Though having been written more than a century ago, Bram Stoker’s ‘Dracula’ remains a staple of a Gothic horror story and a perfect example of the epistolary genre. While Dracula remains at the centerpiece of the novel, the transgressions portrayed in the story also contribute to the sense of all-encompassing fear. Despite physical aggression and attacks being seemingly the most terrifying instance of transgression in “Dracula,” these are the moral and ethical ones, such as breaking Mina’s boundaries, are implicitly depicted as the worst ones.
What strikes the reader first when exploring the story is the graphic portrayal of the physical transgression perpetrated by the monster. For instance, the attack on Lucy is described by mentioning blood: “how she could have been drained of so much blood with no sign anywhere to show for it” (Stoker, 1897). As a result, once the shock subsides and the novelty wears out, the specified transgression no longer seems horrifying. In turn, the ethical transgression, to which Stoker provides only subtle hints, leave a much greater impact that lasts significantly longer: “I know that if he tells me to come in secret, I must come by wile” (Stoker). Thus, there is a significant difference in how different transgression types are presented in “Dracula.”
While the transgressions involving active violence are placed at the forefront of the story, it is the nuanced portrayal of ethical ones, particularly, the violation of the protagonists’ moral boundaries and their perception of right and wrong, that eventually prove to be the most egregious ones. Specifically, while the physical transgressions are represented in detail, therefore, increasing the shock value, the moral ones are only hinted at, therefore, encouraging the readers’ imagination to run rampant. Thus, the presentation of transgressions in “Dracula” is unique and thought-provoking.
Reference
Stoker, B. (1897). Dracula. Project Gutenberg. Web.