Who Was Dracula? (28 page)

For the summary of Stoker's famous novel, I used two wonderful annotated editions, one older and one newer: Bram Stoker,
The Annotated Dracula
, annot. Leonard Wolf (New York: Ballantine Books, 1975), and Bram Stoker,
Dracula
(Norton Critical Edition), ed. Nina Auerbach and David J. Skal (New York: W. W. Norton, 1997).

Stoker's alternative ending is discussed in Miller,
Bram Stoker's Dracula
, and Stoker,
Bram Stoker's Notes for Dracula
.

C
HAPTER
S
IX
. T
H
E
V
OIVODE
, “R
AGE
AND
F
URY
D
IABOLICAL
”

The story of the crab dinner first appeared in Ludlam,
A Biography of Dracula
.

The story of the Rosenbach notes, and quotations from those notes, are from Stoker,
Bram Stoker's Notes for Dracula
. I've also used information from Brereton,
The Life of Henry Irving.

The meeting with Vambery and the description of Henry Morton Stanley are described in Stoker,
Personal Reminiscences.

Stoker's writing vacations are described in Belford,
Bram Stoker
, and Murray,
From the Shadow of Dracula.
Stoker's sources are discussed in Stoker,
Bram Stoker's Notes for Dracula
; Miller,
Bram Stoker's Dracula
; and Clive Leatherdale,
The Origins of Dracula
(London: William Kimber, 1987).

Material on the original Count Dracula is from Raymond T. McNally and Radu R. Florescu,
In Search of Dracula
(Greenwich, CT: New York Graphic Society, 1972), and, from the same authors,
The Essential Dracula
(New York: Mayflower Books, 1979); Miller,
Bram Stoker's Dracula
;
Dracula: A Translation of the 1488 Nurnberg Edition
, with an essay by Beverly D. Eddy (Philadelphia: Rosenbach Museum and Library, 1985);
Bram Stoker's Dracula: A Centennial Exhibition at the Rosenbach and Library
(Philadelphia: Rosenbach Museum and Library, 1997); and Elizabeth Miller,
A Dracula Handbook
(Bloomington, IN: Xlibris, 2005).

C
HAPTER
S
EVEN
. T
HE
N
OVELIST
, “D
READFUL
”

Leonard Wolf's careful account of Dracula's appearances is noted in Stoker,
The Annotated Dracula
(with notes by Wolf).

The account of Stoker's dramatization is from Ludlam,
A Biography of Dracula
; Belford,
Bram Stoker
; Stuart,
Stage Blood
; and David Skal's article “His Hour Upon the Stage, Theatrical Adaptations of Dracula,” published in Stoker,
Dracula
(Norton Critical Edition). Additional material on the actors, and Stoker's original script, is from Bram Stoker,
Dracula: or The Un-Dead: A Play in Prologue and Five Acts
, ed. and annot. Sylvia Starshine (Nottingham, England: Pumpkin Books, 1997).

Reviews are reproduced from Miller,
Bram Stoker's Dracula
, and Senf,
The Critical Response to Bram Stoker
.

Lovecraft's letter to Donald Wandrei is quoted in H. P. Lovecraft,
Mysteries of Time and Spirit: The Letters of H. P. Lovecraft and Donald Wandrei
, ed. S. T. Joshi and David E. Schultz (San Francisco: Night Shade Books, 2002).

Conan Doyle is quoted in Miller,
Bram Stoker's Dracula
, and Charlotte Stoker's remarks are quoted in Ludlam,
A Biography of Dracula
.

C
HA
PTER
E
IGHT
. T
HE
M
URDERER
, “M
ORBIDLY
F
ASCINATING
”

Stoker's introduction to the Icelandic edition and the quoted reviews of the novel appear in Miller,
Bram Stoker's Dracula
.

Mansfield's characterization is taken from Richard Mansfield,
Jekyll and Hyde Dramatized: The 1887 Richard Mansfield Script and the Evolution of the Story on Stage
, ed. Martin A. Dahanay and Alexander Chisolm (Jefferson, NC: McFarland, 2005); John Ranken Towse,
Sixty Years of the Theater
(New York: Funk & Wagnalls, 1916); and William Winter,
Life and Art of Richard Mansfield
(New York: Moffat, Yard, 1910). I've also used a review of the play from the May 10, 1887,
New York Times
.

The Jack the Ripper murders are recounted from Melvin Harris,
Jack the Ripper: The Bloody Truth
(London: Columbus Books, 1987), and Maxim Jakubowski and Nathan Braund, eds.,
The Mammoth Book of Jack the Ripper
(Philadelphia: Running Press, 2008).

Stoker records Mansfield's dinner in Stoker,
Personal Reminiscences
.

C
HAPTER
N
INE
. T
HE
S
USPECT
, “D
ISTINGUISHED
P
EOPLE
”

The Jack the Ripper murders are recounted from Harris,
Jack the Ripper: The Bloody Truth
, and Jakubowski and Braund,
The Mammoth Book of Jack the Ripper
.

Information on Hall Caine, and his early friendship with Tumblety, is from Allen,
Hall Caine.
Tumblety's story is recounted in Stewart P. Evans and Paul Gainey,
The Lodger: The Arrest and Escape of Jack the Ripper
(London: Century, 1995). Additional material on Tumblety and his interview in New York is from “My Life and Jack the Ripper,” by Stewart Evans, a chapter in
The Mammoth Book of Jack the Ripper
.

Material on the Beefsteak Club and the Beefsteak Room appears in Belford,
Bram Stoker.

C
HAPTER
T
EN
. T
HE
A
CTOR
,
“
A
BJECT
T
ERROR,
G
RIM
H
UMOR”

I've quoted from David J. Skal's article “His Hour Upon the Stage,” in
Dracula
(Norton Critical Edition), and Belford,
Bram Stoker
. Welles's anecdote is from Farson,
The Man Who Wrote Dracula.
Farson accused Welles of exaggerating, as the actor claimed to have heard the story from Stoker himself. This was impossible: Welles was born three years after Stoker died.

I actually believe that Welles read the
Chicago Tribune
review when he was fourteen years old; he was a precocious theater fan, living in Chicago at the time. This would account perfectly for his theory about Irving and Stoker. His exaggeration was to retell the tale in the first person—this was typical of his storytelling.

Terry is quoted from Terry,
Ellen Terry's Memoirs
.

Irving's story is told from Irving,
Henry Irving
, and Brereton,
The Life of Henry Irving
. His peculiar gait and pronunciation is from Rowell,
Theatre in the Age of Irving
, and Mayer,
Henry Irving and The Bells
.

Archer's observations are from Booth,
Victorian Spectacular Theatre
. Ellen Terry's remarks are from Terry,
Ellen Terry's Memoirs
. Terry and Shaw are discussed in Belford,
Bram Stoker
, and Shaw's critique of Irving is from Richard Foulkes,
Henry Irving: A Re-evaluation of the Pre-eminent Victorian Actor-Manager
(Aldershot, England: Ashgate, 2008).

The account of Irving's knighthood is from Stoker,
Personal Reminiscences
. In this book, he also discussed Shaw's criticism without naming Shaw. Shaw's quote is from Belford,
Bram Stoker
. Beerbohm's observation of Irving in his carriage is from Irving,
Henry Irving.

Irving's travails are discussed in Stoker,
Personal Reminiscences
, and Irving,
Henry Irving
. Fussie's fate and Shaw's accusatory review are from Belford,
Bram Stoker
, and Farson,
The Man Who Wrote Dracula
.

The burning of the Lyceum scenery is recounted in Stoker,
Personal Reminiscences
. The story of
Sherlock Holmes
and
The Medicine Man
is from W. D. King,
Henry Irving's Waterloo
(Berkeley: University of California Press, 1993).

Donaghey's
Chicago Tribune
newspaper article is quoted in Skal, “His Hour Upon the Stage,” in
Dracula
(Norton Critical Edition). Comments about Stoker's construction of the novel are based on his notes in Stoker,
Bram Stoker's Notes for Dracula.

C
HAPTER
E
LEVEN
. T
HE
P
OET
, “P
ERENNIAL
S
WEET
D
EATH
”

Stoker's letters are from Traubel,
With Walt Whitman in Camden
. Stoker tells the other side of the correspondence in Stoker,
Personal Reminiscences
.

Dennis Perry's article “Whitman's Influence on Stoker's Dracula,” appeared in
The Walt Whitman Quarterly Review
3, no. 3 (December 1986), pp. 29–35. Besides Whitman's poetry, I've used material from his biography, Jerome Loving,
Walt Whitman: The Song of Himself
(Berkeley: University of California Press, 1999).

Stoker's note to Gladstone and his essay on censorship are reproduced in Miller,
Bram Stoker's Dracula
.

C
HAPTER
T
WELVE
. T
HE
P
LAY
WRIGHT
, “T
HE
M
YSTERY
OF
H
IS
S
IN
”

The discussion of Stoker's omissions is from Stoker,
Personal Reminiscences
. Shaw's obituary, and the controversy that surrounded it, is from King,
Henry Irving's Waterloo
, and Foulkes,
Henry Irving
.

The analogy of Jonathan Harker and Oscar Wilde is mentioned in Farson,
The Man Who Wrote Dracula
; Talia Schaffer's “‘A Wilde Desire Took Me': The Homoerotic History of
Dracula
,”
ELH
61 (Summer 1994), pp. 381–425; and Diana Kindron's “Stoker's Use of Homoerotic Behavior in Dracula to Relieve Feelings of Guilt over Oscar Wilde” (published online, 2007).

Wilde's story is from Ellmann,
Oscar Wilde
; McKenna,
The Secret Life of Oscar Wilde
; Moyle,
Constance
; and Belford,
Bram Stoker
.

Labouchère and his amendment are discussed in F. B. Smith, “Labouchère's Amendment to the Criminal Law Amendment Bill,”
Historical Studies
17 (1976), pp. 165–175.

Clyde Fitch's letters are reproduced in Melissa Knox,
Oscar Wilde: A Long and Lovely Suicide
(New Haven, CT: Yale University Press, 1994), and additional material on Fitch is from Montrose J. Moses and Virginia Gerson,
Clyde Fitch and His Letters
(Boston: Little, Brown, 1924), and Winter,
Life and Art of Richard Mansfield
.

C
HAPTER
T
HIR
TEEN
. T
HE
A
CCUSED
, “M
ONSTR
OUS
AND
U
NLAWFUL
”

The story of
The Picture of Dorian Gray
, the critical reaction, and the green carnation are from Ellmann,
Oscar Wilde
, and McKenna,
The Secret Life of Oscar Wilde
.

Stoker's notes are quoted from Stoker,
Bram Stoker's Notes for Dracula
. Florence's appearance at
Lady Windermere's Fan
is from Belford,
Bram Stoker
, and Irving's appearances are from Brereton,
The Life of Henry Irving
.

Wilde's association with Douglas and the problems with the Marquess of Queensberry are from Ellmann,
Oscar Wilde
, and McKenna,
The Secret Life of Oscar Wilde
. Fred Terry's story is from Marguerite Steen's
A Pride of Terrys
(London: Longmans, 1962). The story of Ellen Terry and the violets was reported by Irving,
Henry Irving
. Her correspondence to Constance was reproduced in Moyle,
Constance
.

Stoker reported the story of the knighthood in
Personal Reminiscences
.

Talia Schaffer's observations appeared in Schaffer, “‘A Wilde Desire Took Me.'” Stoker's notes about the rosary and crucifix are taken from Stoker,
Bram Stoker's Notes for Dracula
.

C
HAPTER
F
OURTEEN
. T
HE
S
TRANGER
, “H
ERE
I A
M
N
OBLE
”

Reactions to Wilde, and his history in jail, are from Ellmann,
Oscar Wilde
, and McKenna,
The Secret Life of Oscar Wilde
. Fred Terry's joke is from Steen,
A Pride of Terrys.

Hall Caine's reaction is from Allen,
Hall Caine
. Terry's remarks are from Terry
, Ellen Terry's Memoirs.
The story about seeing Wilde in Paris is from Steen,
A Pride of Terrys.
The story of Stoker taking money to Wilde is from Farson,
The Man Who Wrote Dracula
, and Florence Stoker's remarks are reported by David J. Skal,
Hollywood Gothic
(New York: W. W. Norton, 1990).

The inspirations behind
Dracula
's characters are discussed in Miller,
Bram Stoker's Dracula
; Belford,
Bram Stoker
; and Murray,
From the Shadow of Dracula
. Stoker's later books were reviewed in Senf,
The Critical Response to Bram Stoker
.