Vampire/Dracula

* Story
* Dracula
* Lucy
* Mina

* Academy of Evil: Dracula is mentioned to have studied at the 'Scholomance', which was known to be a school devoted to the black arts, leading into the theory it was the teachings he learned there that led to him turning into a vampire. Freda Warrington's unofficial sequel *Dracula the Undead* has the now-abandoned Scholomance play a big role in the plot.
* Accidental Truth: When Mina Harker asks Dr. Seward to let her listen to his phonograph diary, he's worried that she won't be able to stand hearing what happened to her best friend Lucy and tries to deter her by saying he doesn't know how to go to any specific part of the recordings. No sooner are the words out of his mouth than he realizes he really doesn't have any idea how to find any specific part of the diary, and they therefore can't use it to find clues about Dracula. He now has no choice but to grant Mina's request to listen to the whole thing and transcribe it on her typewriter.
* Admiring the Abomination: According to Van Helsing, the Count "must indeed have been that Voivode Dracula who won his name against the Turk, over the great river on the very frontier of Turkey-land. If it be so, then was he no common man: for in that time, and for centuries after, he was spoken of as the cleverest and the most cunning, as well as the bravest of the sons of the 'land beyond the forest'."
* Affably Evil: Dracula is a most polite and charming host. Although he loses the affability in his later encounters with the other characters.
* Affectionate Nickname: Van Helsing takes to Mina in a very fatherly sort of way, and consistently refers to her as "our dear Madam Mina."
* Agent Mulder: It doesn't take much to convince Quincey Morris that there are vampires about.
* Agent Scully:
	+ Dr. Seward originally disbelieves in vampires since it sounds pretty fantastical. Van Helsing personally shows him first-hand by visiting Lucy's grave before showing the others.
	+ Arthur Holmwood also doesn't really believe in the vampire story. At least until the confrontation with the vampirized Lucy later on.
* Alas, Poor Villain: Renfield's death invokes this trope. He's mostly unsympathetic for most of the novel — he nearly beats a man to death and attacks one of the protagonists with a knife — but when he realizes that Dracula had lied to him, he attempts to defend Mina Harker from him and is fatally injured because of it. The graphic description of his injuries doesn't help.
* All First-Person Narrators Write Like Novelists: Pretty blatant example. The novel is presented as a collection of diaries, telegrams and newspaper clippings, the diaries being kept by characters like Jonathan (a lawyer), Mina (a lady of society), Seward (a psychiatrist), etc. Not only do all of them write in very much the same style, but all of them make use of florid, poetic language, despite none of them being professional writers. They also include long pages of dialogue that any real journal keeper would simply summarize, and even official documents are phrased as prose.
* Amazon Brigade: As short a role as the vampire women had in the book, they certainly show they're fearsome creatures. It's only because of Dracula that they're prevented from feeding on Harker; it's clear if they had the chance, Harker would've been drained instantly and most likely turned into a vampire. And it's only due to Van Helsing's wafers that they were kept at bay from taking Mina. And even then, they don't give up on trying to get her till the sun rises, even killing the pair's horses. If it was anyone else looking after Mina, the women would've most likely overpowered her protectors and claimed Mina easily.
* Americans Are Cowboys: The one American character, Quincey Morris, is a wealthy Texas cattle rancher who carries a large bowie knife. In one moment, Morris leaves a meeting with other heroes where they're trying to figure out how to cope with vampires; a few seconds later, bullets come flying through the window. Quincey: I'm sorry, I thought I saw a bat out there.
* Animal Motifs: Howling wolves are a sign of Dracula's presence, and he's repeatedly associated with (and has power over) wolves, bats, rats, and at one point lizards. However, horses are terrified of vampires.
* Animorphism: Dracula has the power to shapeshift into wolves, bats and smoke, and probably other things.
* Antagonist Title: It sure ain't named after the old man who hunts him.
* Apocalyptic Log: The journal of the captain on whose ship Dracula came over is *chilling*.
* Arbitrarily Large Bank Account: Of the four men trying to track down Dracula, three of them are extremely wealthy by last act (two of them having inherited large estates, the other being a wealthy ranch owner), which means they can spend money and hand out bribes freely without having to worry about the expense.
* Aristocrats Are Evil: Except for Lord Godalming, AKA Arthur, who is one of the protagonists, but not treated any differently from the rest. Dracula, however, is *dead* straight. Conversely, every vampire is aristocratic. Lucy starts off as a subversion but obviously becomes a straight example once she's a vampire.
* Artistic Licence – History: Stoker was clearly trying to imply that Dracula is the historical Vlad III of Wallachia, but has mixed him up with John Hunyadi, a contemporary and sometime enemy of Vlad. It was actually Hunyadi who ruled Transylvania (Vlad was from Wallachia), held the title of Count, and had connections to the Székely peoples.
* Artistic License – Medicine: There are a metric ton of blood transfusions, which was the hot new technology at the time, but blood types were unknown, so there's no concern for bad transfusions; instead, it's assumed that strong young men have the best blood.
* Ascended Fanboy: Van Helsing is either this or Retired Badass, depending on how one reads the hints in his backstory. A "metaphysician and philosopher" who has spent a good chunk of his life gathering arcane knowledge on vampires, then throws himself enthusiastically at the chance to put that knowledge to practical use.
* As Long as It Sounds Foreign:
	+ Stoker uses the word "nosferatu" as an appealingly foreign-sounding synonym for "vampire", and identified as his source a work that cited it as the Romanian translation of "not living". Unfortunately, the word doesn't exist in Romanian, and no alternative etymologies (a Greek word meaning "disease-bearing," a Latin word meaning "you are our wild beast," or a mis-transcription of a legitimate, but unknown, Romanian or Slavonic word) have gained anything like consensus.
	+ At times, Van Helsing's speech is just a random string of words without any resemblance to Dutch syntax. But every once in awhile, he sounds perfectly Dutch ("He infect you in such wise, that even if he do no more, you have only to live" is a very Dutch structure, for example). Less forgivable are his occasional, very much not Dutch, very much *German*, exclamations of shock or horror (he says *Mein Gott!* instead of *Mijn God!*)
* Author Avatar: Jonathan Harker is the character most critics believe is Stoker's Author Avatar. Van Helsing might be an avatar for Stoker's father, who was also named Abraham.
* Aw, Look! They Really Do Love Each Other: Sort of a twisted version with Dracula and the vampire women - who it is said he held love for once, but no longer (accused by the blonde and affirmed by Dracula). They disobey him when it comes to Jonathan but otherwise there's a reason the vampire women stay in castle and serve Dracula (either from fear, respect for him, or just total control over them). Dracula bringing them a baby to eat shows he does somewhat still care for them.
* Babies Ever After: The novel ends with an epilogue set a few years after the main action, with the surviving heroes all together along with Jonathan and Mina's first child, who was born on the anniversary of Dracula's defeat. And they call him Quincey.
* Badass Bookworm: Professor Abraham Van Helsing. The fact that he has "M.D., D.Ph., D.Litt., etc." after his name yet still helps defeat Dracula should attest to this.
* Badass Unintentional: Van Helsing isn't a Vampire Hunter or even an adventurer, but rather just some Dutch scholar who's knowledgeable enough about the natural world to come up with a way to defeat Dracula.
* Balkan Bastard: The novel can be considered an Ur-Example of sorts of what’s generally a more modern trope. Dracula is from broadly the right part of the world, and is a deadly killer who travels west to carry out his evil schemes. And if he is correctly identified with the historical Vlad the Impaler, his ruthless personality was shaped by the brutal wars of that region...
* Batman Gambit: The Count's master plan to infiltrate England and spread his vampire curse is only foiled by the Deus ex Machina of asylum doctor John Seward just happening to be the former student of Professor Van Helsing, the only person who'd recognise a vampire attack and know exactly what to do. Dracula's meticulous setup and coverup of his lairs and his later manipulation of Mina as a weapon against his pursuers is only matched by Van Helsing's counter-plan of hypnotising her to deduce the Count's location.
* Bavarian Fire Drill: While searching ships for Dracula's coffin Jonathan and Arthur notice that one crew becomes more compliant after mistaking them for government officials. The duo decide to take advantage of this by purchasing a Romanian flag for their ship. Jonathan states in his diary that every crew they met afterwards raised no objections to them searching the cargo.
* Beauty Equals Goodness:
	+ Zig-zagged with Lucy. In life, she is notably gorgeous and very sweet and kind, and her beauty persists even after her death. Van Helsing explains that most vampires uncontrollably revert to a hideous appearance whenever they go to sleep because they're so malign, but because Lucy was a good person in life and was being hypnotized when she was turned, that doesn't happen to her. However, the "Bloofer Lady" *is* a monster, and her lovely, innocent appearance is only a reminder of who she was, which makes staking her emotionally difficult.
	+ Throughout the novel, characters linger on facial features in particular and make judgments about an individual's character based on them. Nearly all of the positive assessments turn out to be on the mark.
* Bedlam House: Averted. While a lot of Seward's knowledge might be outdated by today's standards, it would be highly scientific at the time, and from what we see of his clinic, it appears to be a genuinely well-equipped facility. Even Renfield, who's shown himself to be violent, is mostly kept in a clean, normal room, and only put in a straitjacket and secure cell when he becomes a threat to himself and others.
* Beethoven Was an Alien Spy: It's strongly implied that Dracula is Vlad the Impaler himself. Stoker changed his villain's name from "Lord Vampyr" to Dracula after researching Vlad's grim reputation as a torturer.
* Big Good: Abraham Van Helsing. The viewpoint characters do much of the action themselves, but it's clear that Van Helsing leads the fight against Drac and they would be helpless without him.
* The Big Guy: Quincy Morris the Boisterous Bruiser Texan is the Class 4 Big Guy for Professor Van Helsing's vampire hunting team.
* Big Ol' Eyebrows:
	+ Jonathan Harker notes that the Count's eyebrows are *"very massive, almost meeting over the nose, and with bushy hair that seemed to curl in its own profusion."*
	+ Van Helsing's are described as very thick too.
* Blade Enthusiast: Quincey Morris carries around a large bowie knife as part of his characterization as an American cowboy. Later he's upstaged by Arthur Holmwood, who busts out a kukri from his days in the military.
* Bland-Name Product: The *Dailygraph* newspaper (*Daily Telegraph*) and Kingstead Cemetery (*Highgate Cemetery*, near Hampstead).
* "Blind Idiot" Translation: In the German translation. In the pivotal scene where Mina is visited by the Count at night, she tells the reader that she "couldn't resist him." In the original, she says that she "didn't want to resist him" (she thinks that's part of his terrible power) — a small, but important difference.
* Blood Lust: Count Dracula goes from being a charming gentleman to a raging fiend with the flip of a switch — and the switch is Jonathan cutting himself shaving.
* Blood Magic: In contrast to his animalistic thralls, Dracula was originally just as much a sorcerer as he was a vampire.
* Blood Transfusion Plot: Van Helsing attempts to treat Lucy's anemia from Dracula's feedings with transfusions from her three suitors and himself. When the book was written, the concept of blood transfusions was radical, cutting-edge science, and the possibility of an allergic reaction to someone else's blood wasn't known. Thus, Lucy can get transfusions from four different men without anyone worrying about blood type compatibility.
* Blunt Metaphors Trauma: As a result of his difficulties with English, Van Helsing's attempts at figurative speech are rather interesting. Van Helsing: Well, the milk that is spilt cries not out afterwards, as you say.
* Boisterous Bruiser: Quincey Morris fills this trope to a T.
* Brain Fever: Jonathan Harker suffers from brain fever when Mina finally finds him after he somehow escaped the vampire's clutches.
* Break the Cutie: Mina. Her best friend dies, then she's attacked by Dracula and terrified of the possibility of becoming a vampire. But she eventually subverts it and stays strong for the sake of the hunters.
* Breaking and Bloodsucking: The Trope Codifier with a helping hand from Pop-Cultural Osmosis. Dracula never technically enters Lucy's bedroom the first few times he bites her. On the first occasion, he hypnotises her to leave the house and go down to the park. Thereafter, he goes to her bedroom window as a bat and she climbs partway out of it to be drained. Only when the escaped wolf breaks the window is he able to enter (presumably after hypnotizing Lucy's mother into inviting him in). When vamping Mina, he was able to enter because an inmate of the asylum she was sleeping in gave him leave.
* Buffy Speak:
	+ Appears in the definitive vampire story: Dr. Seward: [Renfield] seems so mixed up with the Count in an indexy kind of way...
	+ Lucy's vampire self is known as the 'Bloofer Lady' by the children she feeds on, who can't quite say the word 'beautiful'.
* Bunny-Ears Lawyer: Vampire hunting expert Van Helsing has quite the disturbing sense of humour.
* The Cake Is a Lie: Dracula's deal to get Renfield to invite him in. And the deal Dracula reneged on; he offered Renfield thousands of rats. To eat. Renfield's insanity was a fixation on eating living creatures to absorb their life. Dracula going back on this deal is part of what instigated Renfield's Heel–Face Turn.
* Cannot Cross Running Water: A stated weakness of vampires, except during "the slack or flood of the tide". It proves instrumental to slowing Dracula down near the end of the book.
* Cassandra Truth:
	+ The peasants in Transylvania beg Jonathan not to go to the castle. He pretty much laughs them off.
	+ Averted by Professor Van Helsing, who doesn't tell anyone vampires are involved until they see incontrovertible proof, because he knows they'd never believe him.
* Cassette Craze: Probable the Ur-Example: Dr. Seward uses a phonograph to record his observations.
* Casts No Shadow: Just part of the creepiness of both Dracula and the vampire women is that they cast no shadows.
* The Cavalry: This role is played by three terrier dogs when our heroes are attacked by a horde of rats.
* Central Theme:
	+ Sexual predation and the conflict between lust and repression.
	+ More broadly, it's the classic Romantic VS Enlightenment argument; specifically "old world" (magic/superstition) VS "new world" (science/technology). Dracula is a gothic novel after all, which leans heavily towards romanticism. Dracula himself has the edge throughout most of the story because his existence is not even fathomable by members of this "new world." The most terrifying ability of Dracula (to a Victorian Brit) is his ability to cause sophisticated modern women to slip back into "savage" sexuality.
* Character Title: Fittingly, too, since Dracula would eventually become the most famous vampire in all of fiction.
* Chekhov's Gun: Arthur's dog whistle.
* Child Eater: Dracula's vampire companions and Lucy after she turned, though the latter never really fully drained her victims because circumstances would force her to leave them behind before she could.
* Children Are Innocent: The vampire Lucy preys on children. Although she doesn't kill them, the children's innocent inability to understand that she was harming them — some even wish to meet her again — is horrific.
* Christianity is Catholic: Prof. Van Helsing, the one guy who knows how to deal with vampires, is a devout Catholic. Jonathan Harker, however, is at least nominal Anglican. This results in a few misunderstandings, when the Englishmen have a hard time taking Catholic crucifixes seriously and Van Helsing responds to their bemused surprise at his use of crushed communion hosts by explaining he has an indulgence. Although they are quite correct to be bemused, as indulgences don't work that way at all.
* Circular Reasoning: "I am satisfied that Lucy's body is not in that coffin, but that only proves one thing: That it is not there."
* Clap Your Hands If You Believe: By the time the book was written, vampire lore included an aversion to a cross. This, in different series, can be either the product of the vampire's belief in the cross, or the product of the wielder's belief in the cross. In *Dracula* itself, it only really works for the Catholic Van Helsing; the others, mostly Church of England members, just can't take the idea seriously. Often, it also works with another strong symbol of belief — for example, a rabbi using a Star of David to hold a vampire at bay.
* Clerk: Jonathan Harker is a clerk, though by the time the story starts, he has risen high enough in the company to be trusted with dangerous foreign missions, and he's made a partner in the firm on his return.
* Cold Iron: Dracula is slain by a knife through the heart and decapitation by a second knife, drawing on the use of sharp iron and/or steel tools like knives and needles as protection against vampires. It's never stated that iron is important, though.
* Collateral Angst: Dr Seward observes several times that Jonathan seems to find Mina's metaphorical rape harder to bear than she does, and she, ironically, seems to be the one comforting *him*.
* Combo Platter Powers: This vampire can scale walls like Spider-Man, control the weather, control wolves and rats, turn into a wolf and a cloud of dust in addition to a bat, and has Super Strength.
* Contrived Coincidence:
	+ The boat that Dracula is on arrives at Whitby, where Mina Murray, the fiancée of the man who's unwittingly helped him, is by a strange coincidence on holiday at the time; in a twist of fate, his first victim is Lucy, Mina's best friend. What's more, one of Lucy's admirers runs the lunatic asylum *right next door* to Dracula's new house. He also has a friend and mentor who, while not a vampire hunter, certainly knows a *lot* about how to deal with them or ward them off. Honestly, if Drac had landed anywhere else, his plan would've gone off without a hitch.
	+ In Chapter 2, Harker notes that Whitby is circled on Dracula's map of England, implying that the Count's arrival there is not strictly coincidental; why he would have chosen that place, even before he learns of Mina, is a bit of a mystery (some adaptations, such as the 1970s BBC version, have Jonathan mentioning Mina staying at Whitby beforehand, so when he learns of Dracula circling it, he knows it was a deliberate choice, and otherwise it may be inferred that Dracula somehow knew about Mina beforehand and had already chosen her).
* Cool Boat: Not so cool by the time Dracula is done with it, though...
* The Coroner Doth Protest Too Much:
	+ After Lucy and her mother die during an attack by Dracula (Lucy for vampiric reasons, her mother by fright-assisted heart failure), Dr. Seward undertakes to sign the death certificates and fudge the circumstances enough to avoid an official enquiry, since it would hold up the hunt for Dracula and nobody would believe the truth anyway.
	+ When Renfield is killed by Dracula, Seward does the same again. This is a more extreme example: Renfield suffers multiple cranial and spinal injuries, such that he'd have been paralyzed for life if he'd lived, but Seward marks down the maner of death as "misadventure in falling from bed".
* Creepy Cemetery: Van Helsing and Dr. Seward keep vigil at the cemetery where Lucy is entombed (and from which her body has disappeared), discovering she has become a vampire, and ultimately dispatch her with a stake through the heart after she returns to her coffin.
* Crimefighting with Cash: While tracking down the Count, the private fortunes of the Harkers, Dr. Seward, Quincey Morris, and especially Arthur Holmwood (being, respectively, a partner of a law firm and sole inheritor of the estate of the other partner, a physician and sole owner of a mansion which he converted to an insane asylum, an American entrepreneur who regularly travels the world, and a British lord) are used to rapidly equip the entire party with whatever tools they need nearly instantaneously, as well as fund several necessary bribes both in England and abroad. At one point in the novel, Mina lampshades the incredible utility of cold, hard cash.
* Culture Clash: Discussed; Seward is reluctant to have Van Helsing go over Lucy's papers, fearing that he may misinterpret English and Dutch legal requirements. It turns out that Van Helsing is completely aware of English legal practices, so there is little to worry about on this point.
* The Cutie: Lucy has three men ask for her hand in marriage in *one day*, and they then all pledge to protect and avenge her.
* Damsels in Distress: Lucy and Mina. Mina, however, *does* something about it.
* Dark Is Evil: Dracula's castle is a dark and oppressively gloomy place, and the Count himself dresses in black.
* Dastardly Whiplash: Dracula's black attire and long moustache give him this appearance.
* Daylight Horror: Dracula walks freely during the day. This is a staple of the Victorian vampire fiction. The idea of vampires dying in sunlight only became prevalent in the early 20th century thanks to *Nosferatu*.
* Daywalking Vampire: Dracula walks freely during the day, though he's more powerful at night. This is something that was eventually lost in vampire lore and did not return until recent years.
* David vs. Goliath: Dracula vs. Renfield
* Dead Guy Junior: Jonathan's and Mina's child is named after *all* of the group, but goes by Quincey.
* Deadpan Snarker: The "laconic" Quincey Morris. Van Helsing gets his fair share as well, and Seward has his moments (especially when describing Renfield).
* Death of a Child: Dracula has no compunction feeding a baby to his three vampire wives. Then the baby's mother to a pack of wolves. And one of his victims, Lucy Westenra, gains a reputation for preying on children.
* Deconstruction: The book takes several staples of the Gothic tradition and previous horror novels and reimagines them. Instead of Creepy Catholicism, the Romanian peasants whom Jonathan encounters while travelling to meet Dracula are aware of the danger he's in and try to warn him, when he manages to escape Dracula's castle he's nursed back to health by a hospital full of nuns, and the Roman Catholic Abraham Van Helsing is initially the only one of the main cast who has *any* inkling of what they're dealing with and how to fight it. John Seward, who is technically a 'mad doctor', is also one of the major protagonists. Rather than Science Is Bad, as is the case with *Frankenstein* and *The Strange Case of Dr. Jekyll and Mr. Hyde*, it instead gives the heroes an edge over their enemy.
* Dedication: "To my dear friend Hommy-Beg".note
* De-power: This is the only effect of sunlight on Stoker's vampires.
* Did We Just Have Tea with Cthulhu?: Sure, there's clearly *something* creepy going on, but it takes a while before Jonathan Harker actually decides he wants to leave, and the Count remains friendly around him right up until he starts attempting escape.
* Disease Bleach: Jonathan's hair begins to go grey after his imprisonment at the Count's castle. It's believed by some to be another way in which he grows to mirror Dracula himself, similar to his personality change and growing fixation on his weapons. Of course, this gets even more patently ridiculous later on: after Mina explains all the deprivations the Count has been secretly putting her through and the fact that he's setting her up to become another vampire thrall, Jonathan's hair is *explicitly* stated as going stark white right then and there, grown hair and all.
* Does This Remind You of Anything?:
	+ The scene where Dracula forces Mina to drink his blood reads like a rape scene.
	+ Vampirism in general. It's especially obvious in the situation when Lucy has been ravished and drained by the monster, and the men who love her have one option to restore her purity: to inject their own precious bodily fluids into her. This is lampshaded by one of the characters mocking the idea of the blood transfusion being a metaphorical sex act.
* The Dog Bites Back: Renfield, albeit at the cost of his life.
* Dramatic Irony: When the heroes go on the offensive against Dracula, Van Helsing insists on leaving Mina out of it to protect her. Subsequently, there are diary entries from Mina and Jonathan each saying that they hate Mina being excluded and are only going along with it because (they think) the other agrees with it, and scenes where Van Helsing, Seward, and the others congratulate themselves on keeping Mina safe from the horrors they've been experiencing, even as it becomes apparent to the reader that by isolating her they've made her vulnerable to even worse horrors.
* Driven to Madness: The Count leaves poor Jonathan a complete psychological wreck, convinced that what he'd seen couldn't possibly be real.
* Dual Age Modes: Dracula appears much younger when he's recently fed. He also disguised himself with a fake beard, and claimed to be a just a coachman working for the count.
* Dude, Not Funny!: After Lucy is vamped, and subsequently staked, Arthur gives a heartfelt speech about how, though they were never married, the transfusion of his blood into her veins made them more than husband and wife. Doctor Van Helsing is suddenly overcome with giggles and has to excuse himself. When Seward follows him out, Van Helsing giddily explains that since Lucy had transfusions from four men (including himself), then by Arthur's logic, Lucy was a bigamist. Doctor Seward finds it much less funny.
* Due to the Dead: What makes Seward so uneasy about investigating Lucy's vampirism.
* Dungeon Crawling: There are some scenes reminiscent of this trope, although they omit the "and take the monster's stuff" step once the monster (Lucy) has been tracked to her underground crypt and dispatched. Amusingly, Jonathan finds a pile of gold coins (all of it at least 300 years old) in Dracula's room, and helps himself as he flees the castle in case he needs it on his journey. And this after he escaped a metaphorical dungeon (he'd been locked in his room in the castle), climbed a wall, explored a chapel converted for evil purposes, and attempted to kill a vampire.
* Dying as Yourself: This happens with each of the vampires, including Dracula himself (in the moment before he crumbles into dust). It happens in the first stage adaptation as well, but for some reason tends not to happen in movie versions. "There was, on the face, a look of peace."
* Eagleland: Quincey Morris is presented as a cowboy-type from Texas, informal but friendly and honorable. Strangely, although repeatedly described by his friends as a man of action, he doesn't engage in all that much of it until he suffers a mortal wound fighting the Romani that protect Dracula's coffin at the end and striking one of the fatal blows to kill Dracula.
* Eats Babies: It's implied that the three vampire 'sisters' ate a baby: they're after Jonathan's blood, but Dracula tells them to leave him alone because he's still needed for the big real estate deal. One of them whines, "Are we to have nothing tonight?" and they are subsequently contented with a small, writhing bag. A peasant woman arrives at the castle gates later, screaming for him to return her child. And when Lucy Westenra rises as a vampire, she preys upon very young children, though thankfully none of them were seriously harmed before the heroes manage to put her to rest.
* Eerie Pale-Skinned Brunette: Two of the vampire women are brunettes and Lucy, when she turns, has her hair color change from blonde to brunette as a sign of her corruption. Naturally, being undead, they all have pale skins.
* Eloquent in My Native Tongue: Van Helsing is an interesting quasi-example of this. He speaks the English in syntax quite broke, but he's really quite eloquent even then, in that he has a great vocabulary.
* Empathic Environment: Immediately after vampire Lucy is slain, the weather is described as sunny and pleasant.
* Everything Is Big in Texas: Lucy likes Quincey Morris' funny turns of phrase, so when he proposes to her, he consciously hams up the quaint cowboy-themed metaphors to an almost sickening degree.
* Evil Cannot Comprehend Good: Thanks to his royal lineage and centuries of isolation, Dracula is only able to view mortals as pawns or food, and he fancies himself a god made flesh whose destiny is to rule the entire Earth. This makes it inconceivable to him that anyone would be able to resist his will, let alone outsmart him.
* Evil-Detecting Dog: Dogs and horses are frightened by the Count's presence, but he can control wolves.
	+ When he goes out to meet Jonathan Harker, the horses pulling Harker's cart panic, though the jet-black beasts pulling his own carriage obey him without hesitation.
	+ At a funeral for one of Dracula's victims, a dog belonging to one of the guests refuses to go near the grave.
	+ A wolf at a zoo in England snarls and lunges at the bars of his cage when the Count comes near, but calms down when he gets closer. And later escapes and breaks through Lucy's garlic-protected window.
* Evil Smells Bad: Dracula has foul breath, almost certainly due to his diet, and areas where he stays are, well, to quote the book: But as to the odour itself, how shall I describe it? It was not alone that it was composed of all the ills of mortality and with the pungent, acrid smell of blood, but it seemed as though corruption had become itself corrupt.
* Evil Sorcerer: Dracula is said to have been adept in the dark arts due to being trained as a Solomonari, a dark wizard from Eastern European folklore. It's heavily implied that he rose as a vampire in the first place through magic rather than being bitten like all of his victims, and his more famous powers like turning into mist, bats, wolves, or summoning storms are likely the product of his black magic rather than inherent vampire powers.
* Exposition of Immortality: In chapter III, Jonathan Harker converses with the Count on Transylvanian history, and observes that the Count speaks of "things and people, and especially of battles, [...] as if he had been present at them all." As the Count is really a centuries-old vampire, it is possible that he *has* been present at them all.
* Extremely Dusty Home: Appears all the time, notably in the old wing of Castle Dracula and in his purchased mansion.
* Faint in Shock: Jonathan Harker pulls one of these fairly early on. He has just been overtly harassed by three beautiful vampire-ladies *and* apparently his own host.
* Famous Ancestor: Dracula namedrops nobody less than the Hun himself when describing his Székely heritage: *What devil or what witch was ever so great as Attila, whose blood is in these veins?*
* Fanboy: Dracula is revealed to be one for his own homeland's history. When Jonathan asks him about the country, he gladly starts going on and on about how badass his people were way back when.
* Fangs Are Evil: The better to drink your blood.
* Faux Affably Evil: The Count gives a polite and inviting first impression, if somewhat unsettling. The guest usually dismisses the last part under cultural/foreign differences. *Welcome to my house! Enter freely and of your own will. Go safely and leave something of the happiness you bring.*
* Foe Romance Subtext: Some interpret there to be romantic tensions between Dracula and Lucy, Dracula and Mina, and/or Dracula and Jonathan. Literary scholars regularly debate whether any of this was intentional or not. Not only was Stoker a rather old-fashioned type writing when the social and sexual liberation movements were just beginning to take off, but it is generally taken as fact by historians that Stoker himself was a heavily closeted self-hating gay man, and further, commonly assumed by literary scholars that Stoker used the story of *Dracula* to work through some issues, so the sexualized nature of the vampires took on a whole new meaning as an unsubtle appeal for restraint. (Scholars also note that while Dracula is knifed, female vampires are killed by having something long and hard stuck in them. This is discussed in SERIOUS SCHOLARLY WORKS.)
	+ When the female vampires in the castle attempt to "kiss" (read: bite) Jonathan, Drac shows up and chases them off, saying, "He belongs to me!" There is little to no heterosexual explanation for the passage that follows: "How dare you touch him, any of you? How dare you cast eyes on him when I had forbidden it? Back, I tell you all! This man belongs to me! Beware how you meddle with him, or you'll have to deal with me." The fair girl, with a laugh of ribald coquetry, turned to answer him. "You yourself never loved. You never love!" On this the other women joined, and such a mirthless, hard, soulless laughter rang through the room that it almost made me faint to hear. It seemed like the pleasure of fiends. Then the Count turned, after looking at my face attentively, and said in a soft whisper, "Yes, I too can love." - *Dracula,* chapter 3, Jonathan Harker's Journal, 16 May.
* Foil: Van Helsing to Dracula: Both are confident, knowledgeable, and affable, with a slight hint of a generic strange accent, and refer to people as "friend".
* Food Porn: Jonathan Harker devotes a lot of attention to what he's eating at the beginning of the book.
* Foreshadowing: The vampire women are a bit of foreshadowing in regards to the aftereffects of vampirism due to their seductive, beautiful, yet off-putting nature. Indeed, when Lucy turns, she's shown to have the same traits and Mina likewise starts exhibiting some of these after she's bitten.
* Forgets to Eat: One of the worrying symptoms Helsing notes of Mina after she's bitten by Dracula, due to the fact her appetite has suddenly disappeared during the journey to Castle Dracula. A sign that she's becoming closer to turning into a vampire.
* Forgotten Trope: Dracula is described as having hairs in the centre of his palms, which is an aspect of werewolf and vampire lore that has almost completely disappeared.
* Frozen Fashion Sense: Averted. Dracula's attempts to prepare himself for his move to England explicitly include acquiring clothes in the latest fashionable English style he can get his hands on in order to blend in better.
* Funetik Aksent: The old Yorkshireman, various cockneys, and of course Van Helsing himself. Stoker prided himself (without much justification) on his ability to do these.
* Funny Foreigner:

* Quincey Morris, to an extent, with his picturesque Texan slang. Lucy notes when she introduces him to Mina that he's playing it up because he knows it amuses her, and that he's perfectly capable of speaking standard English if the occasion calls for it.
* Dracula himself defies it, stating that he is too proud to allow himself to be treated as such, and invites Jonathan Harker to his castle both to polish his accent and learn about everyday life in England, so he won't stick out like a sore thumb and be a target for mockery.

* Fur Against Fang: Inverted. Dracula can control wolves as well as all creatures of the night, and even turns into a wolf as a slightly less conspicuous way of breaching the English shore.
* Gaslighting: Whether it was his intent or not, Dracula did this to Jonathan Harker while he had Harker imprisoned in his castle. Harker was convinced he'd hallucinated the whole thing for a *long* time afterward. By the end of his stay, not only is Jonathan a psychological wreck, but he's practically become nocturnal to match the Count's own sleeping habits.
* The Generic Guy: Jonathan Harker doesn't have an interest in science like Van Helsing or Seward, tragedy like Lucy and Arthur, madness like Renfield, or a Heroic Sacrifice like Quincey Morris, so he's historically been written off as merely a generic handsome guy who serves as the Count's Chew Toy in the first part of the book and a Satellite Love Interest to Mina after the Count becomes obsessed with her. Many adaptations either condense his part or remove him completely.
* Genre Refugee: Quincey P. Morris. Nothing like the presence of an American cowboy in a Gothic Horror story set in *Britain* to make you go "Say again?"
* Genre Savvy: Van Helsing is a scientist, but having recognized that they were fighting a monster out of legend, he goes to those legends to learn how to fight it.
* Gentleman and a Scholar:
	+ Despite being "one of the most advanced scientists of his day", Abraham Van Helsing has nerves of steel, an open mind, a kind heart, and a wry sense of humour.
	+ John Seward is a doctor by profession, although he is implied to be independently wealthy and does not need to work for money.

* Ghost Ship: The *Demeter* runs aground at Whitby with all the crew missing except the captain, whose corpse is found lashed to the helm. However, a ship's log is found which provides clues as to what happened aboard the vessel.
* Girl Posse: The three vampire women always work in a unit.
* A Glass of Chianti: Dracula doesn't eat or drink, but Harker comments very favourably on the food and wine the Count serves.
* Good Scars, Evil Scars: Mina gets an evil one that the Transylvanians recognize. Dracula gets one from Jonathan early on, but it's inconsistently described in the text.
* Go Out with a Smile:
	+ Vampirism is a curse, so vampires who are killed are implied to be relieved.
	+ Quincey also seems remarkably chipper for one who has thirty seconds to live — but he dies knowing Dracula is dead and Mina is saved.
* Gotta Kill Them All: The heroes have to track down and destroy Dracula's lairs so he will have no place to go to change shape or rest in his native soil.
* Gratuitous German: Van Helsing sometimes offers examples, though he is a Dutchman rather than a German. Some of it may be justified, however, since German was famously the great language of science (and medicine, especially) in the late 19th century, so a learned professor should be quite familiar with it no matter his own national origin.
* Grave Robbing: Committed a couple times by the protagonists, since vampires sleep in their coffins. Some of them really take issue with it at first.
* Greater-Scope Villain: It is openly stated that Dracula's vampirism is the result of a damning Deal with the Devil and part of the dark sorcery that he was taught as a disciple of Satan in the occult academy of Scholomance. This black magic that has transcended the natural limits of life and death makes him come across as a mere sinner who was tempted into becoming one by the powers of darkness and still serves them by crawling in the shadows of his hideous unlife.
* Hair of Gold, Heart of Gold: Interesting variation. Lucy, befitting her treasured English Rose status, is described as blonde (Seward refers to her hair lying on her bed pillow in "sunny ripples"), but as a vampire, is described by eyewitnesses as having dark hair. Especially fitting as her childlike innocence before getting attacked by Dracula is absent from her vampire form.
* Haunted Castle: Dracula greets Jonathan Harker: "Welcome to my house! Enter freely and of your own will!"
* Have a Gay Old Time:
	+ "As he did so he started back, and I could hear his ejaculation, “Mein Gott!” as it was smothered in his throat".
	+ When the letters between Mina Murray and Lucy Westenra contain such titillating turns of phrase as *"I am longing to be with you", "We have told all our secrets since we were children; we have slept together...", and "I wish I were with you, dear, sitting by the fire undressing, as we used to sit"*, it's very easy for modern readers to get the wrong idea about the nature of their relationship. They're just good friends. Honest. Specifically it's a devoted Pseudo-Romantic Friendship quite normal for those days. There were Romantic Two-Guy Friendships too and even church services to solemnize these unions.
	+ Lucy is in "gay spirits" at one point using the old meaning of the word.
	+ van Helsing's remarks about the "smuts of London" i.e. the dirty marks on buildings etc. from soot caused a fair bit of amusement on Tumblr during the 2022 'Dracula Daily' run.
	+ "Poor fellow. He looked desperately sad and broken. Even his stalwart manhood seemed to have shrunk somewhat under the strain of his much tried emotions."
* The Heart: Mina keeps the men's morale high and reminds them of why they're fighting.
* Hemo Erotic: A rather vague passage suggests that a new vampire can only be created if a bite victim somehow ingests vampire blood. Then again, the book was criticized for its "sucking sounds" which many readers interpreted as suggestive of oral sex rather than blood drinking.
* Heroic BSoD: Jonathan Harker suffers one after his imprisonment in Dracula's castle and no wonder. His physical health breaks down right along with the mental, and he doesn't even know if everything he saw was real or in his head until Van Helsing confirms it.
* Heroic Sacrifice: Quincey Morris.
* Herr Doktor: Professor Van Helsing is Dutch, but constantly peppers his English with German.
* Hide Your Otherness: Count Dracula poses as an ordinary human nobleman for most of the first half of the story, as part of his evil plot to get some Londoners to nosh on.
* The Hilarity of Hats: Dracula turns up to book passage on a ship out of England wearing a straw hat in October, a major fashion faux-pas at the time and utterly unsuited for the climate at that time of year. It's a very odd image that has yet to appear in any adaptation.
* Hiss Before Fleeing: When confronted by Van Helsing and company and beginning to feed on a small boy, the newly turned Lucy throws the child to the ground, "growling over it as a dog growls over a bone." Shortly afterwards, the vampiric Lucy is driven back by Van Helsing's crucifix. She isn't described as hissing at this point, but does have a mouth grown "to an open square, as in the passion masks of the Greeks and Japanese."
* Historical In-Joke: Protestant England is saved from Dracula in part thanks to the use of Catholic paraphernalia such as crucifixes. During his stay at Castle Dracula, Harker notes the irony of seeking solace in a crucifix having been taught since childhood that it is a symbol of idolatry.
* Holy Burns Evil: Crosses and communion wafers (the Host) repel vampires. Dr. van Helsing seals up a vampire's tomb by filling in the cracks of the door with putty containing ground up Host. After Mina is forced to drink Dracula's blood, van Helsing attempts to bless her by placing a wafer on her forehead, but it burns her skin, leaving a scar that remains until the Count is slain.
* Hollywood Heart Attack: How Mrs. Westenra dies in the story; as the wolf Dracula sent bursts through the window, the shock of the attack gets to her heart. Lucy tries to get help, but the maids have been drugged and Dracula soon descends on her.
* Hooked Up Afterwards: The epilogue, set seven years after the rest of the story, mentions in an aside that Lucy's remaining suitors are all married now. There's no detail given about who they married, or how they met their wives, or whether their wives know about the history of Lucy and Dracula: just the bald assertion, as the minimum necessary compliance with contemporary audiences' expectations that a man's happy ending must include a wife.
* Hope Spot: When Jonathan Harker demands to be permitted to leave Castle Dracula, the Count tells him that *of course* he won't be kept one minute longer, and even opens the front door for him... only for a pack of ravenous wolves (obviously summoned by Dracula) to immediately show up at said door. Harker has to beg Dracula to close the door and "let" him remain.
* Human Mail: When he travels to England, Dracula avoids any issues with customs and immigration by arranging to have himself transported as cargo inside a sealed crate, taking advantage of the fact that he doesn't need to breathe and can mist in and out of the crate whenever he needs a snack. After Lucy's friends make London inhospitable to him, he returns home using the same method.
* Hypocritical Humor: Mina mocks the "New Woman" a few times in her journal. For those that don't know, "New Woman" at the time was when females were starting their movement for independence and becoming more assertive which was a big deal at the time. The reason it's ironic is because Mina becomes assertive after her encounter with Dracula and is both able to resist his influence (with some help) and coming up with the idea to use her newfound psychic link with Dracula to lead the hunters to him.
* Hysterical Woman: There aren't any in the book, but Dr. Seward certainly believes in this trope. At one point he remarks, "Men and women are so different in manifestations of nervous strength or weakness!". Mina seems to exist to defy this trope, as no matter how distressed she gets, she has it together *better* than her husband. She does go into hysterics at one point, but it's for a *very* good reason and she gets over it with amazing quickness. Several of the men also have brief hysterical episodes.

   I-Y

* I Cannot Self-Terminate: After Mina is infected by Dracula, she contemplates suicide, but is dissuaded by Van Helsing because she'll only become a vampire if she dies while Dracula still lives. So instead she makes all the men promise that if she becomes a vampire, they'll kill her. Fortunately, this never needs to happen, as they kill Dracula first. This is also a possible interpretation of Lucy's dying words before becoming a vampire, as she begs Van Helsing to protect her fiancé Arthur and "...give me peace!"
* Idiot Ball:
	+ The main characters know that a vampire can only enter a house into which he is invited, but they still keep his victim in a house that they know Dracula can already enter. Also, they know that Lucy died and rose as a vampire after becoming paler and weaker over many days. When Mina's not feeling well and looking rather pale, they write it off as a simple illness.
	+ Luckily, Dracula has it too. Van Helsing concludes that Dracula is doing what he did when he was a mortal man — raising an army and invading another country, only it's England this time and not the Ottoman Empire. Dracula goes about this by attacking and attempting to turn a grand total of two women. He fails miserably with both. And once Harker, Seward, Van Helsing, and the rest of the party learn of Dracula and start taking steps to thwart him, he doesn't bother to do anything but attack Mina to use her as a spy (which backfires spectacularly because she can spy on him) and to burn their notes while they are all sleeping when he could have killed them.
* I Do Not Drink Wine: While the famous line doesn't appear in the book, Jonathan Harker does notice that he never sees the Count drink or eat... food. The line that does appear in the book is "I have dined already, and do not sup", meaning that he has already eaten an early evening meal, and does not eat late. However, Dracula does apparently keep a good wine cellar for guests, as Harker comments very favorably on the "excellent bottle of old Tokay" he is served with his first supper at Castle Dracula. Dracula: You will, I trust, excuse me that I do not join you; but I have dined already, and I do not sup.
* I Have You Now, My Pretty: Dracula's attack on Mina in her bedroom reads very much like a rape scene, particularly when he reveals that this isn't the first time she has... sated his thirst.
* I Made Copies: The Count breaks into the heroes' headquarters and burns the Scrapbook Story they've been keeping of the ordeal. How is the reader still able to read it? They had a backup copy in a safe. All this before the days of hard drives!
* I Want My Beloved to Be Happy: Dr. Seward and Quincey lose to Arthur in wooing Lucy, but they're good sports about it. Both of them give blood to save Lucy without hesitation.
* Immortal Immaturity: Dracula is a bit complicated in this respect. As explained by Professor Van Helsing: "Well, in him the brain powers survived the physical death. Though it would seem that memory was not all complete. In some faculties of mind he has been, and is, only a child. But he is growing, and some things that were childish at the first are now of man's stature. He is experimenting, and doing it well."
* Informed Ability: Vampirism is really vague in this story and it's not really clear what it does besides what's shown. Most known is that it turns the victim into a monster, they gain a few powers, and they drink blood. Okay, fine, but outside that, we only get hints that it's the worst thing ever for the victim, because apparently their souls are either trapped in their bodies or taken over by the monster they become (Lucy's sudden shifts in demeanor as she's dying lends some credence to this). Or the person becomes corrupted and evil just from turning. Outside of feeding on humans, it never really goes into too much detail on the specifics of what's causing the change. But that might just add to the mystique for the sake of horror. Dr. Van Helsing also mentions a few vampire powers that are never used, like using a victim's tomb as an alternative sanctuary or animating normal corpses to do their bidding.
* Insane Troll Logic: One of the things that clues Jonathan in that the good count might be a *little* eccentric is when he cuts himself shaving. Dracula goes on a sweeping monologue about how the mirror that Jonathan was using to help shave caused Jonathan to cut himself (one point of using a mirror is so you DON'T cut yourself), and then throws it out a window.
* Instant Sedation: Averted when Van Helsing gives Lucy a sedative before her first transfusion. Seward states in his journal that it actually took longer than he expected for the sedative to work, which he takes as a sign of just how weakened Lucy has become.
* It's a Small World, After All: The Count's identity and nature are exposed because his lawyer's wife's best friend's ex-suitor's one-time mentor *just happens* to be an expert on vampires.
* "Join Us" Drone:
	+ Lucy, after having been turned, beckons this to Arthur when Helsing, Seward, Quincy, and he confront her vampire form in a graveyard. Lucy: Come to me, Arthur. Leave these others and come to me. My arms are hungry for you. Come, and we can rest together. Come, my husband, come!
	+ Near the end of the book, the three vampire women happen upon the camp where Van Helsing and Mina are stationed. A makeshift holy barrier Helsing made keeps them from getting near the two. But this doesn't stop them from calling out to Mina and trying to appeal to her growing vampire transformation to join them, citing her as their "sister".
* Kiss of the Vampire: The kiss/bite of the vampire is an analogy for rape. Dracula tricks Renfield into inviting him in and physically forces Mina to drink his blood against her will, leaving the traumatized girl to go through periods of denial, anger, and depression while viewing what she suffered that night as a Fate Worse than Death than which nothing could possibly be worse. Since most Gothic literature of the 18th and 19th centuries used the word "seduce" where we would use "rape", Stoker gets major points for being possibly the first author since Edmund Spenser to recognize the difference between seduction and force.
* Kukris Are Kool: Jonathan Harker wields a kukri and attacks with enough ferocity to force Dracula to retreat. Then decapitates the Count with it after Quincey Morris stabs him in the heart with a Bowie knife.
* Language Fluency Denial: When he's at the inn on the last stage of his journey to Castle Dracula, Jonathan has no trouble communicating with the innkeeper until he starts asking questions about the Count, at which point the innkeeper suddenly can't understand him.
* Lean and Mean: Dracula himself. For adding slimming power he could slip through the cracks of doors if necessary.
* Lip Losses: When she gets staked, Lucy wildly gnashes her teeth, resulting in her fangs tearing up her lips.
* Liquid Assets: The Count starts off as an elderly man and becomes younger in appearance over time through drinking blood. Also, when Lucy becomes a vampire, she looks healthier "dead" in her coffin than she did alive.
* Love Dodecahedron: Arthur and Lucy become engaged, but Dr. Seward and Quincey Morris are in love with her as well. Van Helsing seems to grow to love both Lucy and Mina, and there's plenty of chemistry between him and Dr. Seward. Mina marries Jonathan, and the surviving six form a True Companionship where they all love everybody.
* Madness Makeover: Lucy gets all slinky and sensual as she falls under Dracula's spell. Oddly, this is not considered an improvement by her faithful suitors.
* Madonna-Whore Complex:
	+ Lucy fills the role of the Madonna — a sweet pure girl who is beloved by all for her innocence. When she becomes a vampire, she's now a Whore — described as voluptuous and far more sexual.
	+ Overall, the novel averts this big time (though later critics would frequently miss the subversion entirely). Lucy, the sweet and innocent girl who doesn't have a flaw other than naïveté, ends up killed by the monster, which her virginity and purity did not protect her from. Mina, the more liberated and independent woman who's also not a virgin (she's married and most likely had a wedding night), on the other hand, survives, and is vital to taking down Dracula.
* Madwoman in the Attic: Doesn't appear, but Van Helsing reveals he's married to a madwoman. Well, what would a Gothic horror novel be without one?
* Magic Versus Science: One of the themes in the novel is the old age of superstition and magic embodied by Dracula versus the new age of science embodied by the protagonists. Initially, magic aka Dracula has the edge because the scientific worldview has no place for him and refuses to accept that vampires exist. Dracula does not work the way science says the world works so he can act with impunity. Ironically, only by getting rid of the conflict and combining the two in Van Helsing is Dracula defeated. Van Helsing accepts things outside of the scientific worldview and uses those unorthodox methods to fight Dracula. At the same time, he uses modern scientific advances such as technology and criminal theory to predict Dracula's movements and eventually defeat him.
* Make Sure He's Dead: After staking Vampire-Lucy, Van Helsing has her head removed and her mouth filled with garlic. It appears, given later Vampire-deaths, that removing the head of a dead vampire removes their immortality and they revert to a human corpse of appropriate age. Since Lucy's corpse was too fresh to immediately rot (as, for example, Dracula himself did), filling the mouth with garlic is probably a way of making sure it doesn't come back as something undead in the meantime.
* Manipulative Bastard: Dracula gets very far on nothing but his charm. He's so good at it that its all but stated that he has some sort of hypnotic powers.
* Manly Tears: The men in this novel cry as much as, if not more than, the women:
	+ Jonathan Harker cries when trapped in Dracula's castle (after seeing a baby being devoured by the three monstrous women) and then cries a lot after Mina is attacked.
	+ Arthur Holmwood breaks down several times during Lucy's illness and when grieving for her, including one memorable scene where he becomes hysterical and is comforted by Mina.
	+ Van Helsing also has crying fits including an episode of hysterics after Lucy's funeral.
	+ Seward and Morris are relatively stoic. But both shed tears after Mina is attacked, and Seward has to pause his recording at one point because he chokes up while describing an emotional scene: Seward: I cannot go on...words...and v-voices...f-fail m-me!
* Man of Wealth and Taste: This was one of the first stories to treat vampires in this way, as opposed to the earlier depictions of them (from various myths and legends), in which they were more animalistic and demonic in nature.
* Mercy Kill: The staking of Vampire-Lucy is framed this way by Van Helsing: not only will it stop her from harming anyone again, it will free her spirit from corruption and send her to heaven. This is why the group agrees that her fiancé Arthur should do the deed, because he was the one who loved her best.
* Mind Control: Dracula intends to do this with Mina, but it backfires on him once he realises that if she can show him whatever the heroes are up to, she can also show them whatever Dracula is up to.
* Mind Rape: Dracula is never openly shown sexually assaulting his victims but his invasion of their mind through hypnosis, rendering them powerless to resist his bite, is portrayed much the same way.
* Missing Reflection: The Trope Maker. Soon after his arrival at Castle Dracula, Harker observes that the building is devoid of mirrors. When Dracula silently comes into Harker's room while he's shaving, Harker notices that Dracula, who is standing behind him, does not appear in the shaving mirror as he should. The Count reacts violently and flings the mirror out a window. The missing reflection is the first solid evidence of his vampiric nature that Harker directly observes.
* Monster Lord: Dracula is a count, and the other vampires mentioned in the book clearly view him as superior... but this may be less to do with his title and more to do with the fact he's implied to be their husband and/or father and also happens to be a badass.
* Monster Misogyny: Dracula feeds on men to survive, but the only new vampires he creates are women. Many critics note the sexualized nature of the violence between men and women throughout the story, with blood-sucking and stalking being seen as metaphors for sex.
* Monster Progenitor: Dracula is this, of course. It's known he's the original vampire of *his* line of vampires, but not if he is the first vampire ever.
* Monstrosity Equals Weakness: While never exactly weak, Dracula is an unnatural and horrifying old man in the first act when all he had to feed from were slaves and Transylvanian commoners that were in low supply. After gorging on the blood of the crew of the ship he stowed away on, and several weeks of terrorizing Londoners, he became stunningly attractive and seductive.
* Motif: The imagery of red-against-white is repeated over and over again — wolves with red tongues and white teeth, Dracula's red blood-stained lips against his pale white skin, a red wound on a white shirt, etc.
* Multinational Team: The group protecting Lucy and Mina from Dracula consists of three Englishmen (Harker, Seward, and Holmwood), a Dutchman (Van Helsing), and an American (Morris).
* Must Be Invited:
	+ Tricking one of the inmates of an insane asylum into inviting you in apparently counts.
	+ Also Inverted: The Count is apparently forbidden from doing anything that could be construed as forcing Jonathan Harker to enter his castle or forbidding him from leaving, so stays firmly behind the threshold until he chooses to "Enter freely and of your own will," and when Jonathan insists on leaving, Dracula is quite willing to open the gates, but when Jonathan hears the wolves outside, he asks Dracula to close the doors again. Or Dracula could've just been a dick on a power trip.
	+ Another possibility is that since it's ambiguous whether Dracula (at this early stage of the book) is genuinely Affably Evil or Faux Affably Evil, his invitation might be some form of courtesy that modern readers don't get; while his famous invitation may stand out a lot nowadays, Jonathan does not seem to think there is anything strange about it.
	+ It's possible that Dracula doesn't realise that humans are not bound by similar rules about invitations; Van Helsing talks at some length about how Dracula is ignorant about the full extent of his own abilities (something which never seems to make it into the films), so maybe this applies to his limitations equally and Dracula thought Jonathan required an invitation just like he would.
	+ Dracula's invitation to Jonathan is never brought up again, not even in the form of Jonathan lamenting the irony that he willingly entered the castle, so it might not have been intended to be particularly important. As noted in the intro, the idea that The Fair Folk etc. could not exercise their full power over humans without some kind of consent is Older Than Dirt, so maybe Stoker was deliberately trying to invoke this trope. Dracula has certain other traits normally associated with The Fair Folk, and it's apparent between this and other elements of subtext that the Dracula story is in at least some part an allegory of the relationship between imperial England and Ireland.
* Naïve Newcomer: Jonathan starts the story as a simple solicitor on a business trip, unaware that the supernatural even exists. Naturally he's horrified that he practically gave Dracula a pass to spread his evil to modern day society.
* Name Order Confusion: The Count accidentally calls Jonathan Harker "Harker Jonathan" and explains that he slipped into his country's tradition of giving the family name first. Transylvania was part of Hungary at the time, and Dracula claims to be a Székely note  in the same chapter.
* Narrative Profanity Filter: A scene where the team questions a group of foul-mouthed dock workers is narrated by Van Helsing, who remarks whimsically that "they say much of blood and bloom, and of others which I comprehend not, though I guess what they mean", and paraphrases their replies. Whereupon the captain tell him that he had better be quick—with blood—for that his ship will leave the place—of blood—before the turn of the tide—with blood. Then the thin man smile and say that of course he must go when he think fit; but he will be surprise if he go quite so soon.
* Never a Self-Made Woman: The only women in the main cast are the fiancées to others in the team. Also something of an inversion in that most of the team is composed of "Lucy's suitors" and in most of the bits of the book happening after Transylvania, Jonathan appears as "Mina's husband" rather than the other way around, even though Mina does first appear as "Jonathan's fiancée".
* Never Speak Ill of the Dead: During one of Mina's entries, she records a long rant by an old man concerning the practice of this. Remarking the grave (which the girls are close to, having to decide to picnic in the church yard) belongs to a sorry sourpuss and wasn't even missed by his "hellcat of a mother."
* Nice Job Breaking It, Hero: The five male members of the party insist that Mina Harker stay home while they do the dangerous work and frequently talk about what a relief it is that she's safe at home while they're hunting down the vampire because a woman surely couldn't handle it. Dracula deliberately takes advantage of this as an opportunity to bite Mina and metaphorically rape her. Nice job with the chivalrous misogyny, heroes!
* Nice Job Fixing It, Villain: Nice job giving the heroine a VIP pass to your mind, Dracula.
* No Body Left Behind: Dracula and the female vampires are said to crumble into dust on death. Justified in text as a side effect of their unnatural preservation being removed and centuries of decay catching up with them. Averted with Lucy, whose body remains intact, as her mortal death had occurred only a few days before her Vampiric one. This opens a plot hole that dozens of stories by other authors are built on: turning into a dust cloud or mist and traveling in that form is explicitly one of Dracula's powers.
* No Immortal Inertia: Dracula rapidly dissolves into nothing when stabbed in the heart. Notably, none of the other vampires in the story did this, and although it isn't explicitly stated the implication is that it's because he was so much older than them, and that when he was stabbed centuries of decay instantly caught up with his body.
* No, Mr. Bond, I Expect You to Dine: Dracula plays host (and after Jonathan realizes he's a prisoner) and jailer to Jonathan Harker, and provides him with delicious meals. Although it's more than likely that Dracula does not eat... food, he's apparently a Supreme Chef (or else the women in the castle are), since there are no human servants at the castle.
* No Ontological Inertia: Killing the original vampire before its bitten victims die (and subsequently resurrect as vampires) returns them to normal. Otherwise it's permanent (Can't exactly bring a walking corpse back to normal after all). Justified, in that bitten victims will simply heal naturally. Mina was bitten a few times and survived, and even Lucy required multiple, increasingly violent visits from Dracula, thanks to Doctor Van Helsing successfully resuscitating her.
* Not Afraid of Hell: According to one of the old sailors that frequented the cemetery, one of the tombs was built for someone who was more afraid of his mother than of Hell: "I've often heard him say masel' that he hoped he'd go to hell, for his mother was so pious that she'd be sure to go to heaven, an' he didn't want to addle where she was."
* No Time to Explain: Prior to needing to stake Lucy, Van Helsing's answer for everyone's confused questions amounts to, "I can't explain now, just trust me. You'll know everything soon enough, but you'll wish you didn't. Did I mention within the last five seconds that you just need to trust me?"
* Non P.O.V. Protagonist: Dr. Abraham Van Helsing is the Big Good who leads the manhunt for Dracula, but we never get to see his POV, except from brief glimpses of it from the narrators' accounts and his sparse letters.
* Not Himself: Lucy when she becomes a vampire. It's implied she's even aware of it when the transformation nears completion and the vampire part of her briefly surfaces to try and seduce Arthur as she's dying.
* Not That Kind of Doctor: Dr. Abraham Van Helsing is that kind of doctor (and a professor of medicine), and *not* a vampire hunter, as adaptations often turn him into; he's just smart enough to know enough about them to improvise.
* Occult Detective: Dr. Abraham van Helsing is the Trope Codifier. Although he doesn't start this way, he quickly becomes one. Yet while most adaptations portray Helsing as an adventuresome monster hunter, in the book he is just a doctor with very eclectic experience, who approaches vampirism as he would any other disease, albeit one that has symptoms including supernatural belligerence and fantastic powers and weaknesses.
* Offscreen Moment of Awesome: Jonathan Harker's escape from Dracula's castle. Justified because Jonathan was in no condition to write about that experience in his diary afterward, and nobody else was there to write about it either. The only snippets he manages to reveal is that he got out by crawling down a castle wall and was chased by something (either the vampire women or wolves in the area or both) before managing to elude them.
* Old-School Chivalry: Van Helsing and the rest of the heroes decide it's best if Mina Harker stays safe at home while they go out each night vampire-hunting. They do it because they think it's for her own good, in her best interest, the right/gentlemanly thing to do and they'd be cruel and reckless if they included her. It backfires and they learn their lesson.
* Omnidisciplinary Scientist:
	+ Van Helsing is a doctor, scientist, occultist, detective, lawyer and holy man. This all comes in handy for hunting vampires. It's also stated that he has at least three doctoral degrees, one of which is an MD.
	+ Dr. Seward is a general practitioner, *every* type of surgeon and a psychiatrist to boot.
* Omniglot: When semi-delirious and first approached by the three women, Harker can fully understand their language, as they speak to each other, and the Count's furious rebukes. Harker is said explicitly to know good German, but no mention of him knowing either literary Romanian or Hungarian, leave alone an ancient dialect spoken between themselves by beings undead for 400 years. Also when Mina is approached in the forest by the same women calling her "sister", both she and Dr. van Helsing understand their speech with no effort.
* One Degree of Separation: Dracula's first victim just happens to be Lucy Westenra, the best friend of the fiancée of Jonathan Harker, who is probably the only living human who's seen him for what he really is. Not only that, but Dr. Seward, one of Lucy's former suitors and the good friend of her husband, not only owns the mental institution *right next door* to Dracula's new house, but is also the protegé of Dr. Van Helsing, perhaps the only practitioner of modern medicine who can recognize vampirism and knows how to treat it. Also, one of Dr. Seward's patients, Renfield, happens to have a strange psychic connection to Dracula.
* One-Steve Limit: Dr. John Seward is often called Jack by the other characters so as not to be confused with Jonathan Harker. Of course, it doesn't help that Van Helsing still refers to him by his given name.
* O.O.C. Is Serious Business: Van Helsing is a Funny Foreigner, but when all matters vampire come up, he drops the act and becomes deadly serious.
* Orient Express: When Dracula escapes from England to Varna by sea, the cabal sworn to destroy him travels to Paris and takes the Orient Express, arriving in Varna ahead of him.
* Our Vampires Are Different:
	+ Dracula does not follow the standard rules, largely because he predates most of them. The Count is stated to be a student of Satan, having been turned into a vampire through his own necromancy rather than through The Virus, and his classic vampire powers are implied to all be more black magic rather than innate to the vampire's body.
	+ Dracula establishes the idea of vampires mixing blood with humans à la *Interview with the Vampire*, *The Lost Boys*, and *Buffy the Vampire Slayer*, though this is bastardised by them into becoming the method of turning a victim into a new vampire. In the novel, blood mixing is purely for Dracula to be able to link his mind directly with Mina's. What is actually stated in the book by Van Helsing is that all it takes for a vampire to make more vampires is to bite a victim and their death whether swift or eventual will be enough to make them rise again, which is the version seen in *From Dusk Till Dawn*, *John Carpenter's Vampires* and *Blade*.
* Painting the Medium: The book is a series of letters between many of the characters. The reader is intended to interpret the novel as a bound collection of letters, and each includes headers with dates and signatures. It's very effective at drawing some readers in, especially since the viewpoints sufficiently show different characters' personalities, but it can also seem disjointed, since it switches around a lot and (usually) looks like normal fonts pretending to be letters.
* Parental Substitute: Mr. Hawkins for Mina and Jonathan.
* Poirot Speak: Van Helsing's style of Poirot Speak is more the "Dutch grammar, English vocabulary" type.
* Politically Incorrect Villain: Not to any malicious degree, and really only noticeable to modern readers, but Dracula waxes philosophical about how his Proud Warrior Race Guy ancestors routed foreign invaders and insists that peasants need to be led by the nobles. This showcases how out of touch with the times he is due to having led an unnaturally long life and apparently having never attempted to leave his land before now. His attempt to spread his vampirisim is to keep his sense of monarchy alive.
* Poor Communication Kills: The characters come up with lots of logical reasons to *not* tell each other things, which always ends up biting them in the...neck.
	+ Van Helsing is understandably reluctant to tell anyone his theory that Lucy is being attacked by a living corpse each night, and additionally doesn't want to let on to Mrs. Westenra how serious things really are due to the fear it will spook her into a heart attack, but she surely wouldn't have tossed out the garlic had she known the stakes.
	+ Had the gang seen fit to include Mina in their conferences, she might have been saved from Dracula's attacks. The moment she is included in the discussions, she puts the pieces together that leads the group to finally confronting Dracula. An Aesop on the importance of including women in important conversations?
* Power Born of Madness: Renfield tries to Exploit this. "It is said that madmen have incredible strength. I am mad, or was, and I resolved to use all of my mad strength to attack him".
* The Power of Blood: Types A (binding), B (symbolic), and O (*disturbing*).
* Powered by a Forsaken Child: Dracula — and most other vampires since him — have to drain the blood, or life force depending on variation, of living people just to survive.
* The Precarious Ledge: How Harker gets into Dracula's room at the castle.
* The Professor: Van Helsing. Is there nothing he doesn't know about? Could also be seen as a forerunner of the idea of the genius with the funny foreign accent (he's Dutch) as well as a medley of eccentricities.
* Proud Warrior Race Guy: Dracula boasts about his warrior heritage to Harker, saying how his family historically defeated the Turks in combat.
* Pseudo-Romantic Friendship: In the early chapters of the novel, the private correspondence between Mina and Lucy are very passionate, they almost read like love letters, as both girls express their love and adoration for one another. In one letter Lucy writes: "Mina, we have told all our secrets to each other since we were children. We have slept together and eaten together, and laughed and cried together..." and "I wish I were with you, dear, sitting by the fire undressing, as we used to sit, and I would try to tell you what I feel." Later in the novel, when Mina and Lucy are together, they sit on a bench by the seaside and are so moved by the beautiful view that they hold hands.
* Psychic Link: Dracula forms one of these with Mina Harker as a step towards Mind Control. Unfortunately, he's forced to block the link himself when he realizes that, if he can spy on the heroes through Mina, Mina can spy on him and share information with the rest of the heroes, which is how she eventually leads them to him.
* Psychic Radar: This goes both ways with the link between Mina and the Count. He can use it to spy on and know the movements of the heroes, but they can do likewise if they place Mina into a hypnotic trance; so she can sense the Count and his surroundings and roughly how far away he is.
* Psychopathic Manchild: Mina Murray draws upon the new science of Criminology to profile Count Dracula and describes him of being of the "typical" criminal mind—childish, in thought and behaviour.
* Rail Enthusiast: Mina Harker describes herself as a "train fiend".
* Reading Ahead in the Script: A variation. After Mina transcribes everyone's notes and voice recordings, Van Helsing orders the vampire hunters to read the compiled book. Because the book is epistolary at that moment, the reader and the characters have both read the same 2/3 of the novel.
* Red and Black and Evil All Over: Count Dracula has black and red. He's the Trope Codifier for what the description talks about this trope and vampires in their capes.
* Red Eyes, Take Warning: Dracula has red eyes. His houseguest, Jonathan, being British, does not comment on this.
* Red Right Hand: When Van Helsing tries to set a holy wafer to Mina's forehead, it burns her and leaves a red mark. When Dracula is defeated, the mark vanishes.
* Rejected Marriage Proposal: Lucy Westenra gets *three* marriage proposals in one day from Quincey Morris, Arthur Holmwood and Dr John Seward. Although she's fond of all her suitors, she declines Morris and Seward's proposals and chooses to marry Holmwood; unfortunately, she dies and comes back as a vampire before the wedding can take place. Even though she rejected them, Morris and Seward still love Lucy; Seward does what he can to nurse Lucy when she falls gravely ill after being fed on by Count Dracula, and Morris also donates blood to her. Seward and Morris join forces with Holmwood and Van Helsing to kill the vampirized Lucy so her soul can rest (they let Holmwood be the one to stake Lucy as he was her betrothed). The three suitors then help hunt down Dracula partly to avenge the woman they all loved.
* Removing the Head or Destroying the Brain: Decapitation is actually the only way to kill a vampire. Driving a stake through the heart is used to immobilize the vamps so it's easier to take the head off.
* The Renfield: Trope Namer, but is actually an Unbuilt Trope here, seeing as he attempts to foil Dracula twice, the second ending with the loss of his own life. While he certainly seems *willing* to become Dracula's slave, being locked in at Dr. Seward's sanatorium rather limits his options and the Count seems to more or less ignore him throughout. (Until he finally visits him in his cell and kills him.) Renfield at one point demands that he be moved so that Dracula will not compel him to let him into the house to attack Mina. When this fails, the second time Dracula enters, he *grabs Dracula and tries to kill him with his bare hands*, while the Count is in mist form. And he would have succeeded, too, if Dracula hadn't used his Hypnotic Eyes.
* Revenge by Proxy: Dracula goes after Mina when he realises her husband and friends are hunting him.
* Robbing the Dead: A thief steals the crucifix placed over Lucy's mouth, disrupting one of the plans Van Helsing had.
* Roguish Romani: Romani form the majority of Count Dracula's villainous retinue, which was par for the course in most of Victorian media, but particularly appropriate in a work predicated upon the fear of evil Eastern Europeans invading Good Ol' England.
* Rousing Speech: There's a speech from the Count himself. Though the context is wrong for this trope, the content is certainly worthy of a particularly good one. Plus, after the discovery that Dracula used to be a human lord who was also a great general, one can very easily imagine him giving a true Rousing Speech that could have said many of the same things.
* Sanity Slippage: Jonathan Harker and Renfield both experience this thanks to the Count. Harker recovers; Renfield, not so much. Renfield starts out as a mental patient with a fixation on eating live creatures to extend his own life. Dracula makes him considerably worse, but Renfield does recover enough to try and save Mina from Dracula, though he's killed for his trouble.
* Satellite Love Interest: Lucy's suitors function in the story as little more than that. Arthur (who is the one that gets the girl) only hopes for Lucy's affections and then mourns her death. Quincey doesn't get the girl and only contributes owning a hunting knife to the fight with Dracula and getting killed off so Dracula could kill someone. Lucy's third suitor Jack avoids this. He is more developed, as he works in a mental hospital where the patients sense Dracula's presence and it's he who first notices something wrong with Lucy.
* Savage Wolves: Made even more threatening by being at Dracula's command.
* Scarpia Ultimatum: Although Dracula can put women in a trance before he bites them, the third time he bites (and metaphorically rapes) Mina, he leaves her completely aware and instead threatens to kill her unconscious husband lying next to her if she resists or screams for help. For the Evulz?
* Science Hero: Van Helsing is an eminent scientist and a makeshift Vampire Hunter. Rather than the action-hero he's portrayed as in other media, he approaches the conflict like a clinician encountering a new disease.
* Scrapbook Story: The book is presented as a collection of letters, ship's logs, and diary entries, compiled by Mina.
* Sex Is Evil: The story is often interpreted as a metaphor for female sexuality and how a sexually active woman is dangerous to civilized Victorian society.
* Shaped Like Itself: When Van Helsing opens Lucy's coffin, revealing it empty, to try to prove to Dr. Seward that she's now a vampire: Dr.Seward: I am satisfied that Lucy's body is not in that coffin, but that only proves one thing. Van Helsing: And what is that, friend John? Dr. Seward: That it is not there. Van Helsing: That is good logic, so far as it goes.
* Shapeshifter Mode Lock: Dracula, unlike modern vampires, is not killed by sunlight. However, he is unable to change shape from sunrise to noon, and from noon to sunset. He can only change shape at noon exactly and, of course, any time at night.
* Shoot the Dog: Quincey mentions that he had to shoot his horse when he was in the Pampas after vampire bats drained its blood.
* Shovel Strike: Jonathan Harker strikes the Count with a workman's shovel while he is sleeping in his coffin. This proves ineffective at slaying the vampire, merely creating a large scar on Dracula's forehead.
* Shown Their Work: Few books in Victorian England covered Eastern Europe with any kind of precision, so some of the details revealed about the region in the novel display Stoker's efforts to research on it (having never traveled there) - especially the extended speech of the Count revealing his connections to Vlad the Impaler and the House of Draculesti.
* Sizable Semitic Nose: One minor character is a Jewish merchant named Hildesheim who is described as having "a nose like a sheep".
* Skeleton Crew: The ship that transports the Count to Whitby runs into the docks with its crew missing and the captain's decomposed body lashed to the wheel by his hands, while holding a crucifix.
* Skeptic No Longer:
	+ Harker at first thinks the village is just being superstition despite being an outsider to Transylvania (though they don't *really* tell what the danger is, just that it's a really bad idea to go to Dracula's castle). But after meeting the count, finding how strange he and his dwelling are and ultimately nearly being bitten by three vampires, it doesn't take long for him to become a believer.
	+ Later after Lucy dies from Dracula succeeding in draining her blood, Van Helsing tries to convince Seward, Arthur and Quincy that she will become a vampire and be a danger to all. Naturally they think he's cuckoo, so Van Helsing decides he needs to show them first. He starts with Seward, his trusted student, as they watch Lucy's coffin and indeed find it initially empty then after waiting a bit, find it filled again with her body, only to discover she hasn't decayed since she was interred and in fact much more beautiful then ever. The following night, Van Helsing gathers the rest of the men and confront Lucy directly as she prowls the night. Indeed, seeing her bearing fangs with bits of blood on her lips, acting not at all like the Lucy they know (feral and seductive instead of kind and caring), acting fearful of a cross and using her powers to flee back to her coffin is more than enough proof to the men that vampires, and the threat they pose, are real.
* Slashed Throat: Half of Dracula's fate (the other half is being stabbed in the heart.)
* Sleepwalking: Lucy is a chronic sleepwalker who sleepwalks all the way across Whitby to the cemetery overlook the night she's first bitten by the eponymous vampire.
* Slow Transformation: Due to Dracula's nightly visits to feed on Lucy, she becomes weaker over time and observes that her senses have suddenly become keener but she continues to have nightmares of dark beings. By the third visit, she's lost so much of her blood that her bite wounds eventually close up on their own, she gains fangs and her demeanor is uncharacteristically more seductive, signifying to Van Helsing it's too late to save her from becoming a vampire. Mina's transformation is slightly different due to Dracula feeding her his blood, cursing her to turn regardless if she stays alive or dies as long as he's alive. Indeed, she starts showing signs due to losing appetite for food, her canines slowly turning into fangs, sharing a psychic connection to Dracula and being unable to stay awake during the day but being much more lively at night.
* Small Role, Big Impact: Dracula himself. He actually only appears in person in a handful of scenes, but he dominates practically everything that happens in the novel.
* The Soulsaver: The vampire-hunting protagonists are said to be saving the souls of the undead from a presumably rather uncomfortable state of limbo. Granted this is just what they believe, it's never really stated as fact.
* Southern Gentleman: Quincey Morris, Texan, and a very positively portrayed American; typical in British works of the day but surprising today.
* Staking the Loved One: Van Helsing shows the men first hand of Lucy's undead form after she "dies" and seeing she's more monster then human. He forces her fiance Arthur to do it, claiming a loved one should set her soul free.
* Stay in the Kitchen: The males think it's best if Mina is shielded from knowledge of their plans to kill the villain. This enforced ignorance means she's a sitting duck for the very man they wanted to protect her from. After their actions lead to Dracula attacking her, they quickly change their philosophy. (This, after Seward and Van Helsing have *already* witnessed how keeping one of Dracula's targets in the dark ended up costing her life, as Mrs. Westenra unwittingly makes it easy for Dracula to attack Lucy again.)
* Stockholm Syndrome: Mina doesn't develop Sympathy for the Devil until *after* he's bitten her, and after she previously decided that the Thing that did that to Lucy doesn't deserve a drop of pity. She still believes that he should be killed; not only to save mankind, but to save Dracula's own soul. She turns out to be *right*.
* The Strength of Ten Men: The Count himself is said to have the strength of twenty men as one of his many powers.
* Super Window Jump: Dracula only does this once despite his preference for windows above doors. In other instances, he either slides into cracks between the window and frame, or he has something else break the glass for him. In the example of this trope, however, it's daytime and he can't change forms, but is still tough enough to just leap through the pane.
* Supreme Chef: When Harker is staying at Castle Dracula, he notes in his journal that the food is very good. Later, it's revealed that there are no servants (it would be tough to get people to work for a, y'know, *vampire*) and Dracula has been doing all the work, such as cooking. Apparently, when you're an undying abomination you have time to pick up a culinary hobby. Either him or his wives.
* Surprisingly Good English: Dracula is remarked on as speaking very good English, and spends a lot of time with Jonathan Harker in an attempt to become not only good, but fluent as well. He explains that if his handle on the language isn't perfect, he would just be seen as another Funny Foreigner in England, and he is too proud to let that happen.
* Suspiciously Specific Denial: During the trip to Dracula's castle, Mina shows Van Helsing a shortcut trail towards it. When Van Helsing asks her how she knew, she claims it was in Jonathan's journal. But Van Helsing severely doubts that since Jonathan was in the castle most of the time and never took note of which specific way he went. And what's more the trail hardly seem used at all, leading Van Helsing to believe the vampire change is growing in her and giving her information to reach her "master".
* Switching P.O.V.: The novel is composed of a collection of journals. It slips up in one case, where Mrs. Harker refers to herself in third person in chapter XXVI (where she is writing a journal but mentions the others made details that she didn't hear.)
* Sympathy for the Devil: Mina mentions that she does pity Dracula. Not the monster that he is, but rather for his soul and how it could be looking for peace from his curse.
* The Team Benefactor: Arthur Holmwood, Lord Godalming, aids in funding the hunt for Dracula by providing transportation, lodging, and the like. While Abraham van Helsing helps with his knowledge of vampire lore.
* Team Dad: Van Helsing. It helps that he's the oldest by a fair bit.
* Team Mom: Mina. It's a little muddled at times, what with her also being the Distressed Damsel, but it really shows at the beginning of the third act. With team morale failing, Mina talks to each of the men and convinces them to keep fighting, not just for her sake, but to avenge fallen friends and to cleanse the world of evil.
* Team Spirit
* Terms of Endangerment: Even when threatening him, Dracula refers to Jonathan as "my friend".
* This Is My Name on Foreign: The Count poses as a Count de Ville (Dracula = "son of the Dragon", de Ville = Devil - get it?
* Through the Eyes of Madness: There are a couple long stretches that read like this. Notably, Jonathan's diary entries get like this, especially if read taking into consideration exactly how his sense of time passing has been screwed up. It's definitely a viable interpretation that the main cast are all pretty cracked.
* Token Super: Mina is the only member of Van Helsing's Vampire Hunter crew who has supernatural powers, due to an, uh, close encounter with the title villain half-way through the book. These allow her to "tune in" into Dracula's head, letting Van Helsing track his movement.
* Token Wizard: Mina Harker is the only member of Van Helsing's Vampire Hunter team who has supernatural powers, owing to her unpleasantly close encounters with the title villain.

* Took a Level in Badass: Jonathan goes from terrified vampire victim to hunting Dracula with a kukri.
* Tomboy and Girly Girl: Mina is a "New Woman" of the times of emerging feminism, while Lucy is far more sweet and girly. They're best friends.
* Tongue-Tied: This is one of the things Count Dracula does to Mina Harker after biting her and forming a Psychic Link so he can spy on the heroes (Dr. Seward observes that her "tongue seems tied" and she seems desperately to want to speak at certain times but can't), undoubtedly to prevent her from turning the tables on *him* and sharing his plans with *her* teammates. Unfortunately for the Count, Mina finds a way to break his control during the magically-critical times of sunrise and sunset and provides very helpful Psychic Radar.
* To the Pain: Dracula's speech to Mina.
* Tragically Misguided Favor: Seward, Holmwood, Quincey, and Van Helsing stretch their limited time and resources to the breaking point to protect Lucy from vampire attacks, and restore her strength from the previous attacks. Keeping watch over her at night, giving her blood transfusions when necessary, making sure all the windows are sealed tight, etc. When Van Helsing procures some garlic flowers, they can relax a little, because the garlic will protect Lucy without anyone having to watch her. Unfortunately, Lucy's mother — kept in the dark due to a heart condition, and thus completely unaware of the gravity of the situation or the importance of the garlic — removes the flowers because they're making the room stuffy, and also opens the windows to let fresh air in. This leaves Lucy with absolutely no protection that night, and she gets attacked again, requiring yet another blood transfusion. After all the setbacks they've faced already, to be set back again by Mrs. Westenra's well-meaning interference is so frustrating that for the first time in his life, Dr. Seward sees Van Helsing break down. Van Helsing: This poor mother, all unknowing, and all for the best as she think, does such thing as lose her daughter body and soul; and we must not tell her, we must not even warn her, or she die, and then both die. Oh, how we are beset! How are all the powers of the devils against us!
* Transhuman Treachery:
	+ Defied. The vampires try to force Mina to help them, but she refuses. Albeit with a little help from Van Helsing via his charms (she's still under Dracula's spell after all and the charms counteract his hold on her).
	+ Van Helsing presumes that Dracula initially was looking into occult magic to help his country during the war and turned himself into an undead. But as time went on, forgot the reason he did so, became corrupted and now seeks to spread the vampirisim.
* Trope Maker/Trope Codifier: Defined most of the standard vampire tropes; vampire folklore varies wildly throughout the world, but Stoker's winnowing of these inconsistent myths results in the standard set of vampire powers and weaknesses. However, some of Dracula's attributes didn't catch on, most notably his unhandsome appearance and weakness to Cold Iron (probably cribbed from Irish vampire-like fey the dearg-due).
* True Companions: Jonathan and Mina Harker, Van Helsing, Dr. Seward, Lord Godalming, and Quincey Morris form one when they vow to slay the vampire that killed Lucy. Later, after Mina gets an evil scar following her own encounter with the Count, as Jonathan embraces her in her anguish, their friends silently join them: "Then without a word we all knelt down together, and all holding hands, swore to be true to each other."
* Try to Fit That on a Business Card: Abraham Van Helsing, M.D., D.Ph., D.Litt., etc., etc.
* Überwald, with tastes of Ruritania, and even a bit of Oireland.
* Unbuilt Trope:
	+ The book was published when "vampires" were ghoulish specters of Satan rather than rape allegories, and Stoker was more than happy to deconstruct both at the same time; as such the Count bears little resemblance to the vampires we know and love today. Dracula is less suave master of the night and more old cranky warlock. He was only handsome if he could be arsed enough to shapeshift; his default form was a wrinkled hairy man. He was bad at seduction and resorted to hypnosis or kidnapping for most of his food, and his female victims were setups for tuberculosis imagery instead of anything sexual. He was a Daywalking Vampire. His vulnerability to the old medieval superstitions (requires soil from his homeland to rest in, cannot cross running water without a boat, Must Be Invited, etc) leaves him easy pickings for Van Helsing and makes him easy to track when he tries to flee back to his castle. Most egregiously, he's not killed by impaling stake or silver, but an (admittedly pretty cool) beheading by kukri knife!
	+ A lot of media paints Abraham Van Helsing as a hardcore expert in vampires and knowing how to deal with them. In truth in the novel, while somewhat composed, even he knows he's in a bit over his head since the supernatural isn't something simple that medical science will explain or have a concrete solution to. When he sees Lucy, it takes a while for him to come to the conclusion that she's being attacked by a vampire and, by then, Dracula has bitten her twice. His counteractions are just simple wards at best and it doesn't take much for his efforts to be ruined and Dracula to finish feeding on Lucy. Van Helsing is just as horrified when Lucy starts turning on her deathbed and even more so when having to actually confront her vampire form in the cemetery, just barely preventing Arthur from being bitten by her (twice!). He's likewise just as shaken when he finally confronts Dracula at night and does indeed become scared for Mina during the trip up to Dracula's castle. Heck, the whole encounter with the vampire women when they attack the camp Mina and he were in was an on-the-fly plan since he wasn't really sure if the makeshift holy circle of wafers he made would really protect the two of them, which luckily for him, it did. The point of all this is that, at the end of the day, Van Helsing *isn't* a professional vampire hunter; he's just a simple doctor trying hard to keep up with the situation as best he can.
* Undeath Always Ends: Dracula, the vampire "sisters" (who were probably turned years beforehand) and Lucy Westenra (changed into a vampire) are all killed.
* Unreliable Narrator: Within the context of the novel, the story exists as a series of *transcriptions* of letters and newspaper clippings about the eponymous vampire; about midway through the novel, Dracula destroys the originals by tossing them into a fireplace in order to discredit the protagonists should they ever wish to make their story public. The transcriptions are kept by Mina Harker, a trained secretary, who foresees the usefulness in keeping backups. However, Mina herself undergoes some pretty severe trauma throughout the course of the novel; apart from the whole vampire-hunting thing, her best friend is turned by Dracula (and then staked by her friends), and she very narrowly escapes being *turned into a vampire herself*, which brings her mental state and her reliability as a recordkeeper into question.
* Unwitting Instigator of Doom: Lucy's mother is partly responsible for killing Lucy by opening the window and removing the garlic so that Dracula can get into the room.
* The Vamp: Dracula's three vampire companions, and Lucy when she becomes a vampire.
* Vampire Hickey:
	+ When Mina finds Lucy outside after she sleepwalks from their bedroom. She barely catches a glimpse of Dracula hunched over her before he flees, not knowing what he is at the time. So when she retrieves Lucy and brings her back, she sees the marks on Lucy's neck and assumes she pricked her with a safety pin though Lucy notes she doesn't feel any pain. As she starts to fall ill from later attacks, Seward can't make the connection that the mark is related to her declining health and it's only till Van Helsing is brought in, that mark signal him of a vampire attack. Alas, when Lucy is drained too heavily a third and final time, the marks heal on their own, which Van Helsing cites is too late for her.
	+ Mina gains her own when Dracula bites her after forcing her to drink his blood, this combination is so she'll turn regardless if she's alive or not as long as Dracula lives. The book downplays this though for the imprint wafer that's burned into her skin, but the bite marks are likewise noted to be a sign of if she's in danger of turning if they close.
* Vampire Hunter: Van Helsing is never described as a vampire hunter; he's merely a doctor with knowledge of exotic diseases. It's never explicitly said, but Van Helsing clearly demonstrates perfect knowledge of vampire weaknesses and is instantly willing to make use of his knowledge after noting that Lucy's symptoms match those in the legends, without so much as a hint of skepticism. This would seem to imply that he has some previous experience with vampires or other supernatural phenomena, even in the original novel. On the other hand, he doesn't recognize Lucy's symptoms on sight, he has to periodically return to Amsterdam to do more research, and it takes him a while — too long, in fact, to prevent Lucy's death — to understand what's going on.
* Vampire Monarch: Count Dracula is described as the "King Vampire", with direct control over other vampires. While this nobleman only has three other vampires in his castle, it is beyond doubt all vampires in the story only answer to Count Dracula, and the fact that the person whom he was named after, Vlad the Impaler, was *an actual monarch*.
* Vampire Procreation Limit: The exact details are unknown, but it seems that, contrary to popular belief, not every victim from a vampire bite becomes a vampire him/herself since none of the ship's crew Dracula ate on his journey to London rose as vampires. The Count forces Mina to drink his blood, forming a mental link between them, but he's not shown doing this to any of the other women he turned.
* Vampire Refugee: Lucy Westenra and Mina Harker. For Lucy, it wasn't known what was weakening her till Van Helsing was called in. She would've probably been cured were it not for a few too many bad circumstances. Mina is a bit more fortunate, since Dracula has to flee before he can fully transform her. She feels his presence within her spying on the hunters. And, when confronted by the vampire 'sisters' near the end of the story, senses the vampirism welling up in her.
* Vampire Vannabe: Renfield seems to be trying to emulate vampirism, though with less understanding of the mechanics as we know it today... by eating flies, spiders, and small birds. And at one point he asks for a kitten...
* Vampire Vords: Averted. Dracula speaks excellent English, and has called Harker to his castle to, more than anything, help him get rid of his accent so that he won't be seen as another Funny Foreigner when he has moved to England.
* Vampires Are Rich: Count Dracula is the go-to example. Dracula lives in a big castle and summons Jonathan Harker to Transylvania to help him buy land in England. Harker notes that Dracula doesn't have any servants, but we later find out that it's because no local will come near the place. Dracula's continuing source of income seems to be buried treasure that is marked by Will-o'-the-Wisps one night out of the year.
* Vampires Are Sex Gods: While Dracula is more of a personified venereal disease, his wives seem to become impossibly beautiful and seductive.
* Vampire's Harem: Dracula is the Trope Codifier, though it's something of an Unbuilt Trope since the three female vampires are merely implied to be his wives, but never outright confirmed. If anything, it's heavily implied they might be blood-related since two of them share the same physical resemblance to him. Of course, this doesn't cancel out the other alternative, since vampirism is used as an metaphor for sexual deviancy in the book.
* Vampires Hate Garlic: Van Helsing attempts to protect Lucy from Dracula by giving her a garland of garlic flowers to wear, and rubbing garlic around all the entrances of her bedroom. Unfortunately Lucy's mother, who wasn't informed of why it was there, removes the garland leaving her daughter vulnerable again.
* Vampires Sleep in Coffins: The rules in Bram Stoker's original novel were actually way more complicated. Dracula lost his powers in the daylight and still had to rest sometime. He could only do so in a coffin containing soil from his homeland, and leaving a fragment of blessed Communion wafer in the coffins ruined them for his use. A large part of the early hunt for Dracula was eliminating all his coffins and safehouses in England.
* Vasquez Always Dies: Inverted. The sexually curious yet feminine Lucy is killed by the eponymous villain. However, Mina, the maternal yet logical wife of Jonathan Harker, survives. Indeed, Van Helsing even describes Mina as having a 'man's brain'.
* Victorian Novel Disease: Parodied, or Played for Drama, or used as a Red Herring, depending on how you read the novel. In classic literature, tuberculosis was used as a stock disease. It was rarely referred to by name, but the symptoms were always the same: a young lady would become pale and sleepy, and a blush would show on her sickly face. When Van Helsing refuses to name Lucy's illness, the reader of the era would have assumed that she has tuberculosis. But actually, Van Helsing realizes that she's becoming a vampire.
* Viewers Are Geniuses: Stoker seemingly overestimated widespread knowledge of vampire lore, creating a situation where the fandom rather than the author is widely Sadly Mythtaken. Dracula is destroyed by a knife through the heart rather than a stake. Sharp steel or iron objects like needles or knives are effective vampire kryptonite in Slavic mythology, yet adaptations, sequels, and even "scholarly" annotated versions of the novel jump on the lack of a wooden stake as proof that Dracula is Not Quite Dead.
* Villainous Incest: Dracula has three companions called "sisters": one blonde and two brunettes. The two brunette vampires are described as having facial features similar to Count Dracula. Meanwhile, the blonde bride is described as having authority over the other two. Many readers have speculated that the blonde bride is the mother of the two brunettes, and that Dracula is the father.
* Villainous Rescue. Jonathan is almost bitten by one of the vampire women, when Dracula arrives to stop them. Of course, Dracula has has no intention of letting Jonathan live, but he still needs him.
* Villainous Widow's Peak: Dracula does have one, though it's given less attention than his other, more strange features.
* Virus-Victim Symptoms: We see it gradually with Lucy as more of her blood is taken. Starting with becoming weak and pale, then becoming susceptible to Dracula's power. And finally, as she dies the first time, the bite marks on her neck suddenly heal, her canines become sharper and her demeanor suddenly becomes more lustful.
* Wacky Americans Have Wacky Names: Quincey P. Morris. Although he isn't exactly comic, he is a rootin', tootin' and shootin' American man of action.
* Wall Crawl: One of the first obvious hints that Dracula is something other than human occurs when Jonathan Harker witnesses the Count crawling *down* the castle walls face first. In a twist of irony, it's implied Jonathan actually escaped from Castle Dracula the same way (although probably *not* face first).
* Weakened by the Light: Averted. Dracula is weak only at sunup and sundown. Being in sunlight has no direct *harmful* affect on him (he's seen approaching Lucy before the sun goes down), though he does suffer from Shapeshifter Mode Lock during daytime. However since he's weak at sunup and sundown they use this to great effect when they open his coffin just as the sun sets.
* Weaksauce Weakness: The book averts most of the popular traditional vampire weaknesses; for example, Dracula can't be killed by most conventional means, and can use his shapeshifting powers during dawn, noon, and dusk. However, he does have unique weaknesses; he can only cross running water during high or low tide (this amounts to 12 hours and 25 minutes per day), needs to keep a small amount of Transylvanian soil in his home, and needs to be invited inside before he can enter a building (considering this is Victorian era England and he is a noble, this is a non-matter).
* The Weird Sisters: Invoked by Jonathan Harker in his journal, when he refers to the three vampire women as "those weird sisters".
* Who You Gonna Call?: Van Helsing, though originally as a consultant on abnormal medical phenomena rather than a vampire hunter. Luckily, he also happens to be the latter, too, and formally initiates his 5 new friends into a team of vampire busters.
* Wicked Cultured: Dracula comes across as a fairly refined, rich old gentleman before he's revealed as a vampire.
* Wine Is Classy: Dracula does not drink... wine. He does serve it to his guests, however. Jonathan Harker even comments on the "bottle of excellent Old Tokay"note  he is served with his first dinner in castle Dracula.
* Woobie, Destroyer of Worlds: All the vampires, whose souls are unable to find peace until their bodies are destroyed, and who are described as bearing tranquil expressions once they have been "purified". Mina even grows to pity Dracula, and to consider his destruction a mercy.
* Worth It: Two of the protagonists' group of True Companions rush at Dracula's coffin in the climax in a risky bid to finish him off before he has a chance to regroup. They succeed, but Dracula's hired goons fight back before scattering, mortally wounding one of them. His last words were declaring that it was worth dying to see that killing Dracula successfully removed a vampiric curse on one of his friends. Quincy and Jonathan are the men who rush the coffin, Mina has her curse removed, and Quincy is the one who dies, with Mina and Jonathan naming their children after him.
* Would Hurt a Child:
	+ After Lucy was turned into a vampire, children were her favorite targets.
	+ One of Dracula's most monstrous actions in the book is feeding a child he has just abducted to the vampire women of the castle. The child is even kept in a sack.
* Wound That Will Not Heal: The wound to the forehead that Harker gives the Count early in the novel never heals. Whether this is because Dracula, being already dead, cannot heal wounds, or simply because not enough time passes, or something else, is never made clear.
* Writers Cannot Do Math: Most of the dates in the journal entries make no sense when compared with characters' descriptions of events in the text.
* You Are the Translated Foreign Word: One extract has *four* of them. In this case though, he's not saying the same thing twice himself, just reporting something he heard and providing a translation, presumably for his own future reference. *"I must say they were not cheering to me, for amongst them were "Ordog" — Satan, "Pokol" — hell, "stregoica" — witch, "vrolok" and "vlkoslak" — both mean the same thing, one being Slovak and the other Servian for something that is either werewolf or vampire. (Mem., I must ask the Count about these superstitions.)"*
* You Are Too Late: When Seward summons Van Helsing, he notices the bite marks on Lucy's neck getting bigger (due to Dracula exacerbating the wound with his bites). After his third attack, they try to give her a blood transfusion but by then they notice she's much paler then usual. When Arthur comes near her, her demeanour changes to being uncharacteristically lustful and Van Helsing notices her bite marks have vanished and fangs have formed in her mouth. This confirms, to his dismay, that she is beyond saving and is becoming a vampire.
* You Are Worth Hell: Vampirism is considered inevitably a Fate Worse than Death (becoming undead, change of personality to evil, feeding on living blood, etc). Which makes it a rather disquieting when Jonathan Harker, faced with the possibility that his Vampire Refugee wife might not be saved, resolves that, no matter what, she will not meet that fate alone.
* You Called Me "X"; It Must Be Serious: Mina knows something is wrong when Jonathan calls her Wilhelmina.
* You Have Outlived Your Usefulness: This, along with He Knows Too Much, is presumably why Dracula keeps Harker prisoner in the castle and then leaves him there to his (presumed) demise at the hands of the vampire women that he also leaves behind.

* Adaptation Deviation: A lot of adaptations change his appearance considerably, typically getting rid of his moustache and his Big Ol' Eyebrows.
* Ambiguous Disorder: He's presented as intelligent but strangely mentally impaired. He is charismatic, good with languages and capable of planning, but also rigid in his thoughts, overly habitual, incapable of higher abstract thinking, selfish, and emotionally unbalanced, ranging from shallow affect to violent fits of rage. Professor Van Helsing speculatively characterizes him as a "criminal personality" in the novel, a now-obsolete diagnosis which is in some ways similar (but not equivalent) to the modern idea of sociopathy.
* Archetypal Character: Count Dracula himself, setting the standard for many vampire works to follow.
* Aristocrats Are Evil: Even boasts to Jonathan about his great lineage. Likewise he has the castle, title and is pure evil.
* Aw, Look! They Really Do Love Each Other: Sort of a twisted version with the vampire women. The dialogue implies they were women he loved in at least some sense(possibly in a familial sense for the dark-haired two who are hinted to possibly be relatives, compared to the blonde who with her portrayed status may have been his wife). Later the love was lost and he keeps them simply for company. They disobey him when it comes to Jonathan but otherwise there's a reason the vampire women stay in the castle and serve Dracula (either from fear, respect, or just total control over them). Dracula bringing them a baby to eat shows he does somewhat still care for them.
* Ax-Crazy: Zigzagged. He (almost) never acts like a true psychopathic murderer as he's more sophisticated and cunning. On the other hand he has an unconfirmed but surely large bodycount of men, women, and children which probably lasted for centuries.
* Badass Cape: Described by Jonathan at one point as akin to a bat's wings.
* Balkan Bastard: The Ur-Example. A malicious nobleman from Eastern Europe (Romania, to be more precise) who travels west to kill people. And he was possibly based on the historical Vlad the Impaler.
* Batman Gambit: His master plan to infiltrate England and spread his vampire curse was only foiled by the Deus ex Machina of asylum doctor John Seward just happening to be the former student of Professor Van Helsing, the only person in the country who'd recognise a vampire attack and know exactly what to do. Dracula's meticulous setup and coverup of his lairs and his later manipulation of Mina as a weapon against his pursuers was only matched by Van Helsing's counter-plan of hypnotising her to deduce the Count's location.
* The Beastmaster: Displays the ability to control wolves during Jonathan's time at his castle, even using it at one point to dissuade him from leaving early. More disturbingly, he also uses it at one point to have them devour a mother who came at his castle's door after he took her baby. Once he reaches England this power becomes rather less useful as wolves had been eradicated in the wild 200 years earlier. He's forced to break a wolf out of the local zoo to send to attack the Westenra household.
* Beethoven Was an Alien Spy: Averted. Despite it being a popular modern theory that Bram Stoker based the character on the historical Vlad Dracula the Impaler, in reality almost nobody in the whole of *Western Europe* had ever *heard* of the guy at this point in history, and the only loose connection was that Stoker came across the name "Dracula" in a book once and decided it sounded cool (particularly since it's the Romanian word for 'dragon/devil') so changed his "Count Whampir" to Count Dracula. There were in fact several men called "Dracula" at that point in time (and many were indeed soldiers and warlords like Vlad), so we can't even say for sure that it was Vlad the Impaler he was based on and not another one.
* Big Bad: Is responsible for everything evil that occurs during the story.
* Big Fancy Castle: His castle *used* to be this, although traces of its ancient wealth could still be found in the sumptuous interior furnishings.
	+ It is now more of a Haunted Castle, with broken battlements, few lights, and no residents except the Count himself and the three women.
* Big Ol' Eyebrows: Jonathan Harker notes that the Count's eyebrows are: *"very massive, almost meeting over the nose, and with bushy hair that seemed to curl in its own profusion."*
* Blood Lust: He goes from being a charming gentleman to a raging fiend with the flip of a switch — and the switch is Jonathan cutting himself shaving.
* Cold Iron: Capable of being destroyed by this.
* Combo Platter Powers: His powers include that of the Intangible Man, Mind Control, turning into Super Smoke, Super Strength, and Voluntary Shapeshifting, at the risk of Shapeshifter Mode Lock depending on time and location.
* The Corrupter: A given being a vampire, anyone who dies under his bites turns into an evil monster. The three vampiresses are a foreshadowing of this. It comes into full play when Lucy falls victim to him and rises as a vampire.
* Dastardly Whiplash: His black attire and long moustache give him this appearance.
* Daywalking Vampire: Granted, he's weakened in the sunlight and can't use his powers (it's stated if he is in a certain form when the sun comes up, he's stuck till nightfall). But otherwise sunlight isn't fatal to him and just the equivalent of staying up past his bedtime, allowing him to move about in daylight with no ill effects.
* Death Seeker: Somewhat implied by Mina, who thinks that secretly he just wants an end to his undead existence having lived so long unnaturally, but has gotten so used to his ways that he can't stop himself.
* Depraved Bisexual: Also implied, but more strongly and overtly; while most of his victims are female, he all but openly flirts with Jonathan and at one point tells the other vampires of his castle that Jonathan "belongs to him and him alone"
* The Dreaded: While they don't have anything beyond suspicions, the locals in his village are all wary of him and with good reason.
* Eats Babies: Implied though he mostly goes after women. He's willing to feed a child to others though, so no morality points here.
* Evil Old Folks: Resembles an old man when first introduced.
* Evil Overlord: He's the fearful vampiric count of Transylvania after all.
* Evil Smells Bad: He has foul breath, almost certainly due to his diet, and areas where he stays are, well, to quote the book: But as to the odour itself, how shall I describe it? It was not alone that it was composed of all the ills of mortality and with the pungent, acrid smell of blood, but it seemed as though corruption had become itself corrupt.
* Evil Sorcerer: He is said to have been a Solomonari, a dark wizard taught by the Devil himself at Scholomance. Its also heavily implied that dark magic was the source of his vampirism, rather than being bitten like all of his victims.
* Famous Ancestor: Gives a very impassioned speech on his heritage to Harker over dinner, in which he claims to be descended from Attila the Hun.
* Faux Affably Evil: Acts every inch the affable host while Harker is playing into his hands, but drops the act the second Harker turns against him.
* Funny Foreigner: Very explicitly defied. Dracula: Well I know that, did I move and speak in your London, none there are who would not know me for a stranger. That is not enough for me. Here I am noble; I am boyar; the common people know me, and I am master. But a stranger in a strange land, he is no one; men know him not—-and to know not is to care not for. I am content if I am like the rest, so that no man stops if he see me, or pause in his speaking if he hear my words, ‘Ha, ha! a stranger!’ I have been so long master that I would be master still—-or at least that none other should be master of me.
* Frozen Fashion Sense: Averted. His attempts to prepare himself for his move to England explicitly include acquiring clothes in the latest fashionable English style he can get his hands on in order to blend in better.
* Genius Bruiser: In addition to his physical abilities, which include what is described as "the strength of twenty strong men", he is an exceptionally crafty and intelligent opponent, trained extensively in magic, sorcery and alchemy among other disciplines. One person describes says of him when he was alive: "He had a mighty brain, a learning beyond compare, and a heart that knew no fear and no remorse... there was no branch of knowledge of his time that he did not essay".
* Hide Your Otherness: He poses as an ordinary human nobleman for most of the first half of the story, as part of his evil plot to get some Londoners to nosh on.
* Hoist by His Own Petard: Inflicting Mina with vampirism as a way to see what the heroes are doing while slowly turning her into a vampire. However he didn't think Van Helsing (at Mina's own suggestion) would use it to *track him*.
* Immune to Bullets: Not really shown, but Helsing states as much when prepping the hunters to go after him, citing since Dracula's pretty much a walking corpse, bullets will barely make him flinch.
* I Gave My Word: He promises the vampire women they can have Harker once his business transaction is concluded. And indeed, once Dracula heads to London, he locks Harker in the castle for them to do as they see fit with him the following night. Harker just narrowly escapes before the undead women can arise from their slumber to find him.
* Informed Ability: Van Helsing mentions a number of powers Dracula never uses, like controlling corpses (though he might mean the people he's turned since they're technically corpses) and using the tombs of victims as alternative sanctuaries.
* Kavorka Man: His physical description shows him as being rather ugly, even after he grows younger, and he has hairy palms. However, he has three vampire wives and manages to put several women into his hypnotic spell. He's more of a Dirty Old Man/sexual predator than the more modern Vampires Are Sex Gods trope.
	+ It should be noted that aside from the women in his castle, there are no women interested in him. His 'hypnotic spell' is a violent assault that turns women into vampires.
* Kiss of the Vampire: Dracula's bite has some very sexual overtones to it, with the process described as "seduction" on more than one occasion.
* Lean and Mean: For adding slimming power he could slip through the cracks of doors if necessary.
* Liquid Assets: He starts off as an elderly man and becomes younger in appearance over time through drinking blood.
* Manipulative Bastard: He gets very far on nothing but his charm. He's so good at it that its all but stated that he has some sort of hypnotic powers.
* Missing Reflection: The Trope Maker. Soon after his arrival at Castle Dracula, Harker observes that the building is devoid of mirrors. When Dracula silently comes into Harker's room while he's shaving, Harker notices that Dracula, who is standing behind him, does not appear in the shaving mirror as he should. The Count reacts violently and flings the mirror out a window. The missing reflection is the first solid evidence of his vampiric nature that Harker directly observes.
* Monster Lord: He's a count, and the other vampires mentioned in the book clearly view him as superior... but this may be less to do with his title and more to do with the fact he's implied to be their husband and/or father and also happens to be a badass.
* Monster Misogyny: He feeds on men to survive, but the only new vampires he creates are women. Many critics note the sexualized nature of the violence between men and women throughout the story, with blood-sucking and stalking being seen as metaphors for sex. Then again the story never stays with him long enough to showcase him attacking others either.
* Monster Progenitor: It's known he's the original vampire of *his* line of vampire, but not if he is the first vampire ever.
* My Grandson, Myself: Implied. When meeting Jonathan Harker for the first time, Dracula boasts descent from a famous local warlord from the medieval period, with Jonathan noting a Strong Family Resemblance. However, Van Hellsing speculates that the Count "must have been that Voivode Dracula who won his name against the Turk," implying that the warlord Dracula claims descent from was Dracula himself.
* Mysterious Past: We don't know much about him other than that he's long lived, came from the medieval era, that his family were nobles (hence the castle) and that he studied the black arts. Past that, everything is very vague, he's implied to be Vlad Tepes but this is just speculation on the part of Van Helsing, never outright confirmed. Likewise how he became a vampire himself with the most implication that it was through said black arts that changed him.
* Non-Action Big Bad: In the final showdown, due to being confined to his coffin. Justified, though, as Van Helsing states they could never take him while he's active and have to get him when he's weakened.
* Obviously Evil: Looks and sounds the part; likewise his home is a big tip-off. However he is charming enough to honestly make it still a bit of a surprise just how evil he really is.
* Old, Dark House: Carfax Abbey is essentially this for him and the London equivalent to his castle. Though it's not so much a house than a run down cathedral-like manor (was even said to have it's own *lake*). He *specifically* requested it because, not only was it big enough to hide his coffins, but because it was dark and derelict similar to his castle. Likewise it was a bit of ways from London, not too far but enough to venture there for his needs and still be in an isolated area, making it a perfect hideout while he worked to spread his curse. Really the only reason he targets Lucy was because the summer home Mina and she were staying in happened to be close by and Lucy had the misfortune of sleepwalking outside while he was starting his hunting, figuring "Hey lovely native girl with fresh blood who's wandering about unaware of what's goin on, might as well feed while it's a freebie and make a new bride while I'm at it".
* Our Vampires Are Different:
	+ Mostly because he predates a lot of other vampire fiction. Later stories Flanderized some of the details in this book, and blended them with the traditional folklore. For instance, Dracula sleeps during the day... but he can stay up all day if he wants, like a human staying up all night, and he doesn't burst into flames in direct sunlight.
	+ Also the fact that his bites are indeed what infect people with vampirisim, no blood sharing involved. The only reason he did it to Mina was as revenge for killing vampire Lucy and as a means to spy on the hunters, as well as to curse Mina with vampirism meaning she'll turn regardless if she lives or dies unless he himself is killed.
* Politically Incorrect Villain: Not to any malicious degree, and really only noticeable to modern readers, but he waxes philosophical about how his Proud Warrior Race Guy ancestors routed foreign invaders and insists that peasants need to be led by the nobles. This showcases how out of touch with the times he is due to having led an unnaturally long life and apparently having never attempted to leave his land before now. His attempt to spread his vampirisim is to keep his sense of monarchy alive.
* Proud Warrior Race Guy: He boasts about his warrior heritage to Harker, saying how his family historically defeated the Turks in combat.
* Psychopathic Manchild: Mina Murray draws upon the new science of Criminology to profile him and describes him of being of the "typical" criminal mind- childish, in thought and behaviour.
* Really 700 Years Old: Fairly obvious he's very long lived mentioning in his conversation of "his ancestors" driving away the marauding Turks and citing that the land around the castle was much more grand in its heyday. His vampirism allowing him to live a more than normal lifespan as a walking corpse.
* Red Eyes, Take Warning: When he gets seriously angry, his eyes shift to red. Jonathan describes them as akin to a raging inferno.
* Red Right Hand: Described as having a large nose, a uni-brow, a 'cruel-looking' mouth, and hairy palms. Hot! To elaborate the mouth-bit, he is described having unusually red lips and a mild overbite, emphasizing his ever so slightly sharp teeth. And giving Jonathan his first clue there is something inhuman about him.
* Revenge by Proxy: He goes after Mina when he realizes her husband and friends are hunting him.
* Shapeshifter Mode Lock: Unlike modern vampires, he is not killed by sunlight. However, he is unable to change shape from sunrise to noon, and from noon to sunset. He can only change shape at noon exactly and, of course, any time at night.
* Small Role, Big Impact: He actually only appears "on screen" in a handful of scenes, but he dominates practically everything that happens in the book.
* The Sociopath: He's a charming but nevertheless wicked vampire who feeds on human blood with no remorse at all and it's implied he plans to extend his reign of terror to other parts of the world.
* Supreme Chef: When Harker is staying at Castle Dracula, he notes in his journal that the food is very good. Later, it's revealed that there are no servants (it would be tough to get people to work for a, y'know, *vampire*) and Dracula has been doing all the work, such as cooking. Apparently, when you're an undying abomination you have time to pick up a culinary hobby. Either him or his wives.
* Surprisingly Good English: He not only speaks English very well, but also keeps Harker around for a long time in an effort to become fluent. He explains that if he doesn't speak English fluently he will be seen as just another Funny Foreigner, and he is far too proud to let that happen.
* Take Over the World: Somewhat implied, though its possible he was just looking for a new hunting ground.
* Terms of Endangerment: Unfailingly polite to all of the men, and downright tender with the women. In context, it comes off as *extremely* menacing.
* Transhuman Treachery: Implied. Van Helsing presumes that he initially was looking into occult magic to help his country during the war and turned himself into an undead. But as time went on, he forgot the reason he did so, became corrupted by said power and now seeks to spread the vampirisim.
* Unskilled, but Strong: He is said to have the strength of 20 men, but when placed in direct hand to hand combat, Renfield, an abnormally strong mental patient, is able to fight him evenly until he makes the mistake of looking into the count's eyes. Makes sense considering that with his powers,infectees, and animal minions, he would rarely need to fight in hand to hand combat and thus felt no need to hone any real skill in it.
* Vampire Monarch: He's described as the "King Vampire", with direct control over other vampires. While this nobleman only has three vampire women who do push their luck against him with attacking Jonathan , it is beyond doubt all vampires in the story only answer to Count Dracula.
* Vampire Vords: Subverted. He speaks excellent English, and has called Harker to his castle to, more than anything, help him get rid of his accent so that he won't be seen as another Funny Foreigner when he has moved to England.
* Vampires Are Rich: He lives in a big castle and summons Jonathan Harker to Transylvania to help him buy land in England. Harker notes that Dracula doesn't have any servants, but we later find out that it's because no local will come near the place. (Least no human servants *in* the castle, he employs some loyal Romani to help him load up his coffins for his move. You can kinda say the three vampire women are somewhat servants of his, but he can barely control them and, unlike him, don't move about during the day.) Dracula's continuing source of income seems to be buried treasure that is marked by Will-o'-the-Wisps one night out of the year.
* Villainous Widow's Peak: He does have one, though it's given less attention than his other, more strange features.
* The Virus: His vampirism "disease." Downplayed in that Dracula himself is the driving force behind its spread rather than the disease itself, but its effect on its victims drives them to turn others.
* Wall Crawl: What confirms Harker's suspicions of him that he's not quite human when he spots him outside his room's window scaling a wall as if he was a lizard. The vampire women attacking him is just the icing on the cake.
* Was Once a Man: Implied by Van Helsing that he turned himself into a vampire through occult and black magic.
* Would Hit a Girl: He violently removes the blonde vampire from Jonathan by grabbing her by the neck and throwing her off.
* Would Hurt a Child: One of his most monstrous actions in the book is feeding a child he has just abducted to the other vampires of the castle. Said child is even kept in a sack.
* Wound That Will Not Heal: The wound to the forehead that Harker gives him early in the novel never heals. Whether this is because Dracula, being already dead, cannot heal wounds, or simply because not enough time passes, or something else, is never made clear.

* Adaptation Dye-Job: She's implied to be blonde in the book by making mention of hair being “sunny ripples” on the pillow. Sadie Frost who played Lucy in *Bram Stoker's Dracula* had red hair.
* Adaptational Villainy: In various adaptations she's portrayed as anything from a Femme Fatale to The Vamp (no pun intended) thus introducing a rather unfortunate Madonna/Whore comparison between herself and Mina, with Lucy as the silly flirt who "deserves" to be vamped and staked.
* Brainwashed and Crazy: What some interpret her vampire form as, albeit one that can't be reversed since she has been stripped of her humanity via her death and thus her free will, with the only things that matter to her now being to feed, spread vampirism and serve Dracula.
* Came Back Wrong: Due to dying under vampirisim, the curse resurrects her as a vampire herself. But as the men see for themselves in the graveyard, she's nothing like the Lucy they know, only concerned with feeding on blood and more animal like than anything. While she does seem to have some familiarity with Arthur in this form, it's likely the corruption in her calling upon memories of her old life. It's noted that she never calls for Seward or Quincey. Vampire Lucy: Come to me, Arthur. Leave these others and come to me. My arms are hungry for you. Come, and we can rest together. Come, my husband, come!
* Composite Character: With Mina in several adaptations.
* Corrupt the Cutie: In life, a kind and sweet individual who wouldn't hurt anyone. As a vampire, a being who displays bits of lustful behavior and lures away children to feed on them.
* The Corrupter: By association of having been turned into a vampire herself. Not long after she resurrects, she starts going after children and takes their blood little by little, infecting them with vampirism. While the children don't show any abnormal signs outside of a bite mark on their neck, Helsing noted if she was allowed to continue, it wouldn't be long until they eventually died of blood loss and rose as vampires themselves, perpetuating the undead curse.
* The Cutie: Lucy has three men ask for her hand in marriage in one day, and they then all pledge to protect and avenge her. She was also written to be sweet initially so it would be more shocking when she does turn up as a vampire both to the reader and her suitors and tie back into to the vampire women from earlier, giving a very clear understanding what likely happened to them (and how close Johnathan was to becoming a vampire himself).
* Damsel in Distress: A failed example. Despite the men's attempts, Dracula ultimately feeds on her enough that she dies and changes into a vampire under his command.
* Eats Babies: As a vampire, she primarily goes after children. Though oddly never draining any of them fully, just enough to leave them dazed. It's still a danger, though, as she is inflicting them with vampirism and if they died as she did, they would turn into vampires themselves. Van Helsing surmises she's just testing the waters of her new powers and, if not stopped, she'll soon go into full draining.
* Eerie Pale-Skinned Brunette: For some odd reason, her hair darkens when she turns into a vampire. Added to her pale skin, she becomes this.
* Empty Eyes: Just as she begins to turn on her deathbed, Seward notes her eyes look "dull and hard" when she tries to ask for a "kiss" from Arthur.
* Ethereal White Dress: Her "Bloofer Lady" forms is often described like this, having been buried in a funeral gown. More often then not, it's usually white in most media.
* Fog Feet: Some adaptations have her vampire form follow this trope to make her more ethereal.
* Game Face: Inverted in this case. When the men spot her vampire form, they notice how monstrous and feral she is. When they get her attention and she spots Arthur, her stance suddenly changes and she appears more beautiful to them.
* Hair of Gold, Heart of Gold: In the original novel, she's a blonde. Interestingly, eyewitnesses later describe vampire Lucy as having dark hair to signify more of her corruption.
* I Am a Monster: Very briefly when she begins turning, as she somehow knows the vampirism in her is taking over. She uses the last of her humanity to ask Van Helsing to protect Arthur from her vampire self.
* The Ingenue: She's an absolute sweetheart with the purest, most innocent heart imaginable. note  Which is why it's all the more shocking when she turns into a vampire as she's the complete opposite of her human personality: Cruel, lustful, and seductive.
* "Join Us" Drone: When the hunters confront her, she tries to get Arthur to come to her so they can "rest together". Apparently it's hypnotic, as Arthur nearly does till Helsing flashes a cross at her.
* Kill the Cutie: Twice over. The first time is her death at Dracula's hand; as it wasn't a natural death, however, she resurrects into a corrupted form. The second time is when the hunters kill her vampire form to free her from the undead curse.
* Last Request: As the vampirism takes hold and she manages to snap out of the change after abruptly shifting into a seductive form for a brief moment. Her final request as a human has her ask Van Helsing to look after Arthur and give him closure after her death. Van Helsing makes good on his promise.
* Liquid Assets: When Lucy becomes a vampire, she looks healthier "dead" in her coffin than she did alive.
* Madness Makeover: She gets all slinky and sensual as she falls under Dracula's spell. Oddly, this is not considered an improvement by her faithful suitors, likely because it's not really in her personality and the vampirism is corrupting her.
* Madonna-Whore Complex: Big-time subverted in the book, since she's far more of a Madonna than Mina, yet this doesn't save her from Dracula. She only started showing signs of the Whore *after* becoming a vampire, and thus not herself. Adaptations tend to overlook this and make her a Whore from the beginning.
* Marry Them All: In a letter to Mina, Lucy wishes this were an option, as she hated having to turn away Seward and Quincey when she chose to be with Arthur. She's at least happy they can all still be friends.
* Meaningful Name: Her name means "Light", and she is beloved by all for her sweetness and kindness. So when Dracula doesn't just kill her, but turns her into an evil vampiress, it casts a dark pall over the rest of the characters.
* Ms. Fanservice: In most adaptations despite never showing herself naked or else she's still a very beautiful and sensuous woman who loves to tease with suitors.
* Not Herself: As the vampirism fully takes hold of her, she nearly tries to "kiss" Arthur before Van Helsing prevents her, with the others noticing how feral and seductive she's suddenly become. She briefly reverts to her usual demeanor and indicates she knows what she's becoming before dying. When the men later confront her in the graveyard, she's akin to a wild animal with only the lustful side of her present. Showing that the Lucy they know is indeed dead and is now just a supernatural monster acting on Dracula's will.
* Power Floats: Implied just before the men confront her vampire form head on in the graveyard, Seward noting she seemed to be gliding through the area. Most likely floating thanks to her newfound power.
* Really Gets Around: Averted, despite what most adaptations would have you think. She has attracted the attention of three suitors *because* she's so pure and innocent and sweet. She remarks that she wishes that she could marry multiple men, but that's because she loves them all deeply, and doesn't want to turn any of them away (she settles on Arthur), not because she's lustful.
* Red Baron: Dubbed "The Bloofer Lady" by her child victims, which is just their way of saying "The Beautiful Lady".
* Rubber Man: Slightly, when Helsing fends her back with the cross and forces her to flee back to her coffin. The others watch in awe as she slips through the doorway to her crypt via *a small crack as if her body was made of putty*.
* Sacrificial Lion: Killed to show the effects of vampirism on a fully drained victim. As well as to show the curse isn't limited to Transylvania and does not exempt the innocent: *anyone* can become undead and the danger Dracula poses for modern day society who're unaware of the supernatural threat is real enough. As far as it's known, Lucy is the first non-Transylvanian, English-born vampire.
* Single Woman Seeks Good Man: One of the main reasons she accepts Arthur's proposal is because he's such a Nice Guy.
* Sleepwalking: Said to suffer from it now and then, which makes her an easy target for Dracula once he reaches England's shores. It's implied all the time afterward to be Dracula mind-controlling her after he manages to first bite her.
* Spoiled Sweet: She comes from a high class Victorian Era family, and enjoys all the perks and privileges that come with being of this class, yet still is a kind and sweet individual who treats her lower class best friend Mina, with the same respect and decency she shows the Lords and Ladies in her life. The Maven of the Eventide compares her directly to Charlotte "Lottie" LaBouffe, the Tropes Pictured representation, when reviewing her.
* Stepford Smiler: Her initial diary entries hint at this with her mentioning that Arthur and her mother are distressed at how her Dracula-induced nightmares affect her mood. She resolves to act more cheerful around them so they won't have to worry about her.
* Super Senses: After being bitten the second time, she notes how her eyesight and hearing have gotten oddly better to the point she can see specks of dusts in the air and hear her servants in other rooms and mice moving around the walls. While fascinated by it, it likewise scares her a bit since she isn't sure why it happening to her and it ties in with the nightmares she keeps having.
* Tomboy and Girly Girl: The Girly Girl to Mina's Tomboy.
* Too Dumb to Live: For some odd reason, her vampire form flees to her crypt after Van Helsing repels her rather then just fleeing the cemetery entirely and finding another place to hole up. This could also be a consequence of her vampirism, similar to how Dracula needs his boxes of earth, and her vampire form is not free to flee the cemetery after Van Helsing repels her.
* Transhuman Treachery: Depends on the adaptation. In many she's mostly just animal-like due to the vampirism (usually implied she is still a newborn and hasn't got control of her powers yet). But in a few others, she seems fully aware what she's doing once turned and goes along with it willingly.
* The Vamp: The only time she speaks as a vampire, she tries to seduce Arthur before trying to go for his neck. Van Helsing stops her just as she about to reach him.
* Vampire Hickey: After Dracula first bites her, there are two notable puncture wounds on her neck. Mina thinks she pricked her with a pin, but Lucy states she oddly doesn't feel it. As her health declines, Seward does find them but can't make the connection that it's linked to her illness until Van Helsing arrives and eventually points this out as the cause of a vampire attack. After Dracula's third attack and the doctor's attempt at a blood tranfusion, the wounds suddenly disappear, to Van Helsing's grim realization that Lucy's beyond saving.
* Virus-Victim Symptoms: It's through her we see the process of vampirism at work. After she's bitten, she becomes more susceptible to Dracula's control and is controlled into opening the window so he can feed on her more. She becomes more pale and weak, plus she keeps having nightmares. But it's noted her senses becoming more enhanced that she can hear her servants in other rooms beyond her bedroom and even mice in the walls. And of course, her canines are noted to have gotten oddly sharper. She also reacts negatively to sunlight and has the blinds closed. By the third bite, the curse has progressed enough that blood transfusions no longer work, she looks stronger while sleeping at night than she does awake, and at one point she rips up a note she was writing in a trance and, when it's taken from her, keeps doing the motion. Ultimately, the men see the bite wounds on her neck suddenly close up on their own and briefly her personality becomes seductive as she calls for Arthur to kiss her. When Helsing denies her, she reacts in a feral manner before going back to normal. After some final words, she dies and the corruption completes the transformation.
* Would Hurt a Child: Goes after children after turning into a vampire, largely to show how corrupted she is now.

* Adaptation Dye-Job: It’s generally considered she had darker hair and most adaptations agree. However she was depicted with red hair in *Dracula: Dead and Loving It*, in the comic adaptation drawn by Dick Giorando she’s blonde and she’s also blonde in *Hellsing*... and a teenage girl.
* Affectionate Nickname: Van Helsing takes to her in a very fatherly sort of way, and consistently refers to her as "our dear Madam Mina."
* Ambiguously Bi: Downplayed (Obviously. Victorian Era, after all), but not even getting into her relationship with Lucy, the first time she sees Dracula, she mentions that they were admiring the same woman, whom Mina also describes as quite attractive.
* Badass Bookworm: She's pretty smart and organized, not to mention she holds it together MUCH better than her husband and is determined to help.
* Break the Cutie: A bit, her best friend dies, then she's attacked by Dracula and terrified of the possibility of becoming a vampire. But she eventually subverts it and stays strong for the sake of the hunters.
* The Chick: After Lucy's death, she becomes the only female main character, and the dudesquad cares deeply about her.
* Chickification: Arguably happens in many movie adaptations of the original source material. In the novel, she was a well-educated assistant schoolmistress who took care of Lucy early on and kept her from sleepwalking, nursed Jonathan back to health when he was sick and functioned as the secretary of the group, organizing the notes on Dracula. After being attacked, she uses her new-found psychic link to help the males keep track of what the Big Bad was doing. All this changed in the 1931 movie adaptation and many later versions in which she was turned into a weeping, hysterical Distressed Damsel who is on one occasion in love with Dracula.
* Composite Character: With Lucy in several adaptations.
* Devoted to You: Though few adaptations honor it, Mina of the books is in utterly devoted and completely reciprocated love with her husband Jonathan. The two work hard to support and be strong for each other throughout the novel both as lovers and as partners.
* Distressed Damsel: While she is strong-willed in the book, the latter half of the story is trying to save her from becoming another of Dracula's undead servants.
* Good Scars, Evil Scars: The wafer imprint on her forehead that Van Helsing blesses her with after Dracula's attack. An indication that half of her has become a vampire and she's still in danger of joining the undead (it could be argued she practically *is* undead at that point, it's just her mindset that hasn't converted to bloodlust yet). It goes away once Dracula is killed.
* Happily Married: Is in a loving relationship with her husband Jonathan, and is not even remotely interested in Dracula though the two don't really meet in the book beyond Dracula's attack on her in retaliation for killing Lucy. Adaptations, of course, can't help screwing with this.
* The Heart: She keeps the men's morale high and reminds them of why they're fighting.
* Hypocritical Humor: Mina mocks the "New Woman" a few times in her journal. For those that don't know, "New Woman" at the time was when females were starting their movement for independence and becoming more assertive which was a big deal at the time. The reason it's ironic is because Mina becomes assertive after her encounter with Dracula and is both able to resist his influence (with some help) and coming up with the idea to use her newfound psychic link with Dracula to lead the hunters to him.
* It's All My Fault: After learning how Lucy died Mina briefly blames herself, thinking that if she hadn't convinced Lucy to start visiting the cemetary in Whitby she wouldn't have gone there while sleepwalking and wouldn't have been attacked by Dracula.
* I Made Copies: After Dracula attacks Mina, he trashes Seward's study and burns the Scrapbook Story the heroes are keeping. Unfortunately for him, they had another copy locked up in a safe.
* Nerd Action Hero: Both she and her husband arguably qualify. She doesn't engage in violence to the same extent as some of the male characters, but Mina is ready and willing to take action against Dracula and his female vampire cohorts in defense of her loved ones and arguably even leads the pursuit against them. She also gets super excited about the latest modern inventions and train schedules.

* Psychic Link: Develops one with Dracula after he attacks her. While it's a sign that she's infected with vampirisim, in danger of turning and coming under control of Dracula, the hunters and she realize they may be able to track him through this link by putting Mina under hypnosis and figuring out where he is.
* Rail Enthusiast: She describes herself as "the train fiend".
* Red Right Hand: When Van Helsing tries to set a holy wafer to Mina's forehead, it burns her and leaves a red mark. When Dracula is defeated, the mark vanishes.
* Suspiciously Specific Denial: During the trip to Dracula's castle, she shows Van Helsing a shortcut trail towards it. When Van Helsing asks her how she knew, she claims it was in Jonathan's journal. But Van Helsing severely doubts that since Jonathan was in the castle most of the time and never took note of which specific way he went. And what's more the trail hardly seem used at all, leading Van Helsing to believe the vampire change is growing in her and giving her information to reach her "master".
* Stay in the Kitchen: Well-intentioned example. The men don't let her in on what's going on for her safety and because they don't want to scare her. It becomes moot when Dracula focuses on her as his next target, and by then Mina is inflicted with vampirism and on the verge of suffering Lucy's fate.
* Stockholm Syndrome: She doesn't develop Sympathy for the Devil until *after* he's bitten her, and after she previously decided that the Thing that did that to Lucy doesn't deserve a drop of pity. She still believes that he should be killed; not only to save mankind, but to save Dracula's own soul. She turns out to be *right*. Justified, since she develops a psychic link with Dracula, and gets more of his perspective after being bitten.
* Sympathy for the Devil: Mentions that she does pity Dracula. Not the monster that he is, but rather for his soul and how it could be looking for peace from his curse.
* Team Mom: It's a little muddled at times, what with her also being the Distressed Damsel, but it really shows at the beginning of the third act. With team morale failing, Mina talks to each of the men and convinces them to keep fighting, not just for her sake, but to avenge fallen friends and to cleanse the world of evil.
* Token Super: She's the only member of Van Helsing's Vampire Hunter crew who has supernatural powers, due to an, uh, close encounter with the title villain half-way through the book. These allow her to "tune in" into Dracula's head, letting Van Helsing track his movement. Of course it's a double-edged sword since it's tied to the curse that is slowly changing her.
* Tomboy and Girly Girl: The Tomboy to Lucy's Girly Girl.
* Transhuman Treachery: Defied. The three vampiresses and Dracula try to force Mina to help them, but she refuses. Albeit with a little help from Van Helsing via his charms (she's still under Dracula's spell after all and the charms counteract his hold on her).
* Vampire Hickey: Dracula bites her in conjuction with making her drink his blood, leaving the telltale puncture marks on her throat. It's a downplayed example though since Helsing explains that the blood exchange is the more important concern since it means Mina's already on the path to becoming a vampire. Though the hunters keeps tabs on it as well as wafer mark on her forhead to gauge how far along she is, with the fear that if the bite marks disapper before they kill Dracula, she'll turn.
* Vampire Refugee: Unlike Lucy, she was fed Dracula's blood as well as bitten. Inflicting her with vampirism which, as long as Dracula's alive, will slowly turn her even if she dies (which would just bring the change on *instantly*). Though since she knows what's happening, she tries her best to fight against the change.
* Virus-Victim Symptoms: After being bitten, she has a psychic connection to Dracula which Helsing uses to his advantage to track where Dracula is going. However As the trip to Dracula's castle goes on; she loses her appetite for regular food, becomes lethargic and falls asleep during the daytime with Van Helsing unable to wake her, yet disturbingly becomes more active and perky at night (at one point just staring at Van Helsing through the night to his nervousness), the hypnotic suggestion starts failing, she begins to showcase knowledge of routes to the castle that shouldn't be possible and, when Van Helsing makes a holy circle around her, she finds herself unable to leave it. All which are signs of changes from vampirism. Needless to say, Mina is *terrified* of this prospect, as not only will she be no longer human, but be corrupted by the undead curse whom Dracula can easily command. This is increased even more when the vampire sisters try to claim her, as she can sense them and a part of her *wants* to join them. Additionally some adaptations have fangs start forming in her mouth (it's left ambiguous in the book if this happens or not).