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Sue Chaplin
Mary Shelley
Frankenstein, 1818
Horace Walpole
Castle of Otranto, 1764
Oscar Wilde
The Picture of Dorian Gray, 1890
Edgar Allen Poe
A Tell-Tale Heart, 1843
The Raven, 1845
Stevenson
The Strange Case of Dr Jekyll and Mr Hyde, 1886
John Polidori
The Vampyre: A Tale, 1819
Le Fanu
Camilla, 1872
Ann Radcliffe
Believed terror was more powerful than horror
Walter Scott
The reader “feels tricked” by Radcliffe’s insistence of rational explanation
Matthew Lewis
The Monk, 1796
Far more focused on horror than terror
Ray Cluley
Dracula is “the ultimate patriarchal fantasy”
Andrés Roméro Jódar
The characters in Dracula are constantly suffering from delusion
Shakespeare
Jonathan alludes to Hamlet, foreshadowing his own brain fever.
Lucy feels bad for “poor Desdemona”, but Arthur’s actions of killing her draws a parallel between them. Arthur takes on the role of Othello.
Bradshaw’s Guide
Railway timetables published annually between 1839 and 1861
Jean Martin Chacot
French Neurologist
Arminius Vambery
Hungarian historian
The Manchester Gazette on Dracula
“A touch of the mysterious, the terrible or the supernatural is infinitely more effective and credible”
Arthur Conan Doyle on Dracula
“it is the very best story of diablerie which I have read for many years”
Robert McCrum
“resonates more than a century later”
Emily Carmichael
Lucy and Mina “exemplify the ideal of Victorian womanhood”. Lucy is the “emotional and domesticated view of women”, and Mina is “sensible and devoted to God and her husband”. Both “represent the merging phenomenon known as the ‘New Woman’.”
Joan Acocella
Pete Bunten
Greg Buzwell
David Punter
Victoria Leslie
Alice Reeve-Tucker on TLotHoL
Jamieson Ridenhour
Of Wolves and Men BBC Documentary
Edmund Burke
A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful (1757)
H.P Lovecraft
The Outsider (1926)