Dracula and Satire

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Satire in Dracula and Children of Men Both Dracula and Children of Men are narratives which contain some surface-level meaning in addition to a deeper satirical criticism of the social status quo in Britain in their respective timeframes. Dracula criticises Britain by juxtaposing the fantastical elements of pre-enlightenment era superstition with the modern, conservative values of the Victorian era. The result is a social commentary that uses horror to satirize superstitious beliefs and prudish, proper social standards. Children of Men, on the other hand, criticises the current bureaucratic government and conservative social situation in Britain by illustrating an absurd apocalyptic world in which said values of government and society still prevail. Children of Men also uses symbolism to satirize the conservative nature of British society, making reference to the Holocaust as well as Pink Floyd’s Animals. Though their criticism differs in some aspects, both narratives reflect the British fear of foreign invasion. Thus, Dracula and Children of Men both criticise the same subject matter – that is, the social status quo in Britain – by satirizing the components of society unique to each timeframe as well as the British fear of foreign invasion. The main source of satire of Britain in Dracula is found in the juxtaposition of modern, Victorian era values with archaic, pre-enlightenment era values. Dracula criticises the conservative nature of the social situation in the Victorian era, as well as the unrefined, superstitious nature of the pre-enlightenment era. An example of this juxtaposition is found in the character of Dr. Van Helsing. Van Helsing’s character juxtaposes the scientific man of the enlightenment era with the superstitious vampire hunter: “We went into the room, taking the [garlic] with us [to keep vampires away]. The Professor’s actions were

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