Chapters 24-25

Test yourself

Chapters 24-25: Summary and Analysis

Here's a summary and an analysis of Chapters 24-25:

Plot summary

The men make arrangements to pursue Dracula back across Europe, spurred on by the how the Baptism of Blood seems to be affecting Mina and how, when hypnotised by Van Helsing, the Count can discern their plans.
Van Helsing deduces that they can use this connection to their advantage.

Embracing the metaphysical

Dracula is a discussion of how respectable, hard-working Victorian men of rationality and science fare when faced with the inexplicable and the supernatural.
The language of Chapter 24 sees these figures of technology and modernity embracing the past and accepting their place in the much wider metaphysical world - about which Seward had earlier informed Arthur (in Chapter 9) that Van Helsing held some expertise.

"Instruments of ultimate good"

Jonathan postulates how “Mina says that perhaps we are the instruments of ultimate good” - the adverb of uncertainty (perhaps) indicating that it is Mina who stands to lose the most should the men fail.

Ancient, arcane knowledge

Mrs Harker reflects on Dracula’s abilities: “Oh! If such a one was to come from God, and not the Devil, what a force for good might he not be in this old world of ours.”
Despite the advances made throughout Queen Victoria’s reign, the characters of this novel - published 3 years before the start of the 20th century - must rely on ancient, arcane knowledge; as Van Helsing tells Quincey Morris, the Texan from the New World of America: “And to superstition must we trust at the first”.

Any means necessary

Even as superstition and a higher moral purpose take precedence, it is clear that the heroes will have to resort to any means necessary to defeat Dracula.
Whilst in Varna (Bulgaria), Jonathan writes in his journal: “This is the country where bribery can do anything, and we are well supplied with money.”
Presumably, he's referring to Arthur’s finances. He and the others are prepared to blur the dichotomy between right and wrong if it works to their advantage.

1Context - Gothic Literature

1.1Origins & Conventions of Gothic Literature

1.1.1Origins of Gothic Literature

1.1.2Key Ideas in Gothic Literature

1.1.3Gothic Genre Conventions in Dracula

1.2Vampires in Gothic Literature

1.2.1Vampires

1.3'Terror' & 'Horror'

1.3.1Ann Radcliffe & Lewis' The Monk

1.3.2'Terror' & 'Horror' in Dracula

1.4Narrative Features

1.4.1First-Person Narration & Epistolary Format

2Context - The Victorian Era

2.1The Victorian Era

2.1.1Fin de Siecle

2.1.2The 'New Woman'

2.1.3The Contagious Diseases Act

3Chapter Summaries & Analyses

3.1Chapter Summaries & Analyses

3.1.1Chapters 1-2

3.1.2Chapters 3-4

3.1.3Chapters 5-7

3.1.4Chapters 8-10

3.1.5Chapters 11-12

3.1.6Chapters 13-14

3.1.7Chapters 15-16

3.1.8Chapters 17-18

3.1.9Chapters 19-20

3.1.10Chapters 21-23

3.1.11Chapters 24-25

3.1.12Chapters 26-27

4Character Profiles

4.1Archetypal Gothic Characters

4.1.1Stock & Proppian Gothic Characters

4.2Count Dracula

4.2.1Count Dracula: Character Profile

4.2.2Count Dracula: Different Literary Perspectives

4.3Other Main Characters

4.3.1Jonathan Harker

4.3.2Dr Abraham Van Helsing

4.3.3Dr Jack Seward

4.3.4Mina Harker

4.3.5Lucy Westenra

4.4Minor Characters

4.4.1Arthur Holmwood & Quincey Morris

4.4.2Renfield

5Key Ideas

5.1Key Ideas

5.1.1Transgression of Boundaries

5.1.2The Supernatural & Un-dead

5.1.3Masculinity & Femininity

5.1.4Science, Modernity & Superstition

5.1.5Madness, Illness & Confinement

6Writing Techniques

6.1Writing Techniques

6.1.1Epistolary Form & Narrative Voice

6.1.2Intertextuality & Cultural References

6.1.3Structure

7Critical Debates & Interpretations

7.1Initial Reception of Dracula

7.1.1Initial Reception of Dracula

7.2Modern Reception of Dracula

7.2.1Modern Reception of Dracula

Jump to other topics