The Loss Of Identity In Bram Stoker's Dracula

In relation to Dracula, the reader is never told how Dracula became a vampire. However, Van Helsing hints that as Dracula must have battled against the Turks “he was spoken of as the cleverest and the most cunning, as well as the bravest of the sons of the “land beyond the forest””(Stoker 224). In Dr Seward’s diary, Van Helsing learns from the researches of his friend Arminius of Buda-Pesth that Dracula “was in life the most wonderful man. Soldier, statesman, and alchemist—which latter was the highest development of the science- knowledge of his time. He had a mighty brain, a learning beyond compare, and a heart that knew no fear and no remorse” (Stoker 280). Though it is not clear how Dracula became a vampire, it is evident that his life has

However, as it has been discussed, Ambrosio does not know who he is because of his abandonment. Therefore, it has led him on a quest to discover his own identity, but it seems it has already been chosen for him. Ambrosio further ‘Others’ himself when he is hiding his actions and temptations from society. In agreement with Laura Anne Jacobson, “Woman then stands in patriarchal culture as a signifier for the male other, bound by a symbolic order in which man can live out his fantasies and obsessions through linguistic command by imposing them on the silent image of woman still tied to her place as bearer, not maker, of meaning” (15). Matilda is the female “signifier” that represents the serpent from biblical scripture, Adam and Eve as she taunts and tempts Ambrosio sexually into doing the unquestionable. In doing so, she is moulding his new identity into a sexually perverse monster. This demonstrates the power of the woman. However, Matilda is the only strong and powerful female as Antonia is innocent and weak when it comes to Ambrosio’s sexual desires. Furthermore, when Ambrosio is first tempted by Matilda, he does not have the support of his fellow Monks. This demonstrates that he has alienated and isolated himself from them. As a result, a gender issue is created. Ambrosio’s alienation and isolation causes him to be gender ambiguous. He has newly discovered his

Firstly, Frankenstein in Shelley’s text becomes so obsessed with creating a new form of life in an unnatural way that he believes he is Godlike. As the text progresses, it is evident that Frankenstein has a conflicting identity through the symbolism of fire. It also has a connection with the original title of the text with the figure of Prometheus, who as it has been discussed, stole fire from the Greek gods and gifted it to man. Fire is most commonly known as a symbol of destruction. However, it also can symbolise the spark for knowledge and enlightenment. This is proven through Frankenstein’s lab as sparks of fire fly as he works on his creation of new life. The creature as Frankenstein’s duality also experiences fire. As the fire keeps the creature warm, he trusts it too much by reaching out to touch it. As a result, the fire burns him (Shelley 81). This is a metaphor for science and knowledge as if you pursue it too far, you cannot go back and it will be dangerous. This moment of the creature’s experience with fire demonstrates his identity progresses throughout the text. At first, the creature is very childlike in his mentality. Similarly to Frankenstein, the creature has a thirst for knowledge, which in a sense humanises his character. However, as his creator and society neglect and reject him because of his monstrous appearance, he acts out: “I am malicious because