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Van Helsing Symbolism In Dracula

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One of the folk legends and traditions Van Helsing draws upon suggest that the most sufficient weapon used while trying to combat supernatural evil are symbols of divine good. The symbols that Helsing uses in the fight against Dracula take form of the icons of Christian Faith. In the novel, a crucifix is used to “shield” the human life from Dracula when he attempts to kill them. In chapter 21, Dracula lunges to attack Van Helsing and the men and this is when Christian icons appear in the novel; “Van Helsing brandishes a holy wafer, and the men advance with their crucifixes. Dracula draws back, and the room is enveloped in darkness as a cloud obscures the moon. He becomes mist and escapes.” (Chapter 21- Dracula) Throughout the novel we discover
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The central idea of this excerpt from Dracula was the fear of the prisoner living in the castle of Count Dracula who felt trapped and alone. The authors use of first person point of view of the prisoner was able to develop this central idea of fear because prisoner was able to describe his feelings first hand living in the castle with the Count as well as emphasize the thoughts that were scattered inside of his head during this time. An example of the author using first person point of view to help develop the central idea of fear was when the prisoner had realized that he was helpless in the situation of his current living conditions. The prisoner said "I think I must have been mad for the time, for I have behaved much as a rat does in a trap" (lines 4-5).

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The good believe that they can fight off the evil by believing that faith can win. They defeat Dracula by using a number of holy items. They use communion wafers, holy water, a crucifix, and more. Everyone has a conflict with the evil characters in the story. Dracula gets defeated in the end, we all knew this in the beginning because this is an obvious good versus evil kind of

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According to Tadlock, Bram Stoker in Dracula uses the “force of God and His religious symbols to avail against the Un-dead.” For instance, the crucifix is the first Christian symbol to be introduced when an “old lady… [took] a crucifix from her neck [and] offered it to [Jonathan]” as a ward to protect him from Count Dracula’s potentially harmful attacks (Stoker 4). Also, Van Helsing’s and Dr. Seward’s attempts to defend Lucy Westenra and Mina Harker against Dracula’s attacks involve delving into Christian rituals, for it is implied that the vampire is powerless against all that is Holy (Tadlock). Helsing’s initial method of treatment for Lucy Westenra involves lacing her room with garlic (an action derived from religious superstitions), which he believes will act as a defense mechanism against the Count (Stoker 113).

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This is a popular symbol in the Catholic and Christian faith which demonstrates Jesus saving the earth from sin by His death on the cross. The crucifix is more than just a symbol that has a presence in the novel, but it is a symbol that gives hope. In the beginning of the story, when Jonathan is taking his initial journey to see Count Dracula, the people around him seem worried about his well-being. In response to this, an old lady came up to him, worried and handed him the crucifix from around her neck. Her faith and belief in the power of her Jesus gave her hope in his safety.

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Harker is a guest in Dracula 's castle and when he cannot sleep anymore he gets up to shave, hanging his mirror up on the wall of the bathroom. In that moment Dracula places his hand on hand on his back and Harker hears Dracula’s voice say to him “Good morning” (Stoker, 31), mimicking a very intimate moment that couples often experience together when they wake up. Then Harker continues on to say, “I started, for it amazed me that I had not seen him, since the reflection of the glass covered the whole room behind me” (31.) The fact that Dracula cannot be seen in a mirror, particularly Harker’s mirror, is not shocking due to Van Helsing’s rules (309) that a vampire has no reflection, yet Stoker seems to be suggesting through this simple “rule,” that Dracula’s true identity is erased or invisible. Dracula cannot be seen in a mirror, and just as Dracula is invisible those who are not conventional in their sexuality, especially those who identify closely with bisexuality are often silenced, forgotten, and identities labeled

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