blood. Mina Harker, meanwhile, serves as the antithesis of the other female characters, and plays a singularly important role in Dracula's defeat. [31] On the other hand, Judith Wasserman argues that the fight to defeat Dracula is really a battle for control over women's bodies. [68] Senf points out that Lucy's sexual awakening, and her reversal of gender-based sexual roles, is what Abraham Van Helsing considers a threat. [69] Race Further, if Dracula or any vampire has had their fill in blood upon feeding, they will be caused to rest in this dead state even longer than usual. [46] Other abilities [ edit ] Laura Sagolla Croley expands: "Arata fails to see the class implications of Dracula's racial invasion. Social reformers and journalists throughout the century used the language of race to talk about the very poor". [83] Miller, Elizabeth (2006). "Filing for Divorce: Count Dracula vs. Vlad Tepes". Dictionary of Literary Biography. 394: 212–217.

Dracula's powers and weaknesses vary greatly in the many adaptations. Previous and subsequent vampires from different legends have had similar vampire characteristics.After killing Lucy, the men move on to destroy Dracula himself, the root of their troubles. Mina and Harker return to England, where they join forces with Van Helsing and the others to defeat Dracula. Demetrakopoulos, Stephanie (1977). "Feminism, Sex Role Exchanges, and Other Subliminal Fantasies in Bram Stoker's "Dracula" ". Frontiers: A Journal of Women Studies. 2 (3): 104–113. doi: 10.2307/3346355. ISSN 0160-9009. JSTOR 3346355.