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Bram Stoker pp 121-148 | Cite as

The Cave

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Part of the Literary Lives book series (LL)

Abstract

Many of Stoker’s novels feature a cave, crypt or other dark subterranean place, ranging from Dracula’s tomb to the crypt of St Sava’s in The Lady of the Shroud and the cave of The Mystery of the Sea and the cellar of The Jewel of Seven Stars, and all cry out to be read as spaces of the mind. As David Glover observes:

It is tempting to see these elaborate scenarios of caves and clandestine ceremonies as a purely private species of fantasy, a hollowing out of narrative space so that illicit desires may be both voiced and hermetically sealed. And clearly these moments in the text would have to be among the touchstones for a fully developed queer reading of Stoker’s romances.1

Keywords

Short Story Bicycle Ride Tuberculous Peritonitis Narrative Space Tertiary Syphilis 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.

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Notes

  1. 1.
    David Glover, Vampires, Mummies, and Liberals: Bram Stoker and the Politics of Popular Fiction (Durham, NC: Duke University Press, 1996), p. 105.Google Scholar
  2. 2.
    Bram Stoker, The Mystery of the Sea [1902] (Stroud: Sutton, 1997), introduction, p. xiii.Google Scholar
  3. 3.
    On the Stoker hero, see, for instance, Jeffrey Richards, ‘Gender, Race and Sexuality in Bram Stoker’s Other Novels’, in Gender Roles and Sexuality in Victorian Literature, ed. Christopher Parker (Aldershot: Scolar Press, 1995), pp. 142–71Google Scholar
  4. 4.
    Ann Radcliffe, The Castles of Athlin and Dunbayne [1789] (Stroud: Alan Sutton, 1994), p. 1.Google Scholar
  5. 8.
    On the subversiveness of Marjory’s cross-dressing, see Catherine Spooner, Fashioning Gothic Bodies (Manchester: Manchester University Press, 2004), p. 107.Google Scholar
  6. 9.
    For a general discussion of readings of Stoker’s work in terms of sexual frustration, see, for instance, Peter Haining and Peter Tremayne, The Un-Dead: The Legend of Bram Stoker and Dracula (London: Constable, 1997), pp. 182–3.Google Scholar
  7. 10.
    Paul Murray, From the Shadow of Dracula: A Life of Bram Stoker (London: Jonathan Cape, 2004), p. 267.Google Scholar
  8. Daniel Farson, The Man Who Wrote Dracula: A Biography of Bram Stoker [London: Michael Joseph, 1975], p. 232.Google Scholar
  9. 14.
    See Katharine Cockin, Edith Craig (1869–1947): Dramatic Lives (London: Cas sell, 1998), pp. 45–6Google Scholar
  10. 23.
    Austin Brereton, The Life of Henry Irving (London: Longmans, Green, 1908), 2 vols, vol. 1, p. 50.Google Scholar
  11. 24.
    Jeffrey Richards, Sir Henry Irving: A Victorian Actor and his World (London: Hambledon and London, 2005), pp. 122Google Scholar
  12. 30.
    Christopher Frayling, ‘The Genesis of Dracula’, in Vampyres: Lord Byron to Count Dracula (London: Faber & Faber, 1991), pp. 295–347Google Scholar
  13. 31.
    Alison Winter, Mesmerized in Victorian Britain (Chicago: The University of Chicago Press, 1998), p. 1.Google Scholar
  14. 37.
    Michael Levey, The Life and Death of Mozart [1971] (London: Weidenfeld & Nicolson, 1988), p. 92.Google Scholar
  15. 38.
    Eric Blom, Mozart [1935] (London: J. M. Dent, 1974), p. 40.Google Scholar
  16. 39.
    Stephanie Moss, ‘Bram Stoker and the London Stage’, Journal of the Fantasticin the Arts 10 (1999), pp. 124–32Google Scholar
  17. 41.
    Nicholas Till, Mozart and the Enlightenment: Truth, Virtue and Beauty in Mozart’s Operas (London: Faber & Faber, 1992), p. 298.Google Scholar
  18. 44.
    See Alison Milbank, ‘“Powers Old and New”: Stoker’s Alliances with Anglo-Irish Gothic’, in Bram Stoker: History, Psychoanalysis and the Gothic, edited by William Hughes and Andrew Smith (Basingstoke: Macmillan — now Palgrave Macmillan, 1999), pp. 12–28.Google Scholar

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© Lisa Hopkins 2007

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