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Definition of Hyperbole
Hyperbole is a figure of speech in which a writer or speaker exaggerates for the sake of emphasis. Hyperbolic statements are usually quite obvious exaggerations intended to emphasize a point... read full definition
Hyperbole is a figure of speech in which a writer or speaker exaggerates for the sake of emphasis. Hyperbolic statements are usually quite obvious exaggerations... read full definition
Hyperbole is a figure of speech in which a writer or speaker exaggerates for the sake of emphasis. Hyperbolic statements... read full definition
Chapter 1
Explanation and Analysis—Jonathan in Transylvania:
In Chapter 1, as he journeys to Castle Dracula for the first time, Jonathan Harker uses both hyperbole and simile to describe Transylvanian superstitions:
I read that every known superstition in the world is gathered into the horseshoe of the Carpathians, as if it were the centre of some kind of imaginative whirlpool; if so my stay may be very interesting (Mem., I must ask the Count all about them.)
Obviously it is not the case that "every known superstition" can be localized to this small portion of the world, and though it may be an "imaginative whirlpool" (as in Harker's simile), it is not the center of all superstitious imagination. This is exaggeration for effect; by using hyperbole and simile in this manner, Stoker primes the reader to associate Transylvania with strange and otherworldly phenomena. Note that fear of the unknown or foreign is common within the characters' narration and dialogue, hinting at broader social/cultural fears in England centered on "aliens" or "non-native" entities.
It is also important to note the dramatic irony in this passage. Readers in the 21st century are aware that Dracula is a vampire before even reading the novel, since the character has become culturally ubiquitous. Though Stoker may not have originally intended this passage to be ironic, contemporary readers will comprehend the irony of Harker wishing to ask Dracula about local superstitions (of which he himself is the subject).
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Chapter 10
Explanation and Analysis—Arthur's Blood:
Over the course of Chapter 10, Van Helsing and Dr. Seward try desperately to save Lucy's life, often resorting to blood transfusion. When the two men ask Arthur Holmwood, Lucy's betrothed, to assist them in the quest to save her life, he responds with an ironic hyperbole:
"What can I do?" asked Arthur hoarsely. "Tell me, and I shall do it. My life is hers, and I would give the last drop of blood in my body for her." The Professor has a strongly humorous side, and I could from old detect a trace of its origin in his answer:
"My young sir, I do not ask so much as that - not the last!"
To express the extent of his devotion to Lucy, Arthur utilizes a common hyperbole, stating that he would give "the last drop of blood" in his body to Lucy. In most cases, such a statement is used to emphasize how committed a person is to their cause or to another person; however, all of that person's blood is not literally required for the task. Ironically, and unbeknownst to Arthur, Van Helsing actually does require his blood for the transfusion procedure that will save Lucy's life.
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Chapter 23
Explanation and Analysis—Jonathan's Appearance:
At the beginning of Chapter 23, Jonathan's appearance changes drastically in response to Dracula's attack on Mina. This change is a good example of visual hyperbole:
Last night [Jonathan Harker] was a frank, happy-looking man, with strong youthful face, full of energy, and with dark brown hair. Today he is a drawn, haggard old man, whose white hair matches well with the hollow burning eyes and grief-written lines on his face.
Though Jonathan is clearly despondent about the attack Mina has suffered, it is a hyperbolic exaggeration on Stoker's part to assert that Jonathan's hair would go grey in one day. This exaggeration emphasizes the pain that Jonathan must be going through: though he has not literally aged overnight, the experience has evidently left him woebegone and haggard. This change to Jonathan's appearance does not reverse for the remainder of the novel, as Mina remains in harm's way with no end in sight except Dracula's destruction. As Mina nears death (with the possibility of becoming a vampire afterwards), Jonathan remains visually close to death, aging prematurely. The parallel conditions of Mina and Jonathan emphasize the strong emotional bond the two share: even in the face of impending death, they remain connected (however morbidly).
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