Throughout the Gothic novel Dracula, Stoker uses symbology and imagery to reveal social anxieties and fears of the late Victorian era, for example the use of animalistic descriptions and blood. Wilde, in his gothic novel The Picture of Dorian Gray, uses imagery to explore the nature of man, especially in relation to sin, pleasure and influence. These different uses of somewhat similar devices show how sharply these two novels diverge. While Stoker focuses primarily on the social fears of the time, such as the degradation of man into beast, Wilde intensely explores the psyche of his tormented characters. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay One of the dominant themes in Dracula is duality, the fear of the double or doppleganger. In Dracula there is a struggle to define the blurred boundaries between man and animal, a struggle conveyed through the physical appearance of Count Dracula himself. The character introduction is full of animal-like descriptions. He is said to have "moved impulsively", acting instinctively as an animal would rather than conforming to the morals that dominated 19th century Britain. The count's hair is curly in its "profusion", he has "particularly sharp white teeth", and his ears are "extremely pointed", like those of a wolf. It is clear that Dracula is an example of the liminal: he is right on the threshold of devolution from man to beast. This alludes to the Victorian fear and belief that just as man could evolve (in light of Darwin's then recently published theories), man could also evolve. While Stoker uses the Gothic motif of the double to divide man and beast, Wilde uses the double to divide body and soul. The most obvious example within the novel is the portrait that Basil painted and what it is symbolic of. As Dorian wishes, the painting ages and records the boy's bad deeds, and he, in turn, receives eternal youth and beauty, thus dividing body and soul. Dorian can then indulge in the pleasure of his sins and live his newfound hedonistic lifestyle while maintaining his body; as a result, the portrait becomes altered and begins to show signs of "cruelty". This has partly to do with the Victorian ideal of keeping up appearances, which held that it is better to look good than to actually be good. He observed that despite Dorian's vile character, his immediate influence on others due to his physical beauty is still great. Perhaps Wilde's use of the double reveals the impracticality of his homosexual lifestyle, that he would need to hide his lifestyle and repress homosexual tendencies to maintain public appearances. Another important and related theme in both novels is that of seduction. Images of music or musical instruments are used within The Picture of Dorian Gray. When Dorian first meets Henry he is described as having a "low, musical voice". Sybil is also said to lull her audience and make them “responsive as a violin”: she had “long-drawn music” in her voice. Wilde often uses images of music in association with seduction, particularly in vocals, as a literary allusion to Greek mythology, particularly the Sirens who appear in Homer's Odyssey. (Mermaids were creatures who lured sailors to destruction with their irresistibly beautiful song.) In the first case, Henry is able to seduce Dorian with his influence, which is the irresistible “song” that ultimately leads to destruction of Dorian. Stoker also makes use of musical imagery, for example during the seduction ofJonathan from the Count's wives. They have “such a silvery, musical laugh”: an irresistible vibrato in their voice seduces Jonathan and leads him to wait in anticipation of what is to come (again, an allusion to the Odyssey). Wilde also offers the symbolism and imagery of flowers of many types, all of which carry different feelings and illustrate different meanings. First, at the beginning of the novel, Lord Henry "plucked a pink-petalled daisy..." and by "...tearing the daisy to pieces," he got rid of the flower. This image of the destruction of the flower relates to the theme of influence; in particular, it illustrates the effect of Henry's influence on the premature Dorian, represented as Daisy. The “pink” color of the daisy perhaps makes Dorian a little more effeminate than the other two men, potentially adding to his natural beauty which could be compared to that of a flower. The narrative also conveys a sense of carelessness on the part of Henry, unaware of the harmful effects of his influence on the young and impressionable Dorian. Flowers within the novel are used frequently in association with Sybil Vane. The “petals of her lips” are mentioned along with her description of a “pale rose.” The “petals of her lips” suggest a delicacy to her character, a fragility; the description of the “pale rose” appears, which converts innocence, impressionability and purity. These meanings could foreshadow that Dorian will have a harmful impact on Sybil, just as Henry had a harmful impact on Dorian. The lips could also carry connotations of strong sexual desire, a love based solely on lust, and, to some extent, Dorian's narcissistic vanity. Furthermore, the flowers in the novel carry with them specific symbolic meaning relevant to their placement. In chapter seven, when Dorian has carelessly disposed of Sybil (just like the Daisy that Henry listlessly tore to pieces) and is walking around London, many images of flowers appear during his walk, helping the reader interpret what the Dorian's emotions in relation to the confrontation. with Sibilla. “Huge carts full of nodding lilies” rumble down the street, the “lilies” in some cases symbolizing hatred. Plus, there are kids carrying crates of “striped tulips” that send love. And finally, boys also carry "yellow and red roses", the former carrying the meaning of a broken heart and apology. Other symbols refer to the events of the era of Wilde and Stoker. During the nineteenth century, medical science was making progress, perhaps one of the most important developments of that period. Scientists invented a new blood-based science that they said was linked to racial and sexual issues. For the Victorians, an exchange of blood was symbolic of an exchange of seminal fluid, making blood highly sexualized. Indeed, Stoker uses blood as an image for sexual encounters and loss of innocence and virginity. In chapter seven, when Lucy is first bitten by the Count, Mina arrives to find that “there was a drop of blood on the elastic of her nightgown.” We know that the exchange of blood is a sexual act, and the drop of blood on the “white” nightgown is symbolic of a defloration of the modest Lucia, of a loss of her virginity. Lucia subsequently continues to fall seriously ill and once again blood takes on symbolic importance, this time in the form of numerous transfusions. Van Helsing states that he will "die from sheer lack of blood": with the connotations of blood already explained, this conveys a certain sexual appetite, which will soon be quenched with constant transfusions from three men. Indeed, Lucy quenches her sexual hunger by engaging in bodily transactions.