By Catherine Wynne (auth.)
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Extra resources for Bram Stoker, Dracula and the Victorian Gothic Stage
The problem also resides with the figure itself. ‘In another kind of story,’ as Kiberd argues, ‘Dracula would indeed have been the hero (at least in the way that Satan was in Paradise Lost)’ but ‘he gorges himself so others may die and he drinks their blood, creating a potentially endless cycle of consumers, each one incapable of creation’ (2001: 391). Furthermore, the story of a monster that drains women of their blood might have too close an association with Mansfield’s Jekyll and Hyde, a dramatization that brought the Ripper furore to the Lyceum, created negative publicity for Irving after Mansfield accused him of undermining his work, and was entirely unwholesome in Irving’s temple of art.
He utters a cry and disappears into the tomb, which closes over him. (Vampire MS) Ada is saved and the curse of the vampire is laid to rest. The final scene reflects the fears of the vampire hunters in Dracula who must avoid succumbing to the dangers of being lured into the vampire Lucy’s crypt. Given the links between Boucicault’s manuscript and Stoker’s novel, it is unsurprising that Halifax connected both productions. He was not the only correspondent to do so. On 13 June 1897, for instance, Charles Edward Tisdall, the Chancellor of Dublin’s Christ Church Cathedral, wrote to Irving requesting him to tell the author that the text reminded him of Boucicault’s play.
Meanwhile the audience sees the re-enactment of the murder in a vision. Mathias dies in front of his family, clutching an imaginary hangman’s rope at his neck. The Bells propelled Irving towards stardom. Stoker saw Irving in The Bells at the Theatre Royal in Dublin and published a detailed review in the Mail on 4 December 1876: The Bells is so simple in its story, and so strange and weird in its conception, action, and effects, that to attempt to describe it in the way usual in giving a resume of the plot of a drama would be an idle task.