Woodhouse Gothic

Students in all literature classes have been working hard at home. Now might be a good time to take a look at what other students have been doing and what they have written about your gothic exam texts. Are you in agreement? Do you have the same grasp of the actual text? Do you need to use these resources to build on your own folder of notes?

Gothic literature challenges the social norms, it breaks the boundary between the acceptable and the unacceptable. Both the writers, Bram Stoker and Angela Carter, have used their female characters to explore alternative representations of femininity.

For instance, Stoker frequently describes Lucy and the female Vampires as “voluptuous”. This addresses their promiscuity and “wantonness”, which was immensely rejected in the Victorian society. Perhaps, through Lucy’s death Stoker is implying that a woman’s exploration of her sexuality may have fatal, or even deadly implications. This is can be supported by viewing the text from a Christian perspective- Lucy “recoiled” at the sight of the crucifix and her body “quivered”, “trembled” and “twisted”. She is explicitly seen as an evil “Thing”. The text can be perceived as an allegory about the restoration of order. Perhaps, Stoker is implying that female sexuality has direct connotations with temptation.

On a similar note, the Countess in the ‘Lady of the House of Love’ is “so beautiful she is unnatural” yet she bit into the rabbits’ necks with “nauseated voluptuousness”. Carter has created a duality in the Countess’s character, her beauty may ideally symbolise purity but her “soullessness” and ferocious qualities contradict it.

We could view the texts from a Christian Interpretation. This renders us to draw parallels from the traditional story of the ‘Original Sin’; Eve was tricked by a serpent(A phallic-like figure) and she ate the ‘red’ apple which could be a symbol of her virginity. We witness Stoker using intertextuality to explore the ramifications of the ‘blasphemous’ sexual desires. Since, the Victorian society was very religious- it is explicit how these actions can be seen as iconoclastic. While, Carter simply “offers different models of femininity”(-Aidan Day)- she seems to criticise the patriarchal structure as the Countess is “under the eyes of the portraits of her demented and atrocious ancestors”. The ancestors could symbolise the oppression of women’s lives, as they were constantly defined by the society; like the tarot cards in the ‘Lady of the House of love’.

Secondly, the Heroine in ‘The Bloody Chamber- The Bloody Chamber’ encounters “a strange, impersonal arousal at the thought of love”. Carter has cleverly overturned the idealistic representation of women in fairy tales; modest, virginal and chaste. Initially, the Heroine may be seen as the victim but her “rare talent for corruption” makes the ‘victim-villain’ roles more obscure. This defies the expected maidenhood quality from a woman. The ‘pure’ female characters in fairy tales are consistently virtuous and almost two dimensional. Perhaps, this symbolises what was expected of women, to be submissive and passive. Carter, on the other hand, subverts these stereotypes as the Heroine uses the “forbidden key”, she disobeyed her husband’s orders. We can compare the character of Mina with the Heroine. Although Mina is described as “one of God’s women”, yet eventually she expresses that “years teaching etiquette and decorum…pedantry of it biting into yourself a bit”. Like the Heroine, Mina also seems to have a potential of “corruption” in her. Perhaps, this tells the reader about the reality of femininity, female sexuality is undeniable. Although, both the writers do suggest opposing views on whether that is good or bad.

Through this, both the texts explore the different spectrum of conformity in women and informs the reader about the female sexuality. Perhaps, Stoker implies that lack of conformity could be deadly while Carter suggests conformity leads to loss of identity.

Both Dracula and The Bloody Chamber have similarities when it comes to the descriptions of metamorphic characters. There is a negative light shone on characters who are or seem different from humans. In both we see language used to create a distinction between non-human characters and the human characters. Words like ‘creature’ and ‘thing’ are used to disassociate and ‘other’ abhumans from humans. Abhumans have the ability to transform from a human or humanlike state to one of an animal; this makes them different and unusual from the rest and so they are usually feared by the society they live in. This xenophobic stance held against these types of characters can be seen throughout history. In the late Victorian era anxieties about reverse colonialism were on the rise. Throughout Dracula we see the Victorian attitudes on race and foreigners; worries of ‘savage’ and ‘primitive’ foreigners rising and conquering Western society which was seen as ‘civilised, rational and progressive’.

Metamorphosis in both Dracula and The Bloody Chamber can be interpreted to be an ‘unmasking’. ‘semblance’ and ‘conceal’ are used to describe metamorphic characters. These characters do not show who they truly are, they only display a version of themselves which is distinct from the one under their facade. This gives a sense of duality, a theme that is seen in the Gothic genre. In the novel The Picture of Dorian Gray the title character, Dorian Gray, has two sides to him: a side where he is allowed to explore every possible vice and desire while his moral decay (his other side) is hidden away and bears all the marks of his degeneration. This kind of separation between oneself can be seen in Robert Stevenson’s The Strange Case of Dr Jekyll and Mr Hyde, where Dr Jekyll concocts a potion which can separate the good and bad qualities of himself. Characters who are able to transform also have this same type of duality through their different beings. They are also able to separate what is beneath the mask from what is above it. In Angela Carter’s ‘The Bloody Chamber’ we see the dualistic nature of the Marquis. He is described as wearing a mask to conceal some part of himself from the pianist. He conceals his sadistic, murderous nature from her and displays a somewhat, more caring side to himself. Much like the beast in ‘The Tiger’s Bride’ who physically hides his true tiger self, by wearing clothes and a mask, to appear more human. Having more than one side to oneself allows for characters to emit specific qualities.

A main difference in how metamorphosis is presented in Dracula and The Bloody Chamber is the way in which characters have changed/transformed. In Dracula we have a change which is external, words like ‘loveliness’, ‘sweetness’, ‘young’ and ‘voluptuous’ are used to describe the outwards appearance of characters who have metamorphosed. This change of outwards appearance, mainly of the face, could link back to the practice of physiognomy during the 18th and 19th century. This was a way of detecting one’s character through their appearance and so a more youthful and pretty look would lead people to believe you were sweet and harmless. This could mean that characters that did transform to look younger and lovely wouldn’t be feared. One the other hand, The Bloody Chamber depicts more painful, whole body transformations. Words like ‘melt’, ‘ripped’ ‘clawed’ and ‘flesh’ are used in the transformation of characters. They undergo full body changes including the ways their body structure changes, this is a more realistic look on metamorphosis as their outward appearance isn’t the only thing that changes.

Mina’s journal offers some interesting feminist interpretations. Firstly, Mina starts her diary by talking about Jonathon and expressing her worries for him, rather than her own emotions/fears. In fact, she later states that she’s only writing this diary for Jonathon and “his dear eyes to read”, not to relieve any of her worry. Mina also repeats the gendered adjective “anxious” three times, thus conforming to the stereotype that women are so full of anxiety that the are powerless and useless. Furthermore, Mina explicitly states these gendered stereotypes herself, when she draws the distinction between “strong men” and herself - a woman who is merely “crying like a silly fool”. Amelie Bunce: Feminist reading.

Psychological: This extract has a recurrent motif of sleep and unconsciousness. The reader is forced to detect whether Mina's senses can be trusted as she says she "must have fallen asleep". The uncertainty in her speech 'must' highlights the theme of obscurity. The reader starts to question if all of this is Count's manipulation of Mina's senses- "I closed my eyes, but could still see through my eyelids". It is almost as if Stoker is playing with the state between the unconscious and the conscious as her "waking thoughts become merged in, or continue(d) in, dreams.". This could be a symbol of Mina's integration of her shadow and her conscience. Through Jung's psychoanalytical reading we view every character as an aspect of the human psyche. Hence, Dracula could be seen as an embodiment of the darker side of human nature. In fact we can interpret the act of drinking blood sexually due to the idea of exchanging bodily fluids. Perhaps, this can be linked to the expectations society had of women, which is pure, virginal and chaste- "it is one of the lessons that we poor women have to learn...". Mina's pure and idealistic personality is being stained by Dracula. Stoker is building more dimensions into her character as the reader starts to see the potential of corruption in her- "sleep begins to flirt with me(her)". Dracula seems to be triggering an awareness of sexual desire in Mina, going beyond and against the social conventions of Victorian era. Perhaps, Stoker is emphasising the implications of women's sexual exploration, which previously seen through Lucy, are fatal and deadly.

Ananya Badithe: Psychological reading

Mina, the good, motherly figure is almost a Biblical symbol for Mary: she serves as a matron to the group and retains her spirituality and purity. In this section, her good, pure love for her husband sustains her. He speaks to her ‘sweetly’ and ‘tenderly’, and she finds comfort in the thought of her ‘husband’s great love and the good, good wishes of other strong men’. This also serves to uphold the Christian stereotype of the subservience of women and men’s supposed superiority, first created by the Adam and Eve story. Mina not only relies on the men for protection and strength, but also does what they bid her. She goes ‘to bed...simply because they told me to’. Towards the end of the extract, Mina begins to dream of Dracula. Stoker uses descriptive language to present how evil and invasive his presence is. He appears ‘smoke’, ‘shining like a red eye’. This portrayal of him reaffirms his inhuman status- he doesn’t even resemble a man; and has the power to become smoke. However, Ms Harker believes this to be ‘spiritual guidance’ rather than anything of malicious intent, until ‘horror burst upon’ her. Stoker uses Dracula’s attacks on Mina to truly shock a Christian audience- Mina is entirely good and pure, but is quickly corrupted by his power" I did not want to hinder him" - her goodness does her little in terms of protection. However, Stoker, from a Protestant family, follows a Christian moral framework. This means evil is punished and good eventually rewarded; even if this is with the promise of Heaven like ‘poor Lucy’.

Ellie Walker Christian reading

This section, from a post-colonial perspective could be a symbolic reminiscence of a Victorian Fin de Siècle. As Mina recounts how she heard “the sudden barking of the dogs”, the reader is made to speculate that Dracula is near, preying on the virtuous Mina. The uncanny similarity between Jonathon seeing those awful women growing into reality”, the three female vampires, and Mina having a “peculiar” “dream” seeing “the fire divided” and “fog like two red eyes”. In both instances, the atmosphere around the characters are dark and morbid with “black dreams thrown by moonlight”. Here Stoker sets Mina up as a gothic damsel in distress. Not only is she unaware of whether she is asleep, typical gothic obscurity at play here, she is also “very anxious”. So, it could be argued that Stoker could be playing to the stereotypical fears and views the Victorians had about those who are foreign. Dracula, the foreign entity, being hinted at, perhaps, tampers with the distressed state of Mina. This set a Victorian reader to view Dracula as villainous. Additionally, Stoker could be commenting on the Victorian fear that women can easily fall prey to foreign male superiority, sexual or another, as “Victorian literature tends to present the vampire myth as a sexual allegory in which English female virtue is menaced by foreign predators” (Greg Buzwell). Therefore, Mina’s diary could be emblematic of Victorian British fears of the foreign; the Other.

Olivia Opara. Post colonial reading

This extract, seen from a Christian perspective, highlights the contrast between good vs evil. At the beginning of the extract, the reader is presented with the virtuous Mina who is portrayed as selfless, writing about her worries of the ‘poor dear’ Jonathan who she fears she has ‘distressed’. Stoker then contrasts Mina with the dark forces of Dracula. There is a repeated symbol of the colours ‘red’ and ‘black’, which are typically associate with evil forces such as the devil. This could suggest that Dracula is like a servant of the devil, who is on earth to tempt the weak, like the serpent in the creation story. By the end of the extract, Stoker describes a ‘white face bending over’ Mina, which links to Dracula and his blood sucking ritual. This could be linked with the Christian ritual of the Eucharist. Stoker maybe using Dracula’s blood sucking ritual to mimic and mock religious sacraments. Instead of presenting the ritual as a symbol of selfless sacrifice and redemption "Blood of my Blood", Stoker uses Dracula to present it as a symbol of self-serving, greed and corruption.

Roisin Kelly: Christian reading

Psychological: A psycho analytic reading of the passage is displayed through Mina’s recounting of how her body seized up when Dracula began to enter the room “but some leaden lethargy seemed to chain my limbs”. Dracula’s presence as the white mist represents the darker part of our psyche - the unchainable monster or animus in us which Mina clearly has not fully experienced. The seizing of her limbs is a physical response to her unconscious wishing to experience and explore this dark part of her psyche rather than to fight and run away from it. Moreover, the end of the passage she writes “last night tired me more than if I had not slept”. Once again this is a physical indication of the mental drain and trauma her psyche has journeyed through, sleep is physical respite and the fact it would not have been adequate to rest her shows it is instead her unconscious which requires recuperation and rest. Mina comments on Jonathan having “manifestly avoided certain matters and those the most vital of all”. This innuendo is a symbol of her lack of willingness to both integrate the animus part of her psyche as well as suggesting why she did not want to hinder Dracula.

Ben Northam Psychological reading

Gothic fiction frequently uses the trope of Blood to symbolise wider social concerns.’Consider how far you agree with this statement by comparing Dracula with The Bloody Chamber.

The idea of blood is used throughout Dracula to represent various fin de siècle anxieties that permeated Victorian society. Dracula as a character possibly represented the anti-Christ, being described as having ‘red eyes’like ‘burning flames’, and is the manifestation of all evil in society. The act of sucking the blood of his victims can be seen as not only transferring vampirism to them, but also immorality. Despite most likely being a closeted homosexual himself, Bram Stoker used the idea of blood to portray the evils of homosexual impulses. The relationship between Dracula and Jonathan Harker is a remarkably homoerotic one, with the Count even proclaiming ‘this man belongs to me’. Despite Dracula never actually sucking Jonathan’s blood, arguably even being around the Count transforms Harker into a remarkably more effeminate man. It can be said that he turns into a ‘damsel in distress’ type figure, becoming entirely helpless against the whims of Dracula and the female vampires.

Additionally, Dracula and the transference of his blood may represent the perceived danger of female sexuality and sexual liberation. He turns Lucy from a ‘sweet’and ‘pure’girl, perhaps with some tendency to be corrupted, to a ‘voluptuous’‘creature’who uses her sexual power to manipulate men and make them ‘tremble like an oak’. In this way, it is very likely that Bram Stoker was using blood as a metaphor for the social evils that he perceived in society.

Meanwhile in The Bloody Chamber, blood was used to symbolise a variety of different societal issues that Carter may have seen. For instance, in the short story ‘The Bloody Chamber’, the Marquis gifts the pianist a ‘choker of rubies’which were ‘bright as arterial blood’. The association created between material wealth and violence may reflect the class struggle that was going on between the proletariat and the bourgeoisie as Thatcherism was at its height when the story was written. This is further emphasised by the fact that it is described as an ‘extraordinarily precious slit throat’which may be an allusion to the French Revolution – the upper classes having their throats guillotined by the proletariat.

Furthermore, blood may have been used by Carter to represent the loss of innocence in women. In ‘The Bloody Chamber’, the Marquis presses a bloody key upon the Pianist’s forehead which leaves a ‘heart shaped stain’as the he prepares her for her death. This is ironic as the relationship between the Marquis and the pianist was entirely devoid of love. However, it can be argued that they were in lust, as the pianist feels a ‘strange, impersonal arousal’upon the idea of having sex with the man. She was clearly corrupted by the Marquis, knowing ‘nothing of the world’at first. The heart shaped stain on her forehead marks her out as different from all other girls, shames her for her sexual desires, and punishes her for it. Carter was a passionate feminist, so it can be argued that the shame that is placed upon the pianist for her sexual desire is Carter expressing her disapproval of how in wider society at the time, women continued to be shamed for their sexual liberation.

Poem on Mina’s Journey

The journey starts with her fiancée John,

His trip to Transylvania has her missing him all night long.

She awaits news of his travels through a letter,

But does not realise that the Count knows better.

Her friend Lucy needs her support,

She replies with no problem given their rapport.

She is subservient and practical,

The perfect model of a woman many would recall.

Van Helsing believes she has “a man’s brain”,

Which seems the key resource to reverse the Mark of Cain.

She compiles the files to discover the Count’s plan,

Without the aid or interference of a man.

Leader of the search party, until she is struck with a lethal bite,

Which had everyone wondering if she’s going to be alright.

Faced with his “blood-dripping mouth”,

It seemed that things were really going south.

Her telepathic connection guides her lover,

As everyone frantically tries to kill Dracula to prevent him from taking away a Mother.

The party are successful and Mina is set free,

To live the life that she had wanted to see.

The marriage can finally take place,

Away from the chaos that they once faced.

Seven years on and little Quincey is born,

In the loving memory of the man that they mourn.

1. ‘The white-clad figure of his wife’ (p.300)

2. ‘Her white nightdress was smeared with blood.’ (p.300)

3. ‘Her face was ghastly.’ (p.301)

4. ‘She lay in her helpless attitude and disarray.’ (p.301)

5. ‘Her eyes were mad with terror.’ (p.301)

6. ‘From her throat trickled a thin stream of blood.’ (p.301)

7. ‘Same vague terror.’ (p.305)

8. ‘Same sense of some presence.’ (p.305)

9. ‘A tall, thin man, all in black.’ (p.305)

10. ‘The high aquiline nose’ (p.305)

11. ‘He placed his reeking lips upon my throat.’ (p.306)

12. ‘Her eyes shone with the devotion of a martyr.’ (p.309)

13. ‘She was so good and brave. (p.310)

14. ‘Shuddered whilst she moaned.’ (p.315)

15. ‘Oh Madam Mina.’ (p.315)

16. ‘There was a fearful scream.’ (p.315)

17. ‘It had seared it.’ (p.316)

18. ‘Unclean! Unclean!’ (p.316)

19. ‘I must bear this mark of shame (...) until Judgement Day.’ (p.316)

20. ‘Leave your forehead as pure as the heart we know.’ (p.316)

“Low desolate wail which made the terrible scream seem only the quick expression of an endless grief.”

Displays how deeply Mina has been corrupted and wounded by the catalyst for transformation that is Dracula. “Endless” possibly relates to the idea of death, our psychological fears around something we know nothing about that could be never ending, and Victorian ‘fin de siecle’ anxieties around the transformation present in society.

“Held out one hand to Van Helsing… The other hand was locked in that of her husband”

Evoking the sense that the rationality Victorian men were meant to symbolise are necessary after such a traumatic experience. Relates to possible female hysteria, entertains the juxtaposing idea present between the supernatural and the rational.

“I could see the tension of her nerves…”

Further presented as naturally hysteric, even though she had been previously presented as logical and intelligent.

“Given a scream so wild, so despairing…”

Mina reacts more strongly and overtly to Dracula's hysteria than Lucy, suggesting that Mina potentially has more innocence to corrupt, is less easily corrupted. This implies that Lucy possibly is more related to a ‘whore complex’, whereas Mina fulfills more of the archetype of the virgin.

“Horrible fancies began to crowd in upon my mind”
Personifying her “fancies” suggests a lack of control to them, as if they have a life of their own and possession over her mind rather than the other way around. Relates to Freudian ideas of the subconscious, possibly the return of the repressed? Or, it could relate to the mysterious influence of the supernatural. Either way, it plays on Victorian fears of what cannot be controlled, whether inwardly psychological, or mysteriously supernatural. There is a link created between the psychological and supernatural - they are both feared. This could strengthen the notion that Dracula, all supernatural happenings, and possibly the Gothic itself, are really just results of psychological fears already evident within society and the writer.
(But here, Mina is presented as a victim to this, does it imply women are more susceptible to “horrible fancies”?)

“Her husband involuntarily groaned.”
Stoker subverts gender roles, as men are supposed to represent the rational and control.

“Do not fret dear, you must be brave and strong”
Further subversion is present. Mina comforts Harker, even though she has been the victim of Dracula. She presents more rational qualities than him in this scene. It is possible this is implying Dracula’s catalytic corrupting of all people, not just one's Victorian society would affect. It implies Dracula is completely transforming the rational and logical.

“Same vague terror… same sense of some presence.”
Relates to the unknown, to psychological fear. Mina’s ability to sense Dracula is made clear. Possible mental entrapment, as she cannot easily escape him whilst being able to sense him before she knows for sure he is there.

“I could not wake him”
Furthers the sense of being alone and trapped with her own terror. Additionally evokes the idea of the unconscious.

“Strangely enough, I did not want to hinder him”
Playing on the Victorian fear of the unknown. Possibly relating to Freud and the taboo, subconscious sexual desires? Once again, the theme of rationality VS the supernatural is present. Possible evidence of Dracula being a catalyst for taboo sexuality.

“So that I must either suffocate or swallow some of the - Oh my God! My God! What have I done?”
Possible sexual innuendo? Relating to sexuality and the taboo. Reference to ‘God’ implies that she is fearing she has gone against him, gone against her faith. The potential entrapment Dracula imposes is evident here, as there is the threat of suffocation and death. His power over life is highlighted. Interestingly, she blames herself, when she has done nothing. She was a victim of Dracula, a seemingly uncontrollable force, yet somehow she believes she has done something to deserve it. Possibly highlighting how sinful Victorians viewed female sexuality to be?

“I who have tried to walk in meekness and righteousness all my days. God pity me!”
Exclamatives show pure distress, emphasising the harshness of the situation. Stoker is potentially hinting at his doubt towards religion, despite it being an ongoing theme throughout the text. This could relate to the secularisation apparent at the time. Mina begging for mercy, to a modern audience, however, showcases the injustice apparent in this section, as she has done nothing wrong, but still feels immense guilt. Additionally, it may highlight Dracula’s power and control, as even a character a Victorian reader would view as respectable is susceptible to corruption (again evoking Freudian themes, igniting the notion that no one can escape the subconscious or the taboo).

“Cleanse them from pollution”
Further evidence of Dracula as a corruptive force. Corruption VS religion.



“Pitiful to see her so brave… yet… in such a depth of despair.”
Contradiction displays Mina’s virtues but highlights the extent to which she has been harmed by Dracula. Mina is possibly the victim of Dracula that displays his full force of corruption and influence. (Yet, it is good to notice that they believe Mina should be in “full confidence”, which subverts, once again, the traditional expectations of submissive, unintelligent women).

“You must fight Death himself.”
Hinting that Dracula embodies death, is a symbol of death, or has power over life and death? There is an interesting link between the force Dracula exerts over sexuality, life and death, and the fear he causes. This could be the manifestation of classic ‘fin de siecle’ Victorian fears, and also display the extent to which sexuality was considered taboo, as it relates so heavily to death. (Human psychological fear of change or any potential transformational experience reflects the change in society at the time?)

“She was… almost ghastly, and so thin her lips were drawn away showing her teeth in somewhat of prominence.”
Physical transformation. Reminds the reader of what happened to Lucy. Transformation is not just psychological, but physical.

“Echo of the scream had not ceased to ring on the air”
Suggests it is not just Mina that is physically marked, but all of the characters that are emotionally scarred. Permanence of their terror is highlighted.

“Unclean! Unclean! Even the Almighty shuns my polluted flesh!”
Exclamatives exaggerate the shock. Evokes the sense of guilt Mina feels, she is possibly still blaming herself for what occurred. The idea that God is punishing her, even though arguably she has done nothing wrong. Possibly hinting at sexual sin? The importance of religion is emphasised.

“I must bear this mark of shame upon my forehead until the Judgment Day.”
Evoking a sense of martyrdom and self sacrifice. She has accepted her fate as being punished (for arguably nothing). Relates to the mark upon the maiden in ‘The Bloody Chamber’, the idea of a lack of purity is created. This reminds the reader of the depth of corruption Dracula exudes. Additionally, it may imply Mina is more susceptible to the force of corruption, as Lucy was not marked in this way. Potentially relates to the story of Adam and Eve? Eve being the cause of the fall of man relates to Mina being punished for her encounter with Dracula?

“She sank on her knees on the floor in agony”
Utter defeat. She has given up. Stoker displays a submissive gesture, as if she no longer knows how to fight against the force that is Dracula. From a psychological perspective, this could show the overtaking of the subconscious mind, or taboos.