The Role Of Catholicism In Bram Stoker's Dracula

In Bram’s Stoker’s Dracula (1897), one of the main motifs present throughout the whole piece is Catholicism. Catholicism does not only appear as a motif but also as a major theme in the novel. On the books, Broker was known to be a Protestant, however after releasing his novel Dracula, he was considered of being “a closet Catholic cloaking his dangerous views in a relatively safe literary medium” (Starrs, D. Bruno). Even though the novel portrays Anti-Christian values and beliefs, Bram Stoker was able to use different methods in his novel to show how the Catholic beliefs were useful as a protection towards evil, and to be able to compare the powers between good and evil.
Throughout the novel, the reader can plainly notice some of the characters’ transformation from being part of the English Church to a Catholic one. One of the clearest examples is Jonathan Harker,
the English Churchman. When he first received the rosary and crucifix from the lady, he had mixed feelings since his church saw those objects as idolatrous. However, the character develops an “obvious social and religious tolerance” (Starrs, D. Bruno) towards the Catholic Church. As Harker returns to Transylvania, he’s the opposite as he first left – instead of being alone, unsure and Protestant, he is now in a group, experienced, and quasi-Catholic.” (Starrs, D. Bruno)
There are many instances throughout the novel where Bram Stoker makes an allegory to the Bible. The supernatural being Dracula represents the concept of Satan since his descriptions are resoundingly satanic: when enraged his eyes light like “the flames of hell-fire blazed behind them” (Stoker, Bram) and he flashes a “smile that Judas in hell might be proud of” (Stoker, Bram) One direct allegory to the Bible’s Book of Revelation’s four houses of the apocalypse was when Dracula appeared in a “calèche, with four horses” (Stoker, Bram). Also the use of capitalization of personal pronouns in reference to Dracula, which is generally reserved to God, means that Dracula is presented on a par with God. This continuous use of Catholic allegory helps clarify the purpose of Broker’s usage of Catholicism as a motif.
The fight between good and evil also help portray the purpose of Stoker’s use of Catholicism.
In order for Seward, Mina, Harker, Morris, and Helsing to defeat Dracula they had to work together with both technology and their own faith. The character would often find themselves asking for God’s help and saying the phase “God’s will be done.” With the increase in their Catholic faith, the characters were able to believe in their religious tools and defeat Dracula. With faith and hope on Catholicism, they were able to achieve their goal. The use of Catholicism as a motif evidently supports the idea of Dracula being a pro-Catholic propaganda. Stoker was able to fulfill his purpose by spreading his ideals and beliefs of the Catholic Church. Stoker was able to depict Protestants and Catholics peacefully working together, however he did not include the Protestant faith to the destruction of Dracula (Starrs, D. Bruno). Even though writing about unpopular religious views was considered a taboo during the Victorian period, Bram Stoker was able to deliver his purpose with the use of Catholicism to his
audience.

Works Cited
Bourg Donlon, Eleanor. “A Bite of Theology: The Catholic Aesthetic in Bram Stoker’s Dracula.” AP English Language and Composition. N.p., n.p. Web. 4 Aug. 2014
Starrs, D. Bruno. “Keeping the Faith: Catholicism in Dracula and Its Adaptations.” “AP English Literature and Composition. N.p., n.d. Web. 5 Aug. 2014.
Stoker, Bram. Dracula. 1897. Ed Leonard Wolf as The Essential Dracula. New York: Plume, 1993.