Dracula Chapter 6 Pdf

[Ena Marklund]

Thereare a few moments that make more sense if read with the novel in mind. Dracula can turn into a wolf or dog, as he does on the ship when it arrives at Whitby. It makes sense that the wolf in this story is also Dracula, showing as much affection towards Harker as he does in the main story.

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Chapter I is taken from the May 3rd and May 4th entries in Jonathan Harker's journal. Harker is on a business trip in Eastern Europe, making his way across one of the most isolated regions of Europe. He is going to meet with a noble of Transylvania, Count Dracula. The heading to his journal entry tells us that Jonathan is writing in Bistritz, in what is now Romania. Two days ago, he was in Munich. One day ago, he was in Vienna. As he has moved farther east, the country has become wilder and less modern. Jonathan Harker records his observations of the people and the countryside, their costume and customs. He has been instructed to stay at an old fashioned hotel in Bistritz before setting out for the final leg of the journey to Dracula's castle. At Bistritz, a letter from Dracula is waiting for him. Jonathan is to rest before setting out the next day for the Borgo Pass, where the Count's coach will be waiting for him.

The landlord and his wife are visibly distressed by Jonathan's intentions to go to Dracula's castle. Although they cannot understand each other's languages and must communicate in German, the innkeeper passively tries to stop Jonathan by pretending not to understand his requests for a carriage to the Borgo Pass. The landlord's wife more aggressively tries to dissuade Jonathan, warning him that tomorrow is St. George's Day, and at midnight on St. George's Eve evil is at its strongest. When he insists that he must go, she gives him a crucifixJonathan accepts the gift, even though, as an English Protestant, he considers crucifixes idolatrous.

Before Jonathan leaves, he notices that a number of the peasants are watching him with apprehension. Although he cannot understand much of their language, he can make out the words for devil, Satan, werewolf, and vampire. The peasants make motions at him to protect him from the evil eye. On the carriage ride, his fellow passengers, on learning where he is going, treat him with the same kind of concerned sympathy, giving him gifts and protecting him with charms. The ride is in wild and beautiful country. The carriage driver arrives at the Borgo Pass an hour early, and in bad German he then tries to convince Jonathan that Dracula's coachman might not come tonight, and Jonathan should come with the rest of them to Bukovina. At that moment, a fearsome-looking coachman arrives on a vehicle pulled by coal-black horses. One of the passengers whispers, "for He rebukes the carriage driver, and brings Jonathan onto the coach. The final part of the trip is terrifying. The moon is bright but is occasionally obscured by clouds, and strange blue fires and wolves appear along the way. On several occasions, the driver leaves the coach, at which point the wolves come closer and closer to the vehicle. Whenever the driver returns, the wolves fleethe final time this phenomenon occurs, it seems that the wolves flee on the driver's command. The chapter ends with Dracula's castle coming into view, its crumbling battlements cutting a jagged line against the night sky.

Dracula is an epistolary novel; this form allows Stoker to juxtapose the rational world of the English Victorian observer with the supernatural world of Count Dracula. English men and women of Stoker's time had a strong tradition of observation and letter writing; educated English people used journals and letters to set down artful and detailed observations of their world and lives. The nineteenth century was also a time in England that glorified the blossoming of science and reason. It was the century of Charles Darwin and a period of increasing industrialization and urbanization. London was the greatest and most modern city in the world, and England, in part through science and technology, had conquered much of the world. One of the novel's themes is the clash between the world of the supernatural and unknown with the scientific and rational world of Victorian England. Jonathan Harker is the model of a modern English businessman. His journal entries provide detailed descriptions of peasants he sees and dishes he eats. He notes the quaint superstitions of the Eastern Europeans, and subsumes all he observes to a framework of science and reason. Although he has ominous dreams at the hotel, he blames the nightmares on his dinner of the evening before. When the coachman's body seems to become translucent, Harker blames the phenomenon on a trick of the eyes. His description of the coachmanincredibly strong, and with eyes that at times seem to glow redis without comment. It is as if Jonathan is too modern and "rational" to recognize what the reader realizes very quicklyeven when the wolves seem to obey the command of the coachman, Harker does not remark on the event beyond saying that it happened. He becomes uneasy and fearful, but he lacks the framework to reach conclusions about what he is seeing.

As Jonathan travels towards his goal, he writes: "The impression I had was that we were leaving the West and entering the East." Another theme is the contrast/clash between the modern West and the superstitious East. Here, we see that for all of their backwardness (Jonathan remarks that many of them are inflicted with goiter, and describes their outfits and superstitions with a kind of sympathetic condescension) the peasants know what Jonathan does not. When the coachman comes to collect Jonathan, the frightened carriage driver and the coachman have an exchange that makes it clear to the reader that the carriage driver was trying to trick (and save) Jonathan. He arrived an hour early and then tried to convince Jonathan to come to Bukovinaall to get him away from Dracula's castle. The irony here is that Jonathan is ignorant of what is waiting for him at the castle; the quaint and uneducated peasant knows what the sophisticated and educated Englishman cannot seem to understand.

Taken from the May 5th, 7th, and 8th entries of Jonathan Harker's journal. Jonathan is dropped off at the great castle of Dracula, where, he is welcomed by the Count himself. The Count is a tall old man, with a white mustache, dressed all in black. Despite the Count's apparent age, during their handshake Jonathan notices that the Count's grip is unbelievably strongand that his hand is as cold as a corpse.

Jonathan is shown his room and then brought to a dining room where a fine dinner awaits him. The two men talk, although the Count eats nothing. Jonathan observes him carefully: his face is aquiline, with a high bridge, thin nose, and arched nostrils, a high and round forehead, large eyebrows, scarlet lips, and unusually sharp teeth. His ears are pointed and he is unbelievably pale. At one point, the Count leans in and touches Jonathan; the Englishman is then overcome by nausea, and he cannot explain the source of his revulsion. Dracula also seems to take strange delight in the sound of the howling wolves down in the valley. The two men are still awake at the coming of dawn, when Dracula leaves and tells Jonathan to sleep well and as long as he likes, as the Count must be away until late in the afternoon.

Jonathan sleeps very late into the day, awaking near evening time to take his breakfast. A full meal is waiting for him in the dining room. Dracula is nowhere to be found, but a note tells Jonathan to eat up and await the Count's return. The house seems to have peculiar shortcomings: there are no servants at all, although the extraordinary furniture and dining set shows that the Count is incredibly wealthy. There are also no mirrors anywhere in the house. Jonathan wanders into a vast library, where he finds many books in English. The Count finds him there, and he grills Jonathan with questions about England. He also desires to speak with Jonathan so that he can improve his English, which he has learned so far only through books; his desire is to be nothing less than fluent so that he can blend in amongst the English. Through the firm for which Jonathan works, the Count plans to purchase a grand English estate called Carfax. Carfax is a giant, castle-like house built of heavy stones on a large property. It is also near an insane asylum, although Jonathan, like a good businessman, points out that the asylum is not visible from the house. The two men also talk at dinner, during which the Count, once again, does not eat. After dinner, the two men continue to talk, Dracula asking endless questions about England, until once again dawn approaches and the Count ends the discussion and leaves.

Jonathan retires to his room but only sleeps for a few hours. He uses his own small mirror to shave, and when the Count approaches Jonathan from behind Jonathan realizes that the Count has no reflection. Startled, he cuts himself with the razor. He checks again to be sure, and still the Count's image is absent from the glass. On seeing the blood dripping from Jonathan's cut, the Count seems to become possessed, clutching Jonathan around the throat, growing calm again only when his hand touches the beads of Jonathan's crucifix. He cryptically warns Jonathan not to cut himself and then throws the mirror from the window. Jonathan expresses annoyance at the loss of the mirror, wondering how he is to shave without it.

He goes again to the dining room, where breakfast waits for him. The Count is absent. Jonathan wanders around the castle, and he learns that the castle is built on the edge of an enormous precipice. On the south side, the drop from the castle windows is at least a thousand feet. Jonathan keeps wandering, and then he realizes that all of the exits from the castle have been boltedhe is a prisoner in Dracula's home.

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