6. In what way does Dracula represent British colonial anxiety?

The 1897 novel Dracula by Bram Stoker carries with it a range of anxieties felt by his contemporaries about the state of things within the British Empire. The age of the British Empires dominion was drawing towards its close, and the people of Britain might well have sensed this. Despite great military successes, a series of reductions and losses of British overseas territories marked a worrying pattern. America, arguably Britains most important overseas territory, was lost completely in 1783 after the American War of Independence and the Treaty of Versailles which followed it. The vastly powerful East India Company lost its monopoly in 1807 and was dissolved in 1858 and in 1867 Canada changed from a colony to a dominion (a further loss of British control). In addition, Queen Victoria, who had become in many ways the symbol of the British Empire, passed her 78th birthday the year of Draculas publication and was near the end of her life. The British Empire, whilst still strong, was diminishing. This is echoed in Stokers historical foreshadowing of who will be Englands heir. America... she will be a power in the world indeed, wagers Dr. Seward (p.184). Whats more, it was a time of change as modernity approached, with the appearance of the new woman and female suffrage being granted in New Zealand in 1893. As these changes were contemporary to the passing of the British Empire from world dominance, it was conceived by many that the two equated. Whilst it is possible that one may have caused the other, the probability is that the two were in fact unrelated. A psychological study carried out by B.F. Skinner on pigeons, and later by Derren Brown on humans, proved conclusively that such parallels often mean nothing but are inevitably drawn anyway. Such proved the case with the changes of the period. It was assumed by many that, with the diminishing power of the British Empire, her values were also diminishing as the social order slowly fell into chaos, just as the Roman Empire had done one and a half millennia earlier. Values that, it was held, made the British Empire what is was, with its prides such as the abolition of slavery in 1833 and a plethora of scientific advancements. Dracula can be seen as being, barely concealed within its plotline, a defence of traditional British values that Stoker felt were being lost: of the meek woman, of male comradery and of sexual purity, and of the things that might deteriorate these values. The British ethos, as envisioned by Stoker, is portrayed in the role of the traveller (namely Jonathan Harker) at the beginning of the novel. He is of the disposition that the culture he is in is below his own. He demonstrates this in his comments. For example, of the local maps, he comments that they

are as yet to compare with our own Ordnance Survey maps(p.271). Of the local cuisine, he says that the meat he is served is in the style of London cats-meat. He notes how unpunctual the trains are, and that the locals are uneducated and superstitious. Nonetheless, he maintains his dignity and carries himself politely and takes an interest in the locals, sometimes applauding the food, bestowing his compliments onto the lower culture, being an ideal example of British reserve and patience abroad. The traditional values of Victorian England are perpetually upheld by the central characters. That women should be interested in every aspect of her husbands life was one such value, hinted at by Jonathan Harkers given reason for going into so much detail, that his notes may refresh my memory when I talk over my travels with Mina(p.28). Mina herself is devotional to her husband, and is both reserved and gentle. When he holds her by the arm, she feels it is very improper(p.182), as was expected in Victorian society, yet she does not argue because it was Jonathan, and he was my husband. The patriarchy of Victorian society is just as endorsed, with constant references to the importance of ones manhood. The references to this are myriad. To name just a few examples, these include: I fear to trust those women, even if they would have courage to submit (Seward p.162), ... even his stalwart manhood seemed to have shrunk somewhat... (Seward p.179) it is better to die like a man (Capt. Of the Demeter p.106), a man may sleep as a man (Jonathan Harker p.75), I know he never will - he is too true a gentleman (Mina p.235), why are men so noble when we women are little worthy of them? (Lucy p.80). Sexual repression is also present. When Mina grasps Arthurs hand (p.235), careful effort is made to explain that there is no sexual element. As for stiff upper lip, the protagonists endure much hardship, yet always recover and are constantly determined to maintain a good spirit, negativity being quickly shut out. No one must hear them spoken again!, Mina comments on Sewards heart-rendering phonograph entries (p.229), and Dr. Seward is constantly referring to Van Helsings iron nerve. Equally, the values of the Enlightenment are upheld, being a movement peaking in the Victorian era which espoused rational inquiry and scientific method. Jonathan, for example, is intelligent and rational. After his strange experiences on his way to Draculas castle, he notes that I must have been asleep, for certainly if I had been fully awake I must have noticed the approach to such a remarkable place(p.39). Equally, later in the novel when he returns to England, he accepts the premise given to him by the more qualified medical professionals caring for him that he has had brain fever, that is to be mad (p.123), despite his own memories. Dr. Seward also carries these

Bram, Stoker. Dracula. London: Palgrave, 2002

Enlightenment values of scepticism and level-headedness. He is himself a scientist and makes rational, logical accounts of madmens behaviours. Equally, when presented with Van Helsings extraordinary claims, he remains sceptical until he has had all of the requisite evidence, despite his affinity for the Dutch scientist. Countering all of these points are the embodiments of that which threatens them. Firstly, an appropriately dark backdrop is given to the source of all their problems: the East, considered the land of demons since the Dark Ages. As Jonathan journeys to Draculas castle, he states that he had impression of leaving the West and entering the East. Not only this, but Draculas abode is at the extreme East of Transylvania. As he draws closer and closer, an increasing number of negative words are used. Page 34 alone contains: very cold... one dark mistiness... gloom... dark... darkness... great mass of greyness... weird and solemn... grim... ghost-like... grim... dark... unmercifully wild... darkness... patch of grey... stormy sea... evil eye. It is clear that Dracula will embody everything that Bram Stoker opposes. He is, quite clearly, the patriarch of social transgression within the novel. His polite tone and at first gentle manner represent this transgression as something which is all too easy to fall for. A rather blatant example of transgression being his implication of homosexuality (p.62), in which the Count casts aside the wicked women in a fit of jealous anger. I too can love, he says, I promise you that when I am done with him you shall kiss him at your will. Yet Draculas villainy is obvious in his condemnation to death of mothers and children, of his killing of Lucy... there is little need for subtlety. It is in the character of Lucy that we find the most evidence of social transgression. In her first introduction, she is proposed to by three men. All three of which are fairly intelligent, and would not likely have proposed to her at the drop of the hat. Has she been leading them all on? Why cant they let a girl marry three men, she says (p.80). This is the image of her we are troubled with before she has even began her descent into illness. Time and time again she evidences that, in Stokers world, she has made herself a target vulnerable to Dracula and what he represents. Her polygamist desires are confirmed as, after the blood of the three men is mixed within her, Mina calls Dr. Sewards dealings with Lucy the other side of a true love episode (p.228). As if there were any doubt as to Stokers intentions, Van Helsing, the symbolic archangel of truth within the novel, says this so sweet maid is a polyandrist (p.186). Lucys descent is symbolic of the change Stoker witnessed about him. Her purity is changed to voluptuous wantonness(p.218), a devilish mockery of Lucys sweet purity

(p.221). Mina, being reserved, tender, supportive and submissive is the Victorian ideal. You haven me hope... that there are still good women left (p.195), Helsing says to her. There was a notion of Stokers time that the virtue of being British was to be found in your veins, that the best people were pure-blooded English. Again, Lucy represents the British colonial anxiety that this was being watered down, as the blood of British, American and Dutch people are mixed within her. Dracula himself proudly proclaims that he is the produce of much mixed blood during a spiel which demonstrates his aggressive nature (p.52-54). This relates to the concept of a hierarchy of creatures, superior and inferior, at the top of which were humans. Humans themselves were placed in hierarchy, with black peoples being closest to animals and the English (naturally) being at the top. Dracula is of lower race, which gives him yet more credibility as an orchestrator of British colonial anxieties. Even the portrayal of Van Helsing, who is otherwise wiser than the other characters, is given some attributes which place him as less noble, as the Dutch were not quite the English in this hierarchical model. He chooses to help Lucy in no small part due to the fact that she charm me (p.132), suggesting that he has some romantic compulsion. To add to this, when Lucy hides a diary entry in her breast (another suggestion of her transgression), Van Helsing finds it, saying that it dropped from Lucys breast when we carried her to the bath(p.163). This is unlikely. If the note had been in any part outside of her clothes, it would have been seen by both of them. If entirely within her clothes, it would not likely have fallen out. Even if this can be explained, he then puts it back where he found it. This, coupled with a sense of comedy in his expression Gott in Himmel! (p.143), reduces him to be, in nature, very intelligent but not quite up to the noble standard of English-born. Vampirism itself, being the resulting disease of social transgression within Stokers text, might be viewed as representative of the diseases and infections that were becoming an increasing anxiety to his contemporary society. The most obvious of these being syphilis, a disease that can be transmitted by exchange of bodily fluids (such as blood or through sexual contact) with someone who is already infected. It was especially prevalent during the Victorian era as penicillin had not yet been discovered. There is also cholera, which was widespread due to poor systems of water access, typhoid and scarlet fever. Each was potentially lethal and a major concern to Stokers time. There is, in conclusion, many aspects of Stokers novel which relate to anxieties of the time. In literary protest to this, the representatives of the old, English, better order defeat the forces that challenge them. From then process much can be read into the state of mind of late Victorian society.

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