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Throughout the novel, Stoker employs various Christian allusions and articles, both within his characters and as obvious physical objects. The intended effect of the heavy Christian themes is herein discussed.

To begin, Victorian England was a predominantly (and strongly) Christian nation. The entire country was either Anglican or Protestant, and the rest of Europe was primarily various Christian and Catholic faiths as well (http://www.victorian-era.org/victorian-era-religion-and-religious-beliefs.html). Stoker was raised as a Protestant in the Church of Ireland.  Through the turn of the century, the scientific revolution came to bear, and spurred much debate and discussion as to the significance of religion, and many people began to question the legitimacy and functionality of their religion. Stoker himself was a fan of the scientific method and science as reason over superstition. (https://en.wikipedia.org/wiki/Bram_Stoker#Beliefs_and_philosophy) This, contrasted with the typically God-fearing Christians, may have had some influence on the strong religious themes portrayed in Dracula.  

In the novel itself, there are many blatant Christian object used to defy the Count, such as crucifixes for protection, the Host wafer for blocking entrance, and Holy Water to purify his sacred ground so that he may not touch it. The name Dracul is in fact old Romanian for “the Devil”, and so even the name adds to the metaphor of Count Dracula being the spawn of Satan, a demonic, hellish figure portrayed as a perversion of everything good in the world.  Additionally, all of the characters, from Catholic Van Helsing to the pious Harkers and Dr. Seward, rely on their faith in God as their savior to protect them from the demon before them (http://www.mikeduran.com/2009/06/stokers-dracula-as-christian-fiction/). The regular prayers and faith further the idea that the English characters are Godly individuals fighting a moral cause, their successes driven by the Lord, against a demonic figure who is the very symbol of the Devil incarnate. (http://eprints.qut.edu.au/5244/1/5244_1.pdf)

It is interesting to note that in the 1992 version of the film, Prince Vlad becomes the vampire Dracula after his wife commits suicide, banning her soul from salvation in the eyes of the church, and he curses and rages against the church, putrefying God’s name. Dracula, in the film, is recognized by the Devil as an ally against God, and he is given immortality and disgusting powers, which he may use to defy God of pure souls and work under the guise of the Devil to avenge the unjust God who would defy his beloved, pious wife entrance to Heaven (https://arizona.hosted.panopto.com/Panopto/Pages/Viewer.aspx?id=65bbe760-33bf-48e2-94eb-3d87a119f7a6)

There are many more subtle Christian references seen as general motifs throughout the entire novel, but it is simply interesting to note the blatantly positive Christian sentiment throughout the novel, and its faithful, redeeming end, and consider these themes perhaps on commentary on a setting in which religion was dynamically changing around the author.

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