03 November 2007
I say "dramatist" because Stoker -- an Irishman -- was an actor at, and the manager of, a London theatre beginning in 1878. To an ambitious Irishman in the arts in the 19th century, politics notwithstanding, going to London was "making the big time." Indeed, it is still thus, as you can see from the attitude of the Dublin musicians in the recent bittersweet romantic movie "Once."
It is, I submit, worth spending the time and pixels to make that observation because Stoker gave to vampire lore the element one might expect from a man who crashed the London dramatic scene in his early thirties. Dracula is the same way. A man trying to make it in the big time.
One theme of the fanous novel, I submit, is that the Count could be a frightening bigshot to the peasants of Transylvania. He could have the huge scary castle on the mountain. But if he really wanted to be in the center of the world he's have to bite some blood in London!
When we first see him, the Count is already negotiating with a real-estate agent to obtain a house in that city.
I can hear Frank Sinatra in the background of the novel. "If you can bite necks there you'll bite them ... anywhere."
Knowledge is warranted belief -- it is the body of belief that we build up because, while living in this world, we've developed good reasons for believing it. What we know, then, is what works -- and it is, necessarily, what has worked for us, each of us individually, as a first approximation. For my other blog, on the struggles for control in the corporate suites, see www.proxypartisans.blogspot.com.