Bram Stoker: The Man Who Gave the World Dracula

22 October 2025

Paul Francis

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Bram Stoker did not live to see how famous his creation would become. When he published Dracula in 1897, it arrived into a rapidly changing world, but the novel was not considered a sensation. It sold steadily, quietly, and respectfully. Only after his death did it begin its ascent from Gothic curiosity to cultural phenomenon.

Bram Stoker in a dark suit poses against a shadowy background. Warm lighting highlights his serious expression, creating a vintage mood.

Today, Count Dracula is one of the most recognisable fictional characters in history, influencing everything from cinema and theatre to fashion, language and popular fears. Yet the man behind it, an Irish theatre manager who wrote at night, remains a far more mysterious figure.

Early Life: A Childhood in Stillness

Abraham “Bram” Stoker was born on 8 November 1847 in Dublin, into a middle-class Protestant family. As a child he suffered from a mysterious illness that left him bedridden for years. This prolonged isolation, he later said, gave him “the habit of dreaming awake.”

He eventually recovered and attended Trinity College Dublin, where he studied mathematics and excelled in athletics, but the stage soon captured his attention. He began reviewing theatre for the Dublin Evening Mail, which led to his first encounter with the celebrated actor Sir Henry Irving.

That meeting would change the trajectory of his life.

The Theatre Years: London, the Lyceum, and Obsession

In 1878, at the age of thirty-one, Stoker moved to London to become acting and business manager of the Lyceum Theatre, working directly under Irving. He would hold the position for nearly thirty years.

The Lyceum was not just a job, it was Bram Stoker’s life. He worked punishing hours, travelling constantly on performance tours, organising schedules, finances and logistics. Irving was famously demanding, but Stoker remained devotedly loyal.

During these years, he met many notable figures, among them Ellen Terry, the Lyceum’s leading lady, and Oscar Wilde, a friend from his Dublin youth. Stoker worked in the heart of London’s artistic and intellectual world. What is remarkable is that he managed to write fiction in the margins of this exhausting career, often through the night.

A vampire with pale skin and fangs holds his black cape open. He wears a dark suit with a red-lined collar, set against a shadowy background.

The Making of Dracula

Dracula, his fifth novel, was published in 1897. It was not his first attempt at horror, earlier stories explored themes of the supernatural, but Dracula was something altogether more ambitious.

It arrived in the age of late Victorian anxiety. Britain was wrestling with fear of invasion, disease, moral decay and scientific overreach. Stoker absorbed it all. He also researched Transylvanian folklore, medieval history, the occult, and early medical science.

The form was striking. It was told through diary entries, letters, newspaper reports, ship logs: fragmented testimony that made the horror feel documentary, almost factual. Dracula is nearly invisible in the book. What matters is the growing fear he leaves behind.

The novel was well received critically, but not a bestseller. It did not become legendary until theatre and cinema got hold of it, especially after the 1931 film adaptation starring Bela Lugosi, nine years after Stoker’s death.

Other Works: Ambition Beyond the Vampire

Although history remembers him almost solely for Dracula, Stoker wrote twelve novels in total.

Notable works include:

The Jewel of Seven Stars (1903) : an Egyptian mummy horror story involving death, reincarnation and occult ritual. It influenced countless later “mummy“ films.
The Lair of the White Worm (1911) : one of his strangest, most chaotic works, involving a shape-shifting serpent-woman and pre-Christian horror.
The Snake’s Pass (1890) and Miss Betty (1898) : Irish and romantic novels respectively, showing his range beyond horror.

Most of these works never achieved the lasting influence of Dracula, but they reveal Stoker’s ongoing interest in folklore, resurrection, forbidden knowledge and the fine line between rational science and ancient fear.

Final Years and Death

The Lyceum Theatre declined in the early twentieth century, and with it went Stoker’s financial stability. He suffered a series of strokes beginning around 1906, which affected his speech and mobility. His health deteriorated, and money troubles followed.

Bram Stoker died in London on 20 April 1912, aged 64. Official records cite a stroke, though tertiary complications are suspected. He died not yet a household name.

His widow Florence Stoker spent years fighting for copyright against unauthorised Dracula adaptations. It was only after his death that the world began to realise the scale of what he had created.

A Legacy That Refused to Die

Bram Stoker gave nothing less than an immortal archetype to literature. His vampire was not the first, but it was the one that endured. Through cinema, theatre, television, graphic novels, video games and even comedy, Count Dracula escaped his pages and became legend.

What makes this more extraordinary is that Stoker never sought fame as an artist. He saw himself as a working professional, a steady hand behind the scenes, not the genius at the centre of the stage.

And yet, history placed him there anyway.

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Breaking Down the Most Memorable Eurovision 2024 Entries: Part 3

Connor Banks
May 20, 2024
8 min read

Well I’ve reviewed the majority of the songs from this years Eurovision, which just leaves the last 13 songs to be reviewed. So lets not waste anymore time and get right into the last 13 songs left from this years final.

Norway “Ulveham” Gåte

Despite some ups and downs, Norway remains a beloved and respected competitor on the Eurovision stage. Known for its resilience and diverse musical entries, Norway continues to captivate audiences with its unique blend of contemporary and culturally rich performances. This year they were represented by Gåte, a band known for blending Norwegian folk music with elements of metal and electronica, and they bring that distinctive style to "Ulveham".

Gåte's performance was a visual spectacle utilising powerful, almost mythical quality, vibes which made it stand out from a lot of the other songs. But despite that the song only finished 16th, this in my opinion is an international tragedy and one that we all should be ashamed of. The unique blend of folk traditions and contemporary rock, combined with the intense staging, are all aspects of what actually makes Eurovision great. This song deserved to break into the top 10.

Italy “La Noia” Angelina Mango

Italy this year were represented by “La Noia” by Angelina Mango. Italy have had a long history in Eurovision and have won it 3 previous times, there most recent win being in 2021 but was this going to be another year of Italian dominance? La Noia mixes cumbia rhythms with pop elements, creating a unique and catchy vibe that's hard to resist. Angelina Mango’s performance is full of energy and charisma, her vocal delivery is both powerful and authentic, bringing a relatable touch to the song. The lyrics talk about the mundane aspects of life and existential boredom, but the upbeat music keeps it engaging and fun. But on top of that the stage performance was very eye-catching and engaging. With a psychedelic forest theme, complete with elaborate graphics and costumes, and a throne that rises from the stage. This was easily one of the best songs of this year's Eurovision, and if it wasn't for tougher competition it probably would have ranked higher, overall it finished 7th and I feel like this is the perfect place for it to sit.

Serbia “Ramonda” by Teya Dora

Serbia has made a significant impact on the Eurovision Song Contest since its debut in 2007. Known for its powerful ballads, diverse musical entries, and cultural richness, Serbia consistently delivers memorable and high-quality performances. This year was no exception with another powerful ballad from Teya Dora with “Ramonda”. The song is a beautiful ballad that dives deep into themes of solitude, resilience, and hope. The lilac ramonda, which is a recurring motif in the song, symbolises endurance and rebirth as well as being a significant flower in Serbian culture. Teya Dora's performance is really something special. Her voice carries so much emotion and sincerity, which makes the song incredibly moving. The staging for "Ramonda" also enhances its impact. With subtle yet effective elements like flower motifs, the visuals complement the song’s melancholic yet hopeful message perfectly. It’s not overly flashy, which works well with the song’s introspective nature. This song was one of my favourites from this years Eurovision, its just a shame that theres another 10 songs that I feel deserve top 10 more than it, however I would like to say it should have challenged for one of those spots rather than being relegated to a 17th place finish.

Finland “No Rules!” Windows95man

Finland has made a notable impact on the Eurovision Song Contest with its diverse musical entries and memorable performances. Highlighted by Lordi’s groundbreaking victory in 2006 with "Hard Rock Hallelujah" and Käärijä’s innovative "Cha Cha Cha" in 2023, Finland is known for its ability to surprise and captivate audiences. This year their song was “No Rules!” by Windows95man and it's definitely one of the more unique songs in the competition. The song is a high-energy Europop anthem that really stands out for its infectious rhythm and playful, over-the-top presentation but whilst it does stand out for all of these reasons, they are all reasons as to why the song does feel a little cheesy even for Eurovision. Overall, "No Rules!" is a mixed bag and it finished 19th in the competition, again I feel like around this spot is about right.

Portugal "Grito" Iolanda

Portugal has had a rich and evolving history in the Eurovision Song Contest, marked by its commitment to cultural authenticity and distinctive musical entries. Known for its beautiful melodies and emotive performances, Portugal has made a significant impact on the contest. This trend continued with this year’s entry. “Grito” by Iolanda, translates to "Shout," is a beautiful fusion of pop, R&B, and traditional Portuguese Fado influences. Iolanda's vocal performance is incredibly powerful. From the haunting acapella opening to the huge note at the end, her voice fills every corner of the arena. The staging is equally impressive, featuring five dancers in white with covered faces, adding a contemporary and artistic touch that perfectly complements the song's emotional depth. The lyrics of "Grito" are all about self-empowerment, healing, and the pursuit of dreams. It's an inspiring message that resonates deeply, celebrating the indomitable human spirit and the journey to overcome adversity and is by far one of my favourites of this year, overall it finished 10th and I’m going to say it definitely earned that top 10 finish.

Armenia “Jako” Ladaniva

Performed entirely in Armenian, “Jako” features a vibrant mix of Armenian folk music with global influences like Balkan melodies, jazz, reggae, and maloya. The performance is just as lively as the song itself. The staging is colourful and dynamic, featuring Armenian motifs and a fun dance routine. Lead singer Jaklin Baghdasaryan sings about her experiences growing up and being told to behave a certain way. Instead of conforming, she embraces her true, unapologetic self, and the song becomes a call to dance and live freely. The song is very catchy, and it managed to finish 8th in the actual final. I’m not sure if I would place it in the top ten but it was definitely one of the standout performers of this year.

Cyprus “Liar” Silia Kapsis

Cyprus is known for its vibrant performances and catchy pop songs. With a strong track record of qualifying for the finals and a commitment to showcasing both contemporary and culturally rich music, Cyprus continues to be a dynamic and beloved participant in Eurovision, bringing fresh and memorable performances to the stage each year. This year they were represented by 17 year old Silia Kapsis. "Liar" combines a modern pop sound with a catchy beat that's hard to get out of your head. Silia's performance is full of energy, and she really brings the song to life on stage. "Liar" is a strong entry for Cyprus, blending contemporary pop with a meaningful message and a compelling performance. It finished 15th overall and whilst I would like to rank it a little higher I don’t think it’s good enough to break into the top 10.

Switzerland “The Code” Nemo

Switzerland won this years Eurovision with this song by Nemo. “The Code” became the first victorious song for the Swiss since 1988 and the first winning song ever to have been sung by an openly non-binary person. The song is a complex blend of genres, combining elements of rap, opera, pop, and drum and bass, which has been praised for its originality and innovation. Nemo, known for their powerful stage presence and vocal versatility, delivers a performance that includes vocal trills, belts, and falsetto notes, making "The Code" a memorable and dynamic entry. This song was easily in my top 3 songs from this years Eurovision. I personally would have had Europapa win ahead of it, but unfortunately circumstances said otherwise.

Slovenia “Veronika” Raiven

Slovenia were represented this year by Raiven with the song “Veronika”. The track is inspired by the historical figure Veronika Deseniška, a countess from the 15th century who faced tragic accusations of witchcraft. But other than, I mostly forgot about this song. Which is unfortunate as it did feel as though Slovenia were trying to do something unique with this entry. It just unfortunately didnt work out this time. Overall it finished 23rd, I probably would have had it rank lower.

Croatia “Rim Tim Tagi Dim” Baby Lasagna

Croatia really struck it big with this song, it's just a shame that it happened to be submitted when the competition this year was so strong. The alt rock “Rim Tim Tagi Dim” had one of the catchiest choruses of this year’s Eurovision. Baby Lasagna has put together a performance that’s visually stunning and full of energy. The music itself is vibrant and lively, blending traditional Croatian sounds with a modern twist. This fusion creates an infectious rhythm that makes you want to dance. Baby Lasagna’s vocal delivery adds to the song's charm, bringing a playful and energetic vibe that perfectly matches the upbeat tempo of the music. This was by far my 2nd favourite song of the entire competition and it did finish 2nd overall in the actual final so I guess we agree on something?

Georgia “Firefighter” Nutsa Buzaladze

This year Georgia were represented by Nutsa and it paid off for them as they broke their streak of failing to qualify for the final. However that's pretty much as far as the achievements of this song go, its a fine song and Nutsa has great vocals but it wasn’t anything special. I don’t really have much more to say about it which probably isnt a great thing. It finished 21st, I think it could have finished further down and no one would’ve been upset.

France “Mon Amour” Slimane

France's entry for Eurovision 2024, "Mon Amour" by Slimane, is a standout ballad that has captivated audiences and critics alike with its profound emotional depth and powerful vocal delivery. From the very first note, "Mon Amour" grips listeners with its intricate melody and heartfelt lyrics. The song's structure, beginning softly and building to a dramatic crescendo, allows Slimane to showcase his vocal prowess and emotional expressiveness. A very memorable moment is when Slimane walks away from the microphone as the music cuts out, and then continues to sing whilst standing away from the microphone as his voice fills the arena. This song and performance are absolutely beautiful and was one of my favourites of the entire show. It’s definitely in the top 5 for me this year, which it managed to do as it finished 4th overall.

Austria “We Will Rave” Kaleen

Kaleen, whose real name is Marie-Sophie Kreissl, is representing Austria with a techno-pop anthem that takes a nostalgic dive into 90s Eurodance. The song, "We Will Rave," is all about finding joy and unity in the midst of darkness, using dance as a way to heal and connect. However there were quite a few other retro inspired entries this year, all of which I think might have been a little bit better than this song. Or maybe it’s just fatigue from having to sit through all of the songs of this years Eurovision. Either way, wasn’t a huge fan of this one. It finished 24th which I think is about right for this song.

And thats that, I’ve finally reviewed all of the songs from this years Eurovision. I’m sure I’ve annoyed some people with my opinions but hey thats what makes music and arts good, that we can all take away different meanings and interpretations from them. If I’ve said something that you disagree with then just let us know. If you’ve not checked out any of the other parts then I recommend you do. Either way I’m looking forward to next years Eurovision in the heart of the alps in Switzerland!