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Dracula
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Dracula chapters 5-8
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Mina arrives in Whitby, and we get a description of the place. She references Sir Walter Scott, and describes Whitby Abbey as the place "where the girl was built up in the wall." Ominous. While vacationing in Whitby, Mina and Lucy share a room, and Mina spends a lot of time preventing Lucy from wandering away in the night.Mina and Lucy find an altar tomb with a ledger stone in the graveyard that they claim as a resting spot. They make the acquaintance of an old codger named Swales who, with the encouragement of his cronies, pontificates about death and the lies told on tombstones.
Meanwhile, Seward's hospital is in great need of 21st century technology, so he can see what the heck Renfield is up to when no one is watching! Seems as if he's the prototype for the Old Lady Who Swallowed a Fly... but in this case we can guess why. He builds up his twisted animal collection from flies to spiders, to birds, to a kitten, which Seward finally denies him, suspecting what's befallen all these creatures. In a horrible moment, Seward toys with the idea of actually giving Renfield a cat, just to see if his suspicions are true. Thankfully, he decides against it. This whole story line is so disturbing.
Mina gets one of the pre-written letters from Harker, and is temporarily assuaged, though the letter doesn't really sound like him.
She sees Mr. Swales in the graveyard again, and he apologizes for his previous diatribe, telling her that old folks often make light of death in an attempt to diminish their fear of what's coming. The two of them remark on the change in the weather and the coming storm, and they see a Russian ship erratically approaching Whitby.
A lot of ominous foreshadowing here.
...masses of sea-fog came drifting inland - white, wet clouds, which swept by in ghostly fashion, so dank and damp and cold that it needed but little effort of imagination to think that the spirits of those lost at sea were touching their living brethren with the clammy hands of death and many a one shuddered as the wreaths of sea-mist swept by...This evocative description comes from a newspaper clipping that Mina thought was important enough to paste in her journal. What horrors will the tempest bring to shore in the mist? The Russian boat miraculously makes it to shore despite the massive storm, when a dog leaps from the boat and runs off, unable to be captured despite the best efforts of the townspeople. The dog seems to have been the only living thing on board, but the dead captain is found strapped to the wheel grasping a crucifix. They discover he's protecting an unofficial ship's log which tells a cryptic but horrific story of the crew becoming enveloped in the grips of terror, but they never tell him the cause. The missive relates how the first mate chose to throw himself overboard rather than remain on the ship with its unnamed horrors. Eventually the captain also experiences ... something. He considers going the way of the first mate but, as captain, feels duty-bound to go down with the ship. So, he protects this manifesto before strapping himself to the wheel with the crucifix. Like his crew, he's maddeningly vague about what has terrified them all so. The only other thing on the boat is its cargo -- large crates full of soil. (Insert ominous organ music here!)
In the days following this once-in-a-lifetime storm, tragedy strikes as Mr. Swales is found dead on the ledger stone. The doctor believes he was frightened by something and fell back, hitting his head. The stray dog hasn't been spotted, but a man's devoted pet dog has been viciously attacked and killed.
Such a vivid chapter! I usually get a bit bored with descriptive passages, but this chapter had me riveted.
Buckle up! There's a LOT of content in this chapter!Mina is concerned about Lucy's nighttime meanderings. She's managed to slip out of the house, and Mina spots her on the ledger stone. Something dark seems to be hovering above her in the mist. Lucy calls out, and when she gets closer, the figure, with "a white face, and red, gleaming eyes" has disappeared. Mina uses a safety pin to fasten a shawl around Lucy to get her home. The next day, Lucy begs Mina not to mention the incident to her mother, who is ailing. Mina is concerned to see two marks on Lucy's neck, and frets about having poked her with the pin. Lucy assures her it's nothing. I feel as if this story would end sooner if people communicated better. But, in this case, the anticipation is delicious.
Lucy is becoming more and more active at night, and Mina starts locking her in (another prison). She panics when she awakens to find Lucy leaning out the window, with a great bat flitting around outside. Later, when the ladies are walking out on the cliffs, Lucy seems to go into a trance and makes the cryptic remark, "His red eyes again! They are just the same." Mina is baffled, until she sees a dark figure in the distance -- on the ledger stone. Initially, she thinks his eyes are red, but decides it's an optical illusion. Lucy snaps out of her trance, and the two head home.
We are then privy to some correspondence between the shipping company about the cargo on that was found on the ship. The fifty boxes are to be delivered to Carfax, tout suite, and placed "in the partially ruined building forming part of the house (which is) the ancient chapel of the mansion."
Lucy tells Mina about an unsettling dream with lots of dogs howling, the feeling of an earthquake, flying over the lighthouse, and hearing the song of drowning men... and the dark figure with red eyes. Shudder. But the good news is that Arthur's dad is doing better and she and Arthur can proceed with their wedding! I wonder if it will be good news for Arthur.
Meanwhile, Mina, too, is delighted to finally hear from Harker! He arrived in Transylvania in early May, and it's now August 18th. Somehow Harker made his way to Budapest after escaping Dracula's castle, and he's now in the care of a sanitarium run by some nuns, one of whom sent the letter via Jonathan's boss, Mr. Hawkins. (Harker, Hawkins, Holmwood -- too many H names!) The letter from Jonathan assures Mina that he's well, but the post script added by his caretaker warns Mina that he arrived ranting about "wolves, and poison, and blood; of ghosts and demons." She goes on to say he's "won all the hearts by his sweetness and gentleness" but still warns Mina to be careful. New Woman Mina makes arrangements to travel alone to see Jonathan immediately, and plans to be married before she returns. I forget... have we heard anything about Mina's parents?
We can't end this chapter on a happy note, of course; we must first check in with Dr. Seward and his patient. Renfield has taken a turn. He's now absolutely euphoric and talking about his Master being close at hand. I'm pretty sure Rowling lifted this for her depiction of Wormtail and Voldemort. Anyway, Renfield manages to escape by pulling out a window, and makes a run for Carfax. Seward and the attendants are surprised by his strength and the fact that he could scale a tall wall. By the door of the chapel at Carfax, Seward, who has trailed Renfield overhears him talking to his master. Ironically, Seward connects something Renfield tells his master with the story of Jesus multiplying the loaves and fishes to feed the masses. Well... he got that wrong. The attendants meet up with the Doctor and together they manage to capture Renfield, who is alone. In a harrowing description of asylums in the 19th century, Seward tells us that Renfield is now in a "straight-waistcoat that keeps him restrained, and he's chained to the wall in the padded room." Despite this confinement, Dr. Seward hears him, again, talking to his master. I suspect there's an open window in that padded cell.
I've found this story to be absolutely chilling so far! Still so many questions and little hints of things that haven't come to fruition. Will Lucy become another of Dracula's kissing ladies? Is Dracula the dog? The bat? Both? How did Renfield come to be, presumably, under Dracula's control, so far from Transylvania? He's going to do Dracula's bidding, but what does that mean exactly? I can't wait to see what happens next.
Mod
A new country, many new characters, and some domestic intrigue are all introduced to the reader. It is a refreshing change from the darkness, gloom, and people climbing in and out of windows and up and down a castle’s walls. We move from a physical incarceration of Harker to the much safer confines of 19C domestic intrigue.
Beneath the plot of chapters 5-8 I feel fear brewing. Let's face it, Dracula is not finished with our friend Harker and the domesticated loves and lovers in chapter 5-8 are in a rather sharp contrast to women who seek Harper’s throat.
Boxes of soil, a figure that cannot be destroyed by seemingly any means, and ships that lose their crews. Evil is being transported from Europe to England.
Mod
Ominous indeed. Spending much time in a graveyard is not the place to be a tourist (unless one is doing geneological research) but it does help the transition from Dracula’s home to the one that awaits him in England.
Stoker keeps us in suspense. He constantly reminds his readers of death. I can’t help but wonder if Stoker was not only writing a novel but preparing his story for the stage. Surely his knowledge of the stage helps inform his writing.
Mod
Mina is concerned about Lucy's nighttime meanderings. She's managed to slip out of the house, and Mina spots her on the ledger stone. Somethin..."
Yes indeed. Lucy and the ledger stone. Mina is the person who is unknowingly caught up in a tangle she is unable to see and will possibly be unable to deal with.
Ledger stone, graveyards, red eyes, confinements, Renfield. We have more questions each chapter but no answers. Stoker has certainly learned the ways of a Victorian serial novelist.
A thought. Hardy placed Tess on a stone in Stonehenge. We have Lucy also placed on a stone. Perhaps chance? What I do find fascinating and cannot understand or explain is how the late 19C social and moral values changed so quickly. Hardy was roundly condemned by some for the sexuality of ‘Tess.’ That novel was published in 1891. Hardy's last novel, ‘Jude the Obscure’ was published in 1894 and was also roundly criticized for, among other things, its sexuality. Hardy decides he has had enough such criticism and never writes another novel. Stoker publishes ‘Dracula’ in 1897.
Wow! How did Stoker ever get his novel published?
Peter wrote: "Mary Lou wrote: "Buckle up! There's a LOT of content in this chapter!Mina is concerned about Lucy's nighttime meanderings. She's managed to slip out of the house, and Mina spots her on the ledge..."
Interesting comparison about Hardy and Stoker. I had never considered the timing of this novel and the last one Hardy wrote. I sometimes think that Hardy got tired of the novel form and just wanted to write poetry. History always seems to say he did not like the bad reviews of his last novel, but I just wonder if it was a lot less melodramatic than that.
The log of the Demeter is a master work of mystery and horror. It seems such a perfect way to be ominous.
Mod
Mina is concerned about Lucy's nighttime meanderings. She's managed to slip out of the house, and Mina spots he..."
Yes. I too have wondered why Hardy stepped away from the novel form. That said, I must confess that his later novels seem tame too me. I don’t see the objections but then again I’m not a late Victorian reader/critic. Stoker's ‘Dracula’ is very sexual, creepy and disquieting.
Also, I agree with your comments about the ship. The loss of so many crew members, so slowly, in such bad weather and fog. It’s all rather melodramatic and theatrical. I think Stoker drew heavily on his theatrical background for the plotting of this novel.
Mary Lou wrote: "Seems as if he's the prototype for the Old Lady Who Swallowed a Fly... but in this case we can guess why."I don't know where I was in early September to miss all the threads, but I can tell you where I am now, which is sputter-laughing into my tea.
Peter wrote: "I think Stoker drew heavily on his theatrical background for the plotting of this novel."Agreed! There is in particular an ensemble-cast feel to this book that felt theatrical to me. Look at all those rejected suitors!
Lucy is beautiful and sweet, and everyone loves her. In fact, all three of the men mentioned above propose marriage to her in the same day. Good Lord. Even Mina is taken with Lucy, and feels very protective of her friend. Lucy is traditional - all about getting married and being a good wife and homemaker. Compare her with Mina, a resourceful girl who works as a teacher's assistant, and wants to improve her shorthand so that she can help Jonathan in his legal work. She is, to coin a phrase we'll hear later, "the New Woman". (Aside: Mina and Lucy remind me a bit of Dolly Varden and Emma Haredale from Barnaby Rudge.) Lucy is also a sleepwalker, of all things, something she supposedly got from her father, who was also a somnambulist.
Floating around Lucy are three friends. Arthur Holmwood wins Lucy's affections and becomes her fiance. We don't know too much about him except that his father is declining and may soon go to his reward. Quincy Morris is a good-natured Texan who graciously accepts Lucy's rejection and wishes the couple happiness. Dr. Seward works through Lucy's rejection by throwing himself into his work as a psychiatrist at an asylum.
Seward's diary entries tell us about his patient, Renfield, who is described as patient, strong, and sanguine - an interesting choice of word, that can mean confidently optimistic or blood red/blood-thirsty. Hmm....