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They go to Lucy’s tomb, where Van Helsing asks Seward to confirm that Lucy’s body was in the coffin the previous day. They open the coffin, find it empty, then go outside and wait. Van Helsing crumbles a communion wafer and wipes the crumbs into the crevices of the door. Lucy appears in a white dress, carrying a child. She bites the child’s throat.
The men approach and she drops the child. She begs Arthur to come to her. Her beauty and her inviting aggressiveness tempt the men, but her shameless sexuality repulses them as well. Van Helsing fends her off with a crucifix. He removes the crumbs from the door and Lucy goes into the tomb.
They return the following night. Holmwood kills Lucy by pounding a stake through her heart. He thanks Van Helsing for saving her soul. They agree to meet two nights later to discuss the plan to find and kill Dracula.
Jonathan and Mina stay with Seward at the asylum, where Mina transcribes his diary. Seward reads Mina’s and Jonathan’s diaries as well. He realizes that Dracula is probably staying in the house next to the asylum. Renfield is calm for the moment, and Seward wonders what that could mean about Dracula.
Jonathan investigates the shipping of the boxes. They arrived at the Carfax chapel, but some may have been moved since then. Mina notices that their mission has filled Jonathan with purpose and energy. Holmwood and Morris come to the asylum, where Mina comforts the grieving widower.
Mina asks Dr. Seward for permission to visit Renfield. Before she arrives, he eats all of his spiders and flies but behaves politely during her visit. Van Helsing visits the asylum and approves of Mina’s transcription and ordering of Seward’s diary. He also says that he will not allow her to help them further, because destroying a vampire has “no part for a woman. Even if she be not harmed, her heart may fail her in so much and so many horrors; and hereafter she may suffer” (247).
He tells them the legend of Nosferatu, and lists all of a vampire’s strengths and weaknesses. Their success depends on finding the fifty boxes of earth. He repeats that Mina will not take part in their plan but will better serve them by being a symbol of hope.
Armed with blessed talismans, the men go to Carfax. The chapel holds twenty-nine boxes; twenty-one are unaccounted for. Rats flood into the room, but the men scare them away by blowing a dog whistle.
Back at the asylum, Van Helsing tries to interrogate Renfield for clues, but the patient won’t help him. He insults and curses Van Helsing.
Mina grows more anxious at the asylum. After hearing noises from Renfield’s room, she notices that her window is open. Outside, a line of mist creeps across the grounds towards her. She closes the window and goes to sleep but is restless. A white face leans over her, but she thinks she is dreaming.
Jonathan learns the location of twelve of the missing boxes. They reside at two separate London houses. The final nine boxes are in Piccadilly. Piccadilly is a busy area; they’re unsure of how to get into the house without being seen.
Seward continues to observe Renfield. The patient shows no interest in his insects but repeats that all he wants is life. Seward asks him how he views the fates of the lives he takes. Renfield refuses to talk about souls. Seward believes that Renfield feels guilty about the lives he has consumed, and worries that he might pay a price for them. The next night, attendants find Renfield in a pool of blood.
As he dies, Renfield describes his visits from Count Dracula. He says that Dracula made a bargain with him: He would bring Renfield insects and animals to make him strong if Renfield would help with his plans. During Mina’s visit, Renfield saw signs (for example, her pale skin) that Dracula had been draining her blood. That night when Dracula visited him, Renfield challenged him. Dracula threw him against the wall and left.
Upstairs, they find Harker in his room, unconscious. Mina is drinking blood from a gash on Dracula’s torso. Van Helsing expels Dracula with the host, and Dracula escapes by turning into mist and flowing beneath the door. Then he turns into a bat and flies away. The men find Seward’s study destroyed: Dracula tried to destroy all documents pertaining to him. He did not know that they had made copies and hid them in a safe.
Mina and Jonathan wake up. She tells the men that Dracula drank from her throat. He said he would kill Jonathan unless she tasted his blood. It was also not the first time he drained her. He told her that he would make her “flesh of my flesh; blood of my blood; kin of my kin” (303).
Lucy’s death and Dracula’s defilement of Mina are the two pivotal, thematically rich scenes of these chapters.
When the men confront Lucy at the tomb, Stoker focuses on the sexuality of her appearance and words. What was once her purity has transformed into “voluptuous wantonness” (222). When she reaches for Holmwood, Lucy says that her arms are “hungry” (222) for him.
Her words and actions confound the men. They want to indulge her and destroy her in equal measure. She is a temptation, but like all temptations in Victorian society, she has to be destroyed. Similar to Arthur Dimmesdale in The Scarlet Letter, the men view their own lust with disdain and guilt. The severity of their revulsion is most evident in Seward’s description: “The remnant of my love passed into hate and loathing: had she then to be killed, I could have done it with savage delight” (222). Not only could he kill her in that moment, but he could also rejoice in doing so.
When Holmwood kills Lucy with the stake, Stoker describes him as “driving deeper and deeper” (227) into her. Her body trembles and writhes under the blows, and her gasps and moans give the scene an unmistakably sexual aspect. Stoker uses Holmwood as the executioner because her was her fiancée. Because Lucy and Holmwood were engaged, Holmwood would have allowed her to indulge her sexual desires within their marriage. Because they are never to consummate the act as man and wife, they do so with another form of penetration, one that restores her natural beauty, frees her from carnal evils, and sends her soul to God.
After Lucy dies, Mina is Dracula’s next target. The scene where she drinks from the wound on Dracula’s chest—almost like a nursing infant—has been a subject of great debate. A nursing child draws life from its mother’s breast. Mina draws blood—and her own potential death—from Dracula’s. This is the only depiction in the novel of someone feeding on Dracula. He threatens her with Jonathan’s death if she resists, but she chooses to participate in her own corruption, mingling Dracula’s blood with hers, even though Jonathan would not have wanted her to save his life at the risk of her soul.
Stoker shows Dracula as a disruptor of norms. The scene on the bed is pure ideological disorder with respect to Victorian ideals: Mina is feeding on Dracula while Jonathan, her would-be protector and husband lies helpless and unconscious on the bed with them. As Dracula taunts Mina, he also derides the accepted conventions of the society in which she lives.
Once again, the group banishes the Count with traditional Christian symbols, putting an end to the depravity on the bed. One can argue that Stoker’s solution to the moral and societal questions posed in the novel is a regression towards an ever-greater simplicity. Marriage between a man and a woman, with both remaining virgins until their wedding night, is simpler and more sacred than promiscuity and temptation. Christianity is simple in its purity. Its symbols are unchanging, as is their power over evil.
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