(at left: Caspar David Friedrich's Moonrise Over the Sea (1822), a Romantic-Gothic image that captures the Gothic revival tone of Dracula quite well)
1. Why does Stoker call the region of Translyvania an “imaginative whirlpool” (28)? How might this play into British notions of the Orient and Freud’s “uncanny”?
2. Examine the “seduction” scene between Harker and Dracula’s brides in Chapter III: how does he react to their advances (look closely at the language), and how does this either resemble or contrast with Carmilla’s seduction of Laura? Does Stoker mean this passage to be similarly subversive?
3. What reading material does Harker find in Dracula’s library? How might this underline Dracula’s later statement that, “to know her [England] is to love her” (45)?
4. Discuss the effect of Harker’s journals as a narrative strategy in the first few chapters. Why tell the story entirely from this point of view (rather than an omniscient or even normal first-person narrative)? Does this resemble the techniques used by Le Fanu in In a Glass Darkly? Is the technique ever strained beyond belief (or effectiveness)?