Count Dracula (/ˈdrækjʊlə, -jələ/) is the title character of Bram Stoker's 1897 gothic horror novel Dracula. He is considered to be both the prototypical and the archetypal vampire in subsequent works of fiction. He is also depicted in the novel to be the origin of werewolf legends.[12] Some aspects of the character are believed to have been inspired by the 15th-century Wallachian Prince Vlad the Impaler, who was also known as Dracula.  Other character aspects have been added or altered in subsequent popular fictional works. The character has subsequently appeared frequently in popular culture, from films to animated media to breakfast cereals.

Stoker's creation
Bram Stoker's novel takes the form of an epistolary tale, in which Count Dracula's characteristics, powers, abilities and weaknesses are narrated by multiple narrators, from different perspectives.[13]
Count Dracula is an undead, centuries-old vampire, and a Transylvanian nobleman who claims to be a Székely descended from Attila the Hun. He inhabits a decaying castle in the Carpathian Mountains near the Borgo Pass. Unlike the vampires of Eastern European folklore, which are portrayed as repulsive, corpse-like creatures, Dracula is handsome and charismatic, with a veneer of aristocratic charm. In his conversations with Jonathan Harker, he reveals himself as deeply proud of his boyar heritage and nostalgic for the past, which he admits have become only a memory of heroism, honour and valour in modern times.
Early life
Details of his early life are obscure, but it is mentioned "he was in life a most wonderful man. Soldier, statesman, and alchemist. Which latter was the highest development of the scientific knowledge of his time. 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."[14] He studied the black arts at the academy of Scholomance in the Carpathian Mountains, overlooking the town of Sibiu (also known as Hermannstadt) and has a deep knowledge of alchemy and magic.[15] Taking up arms, as befitting his rank and status as a voivode, he led troops against the Turks across the Danube. According to his nemesis Abraham Van Helsing, "He 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."[16] Dead and buried in a great tomb in the chapel of his castle, Dracula returns from death as a vampire and lives for several centuries in his castle with three terrifyingly beautiful female vampires beside him.[17]
Narrative

Short story
In "Dracula's Guest", the narrative follows an unnamed Englishman traveller as he wanders around Munich before leaving for Transylvania. It is Walpurgis Night and the young Englishman foolishly leaves his hotel, in spite of the coachman's warnings, and wanders through a dense forest alone. Along the way, he feels that he is being watched by a tall and thin stranger (possibly Count Dracula).
The short story climaxes in an old graveyard, where the Englishman encounters a sleeping female vampire called Countess Dolingen in a marble tomb with a large iron stake driven into it. This malevolent and beautiful vampire awakens from her marble bier to conjure a snowstorm before being struck by lightning and returning to her eternal prison. However, the Englishman's troubles are not quite over, as he is dragged away by an unseen force and rendered unconscious. He awakens to find a "gigantic" wolf lying on his chest and licking at his throat; however, the wolf merely keeps him warm and protects him until help arrives. When the Englishman is finally taken back to his hotel, a telegram awaits him from his expectant host Dracula, with a warning about "dangers from snow and wolves and night".
Novel
As the Dracula novel begins in the late 19th century, Dracula acts on a long-contemplated plan for world domination, and infiltrates London to begin his reign of terror. He summons Jonathan Harker, a newly qualified English solicitor, to provide legal support for a real estate transaction overseen by Harker's employer. Dracula at first charms Harker with his cordiality and historical knowledge, and even rescues him from the clutches of the three female vampires in the castle. In truth, however, Dracula merely wishes to keep Harker alive long enough to complete the legal transaction and to learn as much as possible about England.
Dracula leaves his castle and boards a Russian ship, the Demeter, taking along with him 50 boxes of Transylvanian soil, which he needs in order to regain his strength and rest during daylight. During the voyage to Whitby, a coastal town in northern England, he sustains himself on the ship's crew members. Only one body is later found, that of the captain, who is found tied up to the ship's helm. The captain's log is recovered and tells of strange events that had taken place during the ship's journey. Dracula leaves the ship in the form of a dog.
Soon the Count is menacing Harker's fiancée, Wilhelmina "Mina" Murray, and her friend, Lucy Westenra. There is also a notable link between Dracula and Renfield, a patient in an insane asylum overseen by John Seward, who is compelled to consume insects, spiders, birds, and other creatures—in ascending order of size—in order to absorb their "life force". Renfield acts as a kind of sensor, reacting to Dracula's proximity and supplying clues accordingly. Dracula begins to visit Lucy's bed chamber on a nightly basis, draining her of blood while simultaneously infecting her with the curse of vampirism. Not knowing the cause for Lucy's deterioration, her three suitors - Seward, Arthur Holmwood and Quincey Morris - call upon Seward's mentor, the Dutch doctor Abraham Van Helsing. Van Helsing soon deduces her condition's supernatural origins, but does not speak out. Despite an attempt at keeping the vampire at bay with garlic, Dracula attacks Lucy's house one final time, killing her mother and transforming Lucy herself into one of the undead.
Harker escapes Dracula's castle and returns to England, barely alive and deeply traumatized. On Seward's suggestion, Mina seeks Van Helsing's assistance in assessing Harker's health. She reads his journal and passes it along to Van Helsing. This unfolds the first clue to the identity of Lucy's assailant, which later prompts Mina to collect all of the events of Dracula's appearance in news articles, saved letters, newspaper clippings and the journals of each member of the group. This assists the group in investigating Dracula's movements and later discovering that Renfield's behaviour is directly influenced by Dracula. They then discover that  Dracula has purchased a residence just next door to Seward's. The group gathers intelligence to track the location of Dracula for the purpose of destroying him.

After the undead Lucy attacks several children, Van Helsing, Seward, Holmwood and Morris enter her crypt and destroy her to save her soul. Later, Harker joins them and the party work to discover Dracula's intentions. Harker aids the party in tracking down the locations of the boxes to the various residences of Dracula and discovers that Dracula purchased multiple real estate properties 'over the counter' throughout the North, South, East and West sides of London[18] under the alias 'Count De Ville'.[19] Dracula's main plan was to move each of his 50 boxes of earth to his various properties in order to arrange multiple lairs throughout and around the perimeter of London.[18]
The party pries open each of the graves, places wafers of Sacramental bread within each of them, and seals them shut. This deprives the Count of his ability to seek safety in those boxes.[20] Dracula gains entry into Seward's residence by coercing an invitation out of Renfield. As he attempts to enter the room in which Harker and Mina are staying, Renfield tries to stop him; Dracula then mortally wounds him. With his dying breath, Renfield tells Seward and Van Helsing that Dracula is after Mina. Van Helsing and Seward discover Dracula biting Mina then forcing her to drink his blood. The group repel Dracula using crucifixes and sacramental bread, forcing Dracula to flee by turning into a dark vapor. The party continue to hunt Dracula to search for his remaining lairs.[21] Although Dracula's 'baptism' of Mina grants him a telepathic link to her, it backfires when Van Helsing hypnotizes Mina and uses her supernatural link with Dracula to track him as he flees back to Transylvania.
The heroes follow Dracula back to Transylvania, and in a climactic battle with Dracula's gypsy bodyguards, finally destroy him. Despite the popular image of Dracula having a stake driven through his heart to kill him, Mina's narrative describes his decapitation by Harker's kukri while Morris simultaneously pierced his heart with a Bowie knife (Mina Harker's Journal, 6 November, Dracula Chapter 27). His body then turns into dust, but not before Mina sees an expression of peace on his face.
Characteristics
Although early in the novel Dracula dons a mask of cordiality, he often flies into fits of rage when his plans are frustrated. When the three vampire women who live in his castle attempt to seduce Jonathan Harker, Dracula physically assaults one and ferociously berates them for their insubordination. He then relents and talks to them more kindly, telling them that he does indeed love each of them.
He has an appreciation for ancient architecture, and when purchasing a home he prefers them to be aged, saying "A new home would kill me", and that to make a new home habitable to him would take a century.[22]
Dracula is very proud of his warrior heritage, proclaiming his pride to Harker on how the Székely people are infused with the blood of heroes. He also expresses an interest in the history of the British Empire, speaking admiringly of its people. He has a somewhat primal and predatory worldview; he pities ordinary humans for their revulsion to their darker impulses. He is not without human emotions, however; he often says that he too can love.[23]
Though usually portrayed as having a strong Eastern European accent, the original novel only specifies that his spoken English is excellent, though strangely toned.
His appearance varies in age. He is described early in the novel as thin, with a long white mustache, pointed ears and sharp teeth.[24] It is also noted later in the novel (Chapter 11 subsection "The Escaped Wolf") by a zookeeper who sees him that he has a hooked nose and a pointed beard with a streak of white in it. He is dressed all in black and has hair on his palms. Jonathan Harker described him as an old man, "cruel looking" and giving an effect of "extraordinary pallor".[24] When angered, the Count showed his true bestial nature, his blue eyes flaming red.
I saw... Count Dracula... with red light of triumph in his eyes, and with a smile that Judas in hell might be proud of.—Jonathan Harker's journal, Dracula, Chapter 4

As the novel progresses, Dracula is described as taking on a more and more youthful appearance. After Harker strikes him with a shovel, he is left with a scar on his forehead which he bears throughout the course of the novel.
Dracula also possesses great wealth, and has Gypsies in his homeland who are loyal to him as servants and protectors.
Powers and weaknesses
Count Dracula is portrayed in the novel using many different supernatural abilities, and is believed to have gained his abilities through dealings with the Devil. Chapter 18 of the novel describes many of the abilities, limitations and weaknesses of vampires and Dracula in particular. Dracula has superhuman strength which, according to Van Helsing, is equivalent to that of 20 strong men. He does not cast a shadow or have a reflection from mirrors. He is immune to conventional means of attack; a sailor tries to stab him in the back with a knife, but the blade goes through his body as though it is air.[25] Why Harker's and Morris' physical attacks are able to harm him in other parts of the book is never explained although it is noteworthy that the failed stabbing by the sailor occurred at night and the successful attacks were during daylight hours. The Count can defy gravity to a certain extent and possesses superhuman agility, able to climb vertical surfaces upside down in a reptilian manner. He can travel onto "unhallowed" ground such as the graves of suicides and those of his victims. He has powerful hypnotic,  telepathic and illusionary abilities. He also has the ability to "within limitations" vanish and reappear elsewhere at will. If he knows the path, he can come out from anything or into anything regardless of how close it is bound even if it is fused with fire.[26]
He has amassed cunning and wisdom throughout centuries, and he is unable to die by the mere passing of time alone.[26]
He can command animals such as rats, owls, bats, moths, foxes and wolves. However, his control over these animals is limited, as seen when the party first enters his house in London. Although Dracula is able to summon thousands of rats to swarm and attack the group, Holmwood summons his trio of terriers to do battle with the rats. The dogs prove very efficient rat killers, suggesting they are Manchester terriers trained for that purpose. Terrified by the dogs' onslaught, the rats flee and any control which Dracula had over them is gone.[27]
Dracula can also manipulate the weather and, within his range, is able to direct the elements, such as storms, fog and mist.[26]
Shapeshifting
Dracula can shapeshift at will, able to grow and become small, his featured forms in the novel being that of a bat, a wolf, a large dog and a fog or mist. When the moonlight is shining, he can travel as elemental dust within its rays. He is able to pass through tiny cracks or crevices while retaining his human form or in the form of a vapour; described by Van Helsing as the ability to slip through a hairbreadth space of a tomb door or coffin. This is also an ability used by his victim Lucy as a vampire. When the party breaks into her tomb, they dismantle the secured coffin to find it completely empty; her corpse being no longer located within.[28]
Vampirism
One of Dracula's most mysterious powers is the ability to turn others into vampires by biting them. According to Van Helsing:
When they become such, there comes with the change the curse of immortality; they cannot die, but must go on age after age adding new victims and multiplying the evils of the world. For all that die from the preying of the Un-dead become themselves Un-dead, and prey on their kind. And so the circle goes on ever widening, like as the ripples from a stone thrown in the water.  Friend Arthur, if you had met that kiss which you know of before poor Lucy die, or again, last night when you open your arms to her, you would in time, when you had died, have become nosferatu, as they call it in Eastern Europe, and would for all time make more of those Un-Deads that so have filled us with horror.—Dr. Seward's journal, Dracula, Chapter 16

The vampire bite itself does not cause death. It is the method vampires use to drain blood of the victim and to increase their influence over them. This is described by Van Helsing:
The Nosferatu do not die like the bees when they sting once. He is only stronger, and being stronger, have yet more power to work evil.—Mina Harker's journal, Dracula, Chapter 18

Victims who are bitten by a vampire and do not die, are hypnotically influenced by them:
Those children whose blood she suck are not yet so much worse; but if she live on, Un-Dead, more and more lose their blood and by her power over them they come to her.—Mina Harker's journal, Dracula, Chapter 18

Van Helsing later describes the aftermath of a bitten victim when the vampire has been killed:
But if she die in truth, then all cease; the tiny wounds of the throats disappear, and they go back to their plays unknowing of whatever has been.—Mina Harker's journal, Dracula, Chapter 18

As Dracula slowly drains Lucy's blood, she dies from acute blood loss and later transforms into a vampire, despite the efforts of Seward and Van Helsing to provide her with blood transfusions.[29]
He is aided by powers of necromancy and divination of the dead, that all who die by his hand may reanimate and do his bidding.[26]
Bloodletting
Dracula requires no other sustenance but fresh human blood, which has the effect of rejuvenating him and allowing him to grow younger. His power is drawn from the blood of others, and he cannot survive without it.[26][30] Although drinking blood can rejuvenate his youth and strength, it does not give him the ability to regenerate; months after being struck on the head by a shovel, he still bears a scar from the impact.[31]
Dracula's preferred victims are women.[32] Harker states that he believes Dracula has a state of fasting as well as a state of feeding.[33] Dracula does state to Mina, however, that exerting his abilities causes a desire to feed.[34]
Vampire's Baptism of Blood
Count Dracula is depicted as the "King Vampire", and can control other vampires. To punish Mina and the party for their efforts against him, Dracula bites her on at least three occasions. He also forces her to drink his blood; this act curses her with the effects of vampirism and gives him a telepathic link to her thoughts.[35] However, hypnotism was only able to be done before dawn.[36] Van Helsing refers to the act of drinking blood by both the vampire and the victim "the Vampire's Baptism of Blood".[37]

“you, their best beloved one, are now to me, flesh of my flesh, blood of my blood, kin of my kin, my  bountiful  wine-press  for  a  while,  and  shall  be  later  on my companion and my helper. You shall be avenged in turn, for  not  one  of  them  but  shall  minister  to  your  needs.  But as yet you are to be punished for what you have done. You have aided in thwarting me. Now you shall come to my call. When my brain says ‘Come!’ to you, you shall cross land or sea to do my bidding.[38]”
The effects changes Mina' physically and mentally over time. A few moments after Dracula attacks her, Van Helsing takes a wafer of sacramental bread and places it on her forehead to bless her; when the bread touches her skin, it burns her and leaves a scar on her forehead. Her teeth start growing longer but do not grow sharper. She begins to lose her appetite, feeling repulsed by normal food,[39] begins to sleep more and more during the day; cannot wake unless at sunset and stops writing in her diary. When Van Helsing later crumbles the same bread in a circle around her, she is unable to cross or leave the circle, discovering a new form of protection.[40]
Dracula's death can release the curse on any living victim of eventual transformation into vampire. However, Van Helsing reveals that were he to successfully escape, his continued existence would ensure that even if he did not victimize Mina further, she would transform into a vampire upon her eventual natural death.
Limitations of his powers
Dracula is much less powerful in daylight and is only able to shift his form at dawn, noon, and dusk (he can shift his form freely at night or if he is at his grave). The sun is not fatal to him, as sunlight does not burn and destroy him upon contact, though most of his abilities cease.
The sun that rose on our sorrow this morning guards us in its course. Until it sets to-night, that monster must retain whatever form he now has. He is confined within the limitations of his earthly envelope. He cannot melt into thin air nor disappear through cracks or chinks or crannies. If he go through a doorway, he must open the door like a mortal.—Jonathan Harker's journal, Dracula, Chapter 22

His power ceases, as does that all of all evil things, at the coming of the day. Only at certain times can he have limited freedom. If he be not at the place whither he is bound, he can only change himself at noon or exact sunrise or sunset.—Mina Harker's journal, Dracula, Chapter 18

He is also limited in his ability to travel, as he can only cross running water at low or high tide. Due to this, he is unable to fly across a river in the form of a bat or mist or even by himself board a boat or step off a boat onto a dock unless he is physically carried over with assistance. He is also unable to enter a place unless invited to do so by someone of the household, even a visitor; once invited, he can enter and leave the premises at will.[26]
Weaknesses
Thirst
Dracula has a bloodlust which he is seemingly unable to control. At the sight of blood he becomes enveloped in a demonic fury which is fueled by the need to feed. Other adaptations call this uncontrollable state 'the thirst'.
Religious symbolism
There are items which afflict him to the point he has no power and can even calm him from his insatiable appetite for blood. He is repulsed by garlic, as well as sacred items and symbols such as crucifixes, and sacramental bread.

at the instant I saw that the cut had  bled a little, and the blood was trickling over my chin. I laid down the razor, turning as I did so half round to look for some sticking plaster.  When the Count saw my face, his eyes blazed with a sort of demoniac fury, and he suddenly made a grab at my throat. I drew away and his hand touched the string of beads which held the crucifix. It made an instant change in him, for the fury passed so quickly that I could hardly believe that it was ever there.—Jonathan Harker's journal, Dracula, Chapter 2

Placing the branch of a wild rose upon the top of his coffin will render him unable to escape it; a sacred bullet fired into the coffin could kill him so that he remain true-dead.[26]
Mountain Ash is also described as a form of protection from a vampire although the effects are unknown.[41] This was believed to be used as protection against evil spirits and witches during the Victorian era.
Death-sleep
The state of rest to which vampires are prone during the day is described in the novel as a deathlike sleep in which the vampire sleeps open-eyed, is unable to awaken or move, and also may be unaware of any presence of individuals who may be trespassing. Dracula is portrayed as being active in daylight at least once in order to pursue a victim. Dracula also purchases many properties throughout London 'over the counter' which shows that he does have the ability to have some type of presence in daylight.

“on a pile of newly dug earth, lay the Count! He was either dead or asleep. I could not say which, for eyes were open and stony, but without the glassiness of death, and the cheeks had the warmth of life through all their pallor. The lips were as red as ever. But there was no sign of movement, no pulse, no breath, no beating of the heart. I bent over him, and tried to find any sign of life, but in vain... I thought he might have the keys on him, but when I went to search I saw the dead eyes, and in them dead though they were, such a look of hate, though unconscious of me or my presence, that I fled from the place, and leaving the Count’s room by the window.[42]”
He requires Transylvanian soil to be nearby to him in a foreign land or to be entombed within his coffin within Transylvania in order to successfully rest; otherwise, he will be unable to recover his strength. This has forced him to transport many boxes of Transylvanian earth to each of his residences in London. It should be noted however that he is most powerful when he is within his Earth-Home, Coffin-Home, Hell-Home, or any place unhallowed.[26][43]
Further, if Dracula or any vampire has had their fill in blood upon feeding, they will be caused to rest in this dead state even longer than usual.[44]
Other abilities
While universally feared by the local people of Transylvania and even beyond, Dracula commands the loyalty of Gypsies and a band of Slovaks who transport his boxes on their way to London and to serve as an armed convoy bringing his coffin back to his castle. The Slovaks and Gypsies appear to know his true nature, for they laugh at Harker when he tries to communicate his plight, and betray Harker's attempt to send a letter through them by giving it to the Count.
Dracula seems to be able to hold influence over people with mental disorders, such as Renfield, who is never bitten but who worships Dracula, referring to him over the course of the novel as "Master" and "Lord". Dracula also afflicts Lucy with chronic sleepwalking, putting her into a trance-like state that allows them not only to submit to his will but also seek him and satisfy his need to feed.
Dracula's powers and weaknesses vary greatly in the many adaptations. Previous and subsequent vampires from different legends have had similar vampire characteristics.
Character development subsequent to the novel

Dracula is one of the most famous characters in popular culture. He has been portrayed by more actors in more visual media adaptations of the novel than any other horror character.[47] Actors who have played him include Max Schreck, Bela Lugosi, John Carradine, Lon Chaney Jr., Christopher Lee, Francis Lederer, Denholm Elliott, Jack Palance, Louis Jourdan, Frank Langella, Klaus Kinski, Gary Oldman, Leslie Nielsen, George Hamilton, David Niven, Charles Macaulay, Keith-Lee Castle, Gerard Butler, Duncan Regehr, Richard Roxburgh, Marc Warren, Rutger Hauer, Stephen Billington, Thomas Kretschmann, Dominic Purcell and Luke Evans.
In 2003, Count Dracula, as portrayed by Lugosi in the 1931 film, was named as the 33rd greatest movie villain by the AFI.[48]

The character is closely associated with the western cultural archetype of the vampire, and remains a popular Halloween costume.
Count Dracula appears in Mad Monster Party? voiced by Allen Swift. This version is shown to be wearing a monocle. Count Dracula is among the monsters that Baron Boris von Frankenstein invites to the Isle of Evil in order to show off the secret of total destruction and announce his retirement from the Worldwide Organization of Monsters.
In Sesame Street, there is a character called Count von Count who was based on Bela Lugosi's interpretation of Count Dracula and Jack Davis' design for Dracula from Mad Monster Party?.
Count Dracula appears in Mad Mad Mad Monsters (a "prequel of sorts" to Mad Monster Party?) voiced again by Allen Swift. He and his son are invited by Baron Henry von Frankenstein to attend the wedding of Frankenstein's Monster and its mate at the Transylvania Astoria Hotel.
Dracula is the primary antagonist of the Castlevania video game series and the main protagonist of the Lords of Shadow reboot series.
Dracula appears as the lead character of Dracula the Un-dead, a novel by Stoker's great-grand nephew Dacre presented as a sequel to the original.
Count Dracula is the main character of the Hotel Transylvania franchise, voiced by Adam Sandler.
Dracula, going by an inversion of his name, "Alucard," serves as the main character of the anime and manga series Hellsing and Hellsing Ultimate where he serves Integra Hellsing, Abraham's great-granddaughter, as an anti-vampire warrior devoted to the British Crown.
Modern and postmodern analyses of the character

Already in 1958, Cecil Kirtly proposed that Count Dracula shared his personal past with the historical Transylvanian-born Voivode Vlad III Dracula of Wallachia, also known as Vlad the Impaler or Vlad Țepeș. Following the publication of In Search of Dracula by Radu Florescu and Raymond McNally in 1972, this supposed connection attracted much popular attention. This work argued that Bram Stoker based his Dracula on Vlad the Impaler.[49]
Historically, the name "Dracula" is the given name of Vlad Țepeș' family, a name derived from a secret fraternal order of knights called the Order of the Dragon, founded by Sigismund of Luxembourg (king of Hungary and Bohemia, and Holy Roman Emperor) to uphold Christianity and defend the Empire against the Ottoman Turks. Vlad II Dracul, father of Vlad III, was admitted to the order around 1431 because of his bravery in fighting the Turks and was dubbed Dracul (dragon or devil) thus his son became Dracula (son of the dragon). From 1431 onward, Vlad II wore the emblem of the order and later, as ruler of Wallachia, his coinage bore the dragon symbol.[50]
Stoker came across the name Dracula in his reading on Romanian history, and chose this to replace the name (Count Wampyr) that he had originally intended to use for his villain. However, some Dracula scholars, led by Elizabeth Miller, have questioned the depth of this connection as early as 1998. They argue that Stoker in fact knew little of the historic Vlad III, Vlad the Impaler, and that he used only the name "Dracula" and some miscellaneous scraps of Romanian history.[51] Also, there are no comments about Vlad III in the author's working notes.[52][53]
While having a conversation with Jonathan Harker in Chapter 3, Dracula refers to his own background, and these speeches show elements which Stoker directly copied from Wilkinson's book. Stoker mentions the Voivode of the Dracula race who fought against the Turks after the defeat in the Battle of Kosovo, and was later betrayed by his brother, historical facts which unequivocally point to Vlad III, described as "Voïvode Dracula" by Wilkinson:
Who was it but one of my own race who as Voivode crossed the Danube and beat the Turk on his own ground? This was a Dracula indeed! Woe was it that his own unworthy brother, when he had fallen, sold his people to the Turk and brought the shame of slavery on them! Was it not this Dracula, indeed, who inspired that other of his race who in a later age again and again brought his forces over the great river into Turkey-land; who, when he was beaten back, came again, and again, though he had to come alone from the bloody field where his troops were being slaughtered, since he knew that he alone could ultimately triumph! (Chapter 3, pp.19)

The Count's intended identity is later commented by Professor Van Helsing, referring to a letter from his friend Arminius:
He 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. (Chapter 18, pp.145)

This indeed encourages the reader to identify the Count with the Voivode Dracula first mentioned by him in Chapter 3, the one betrayed by his brother: Vlad III Dracula, betrayed by his brother Radu the Handsome, who had chosen the side of the Turks. But as noted by the Dutch author Hans Corneel de Roos, in Chapter 25, Van Helsing and Mina drop this rudimentary connection to Vlad III and instead describe the Count's personal past as that of "that other of his race" who lived "in a later age". By smoothly exchanging Vlad III for a nameless double, Stoker avoided that his main character could be unambiguously linked to a historical person traceable in any history book.
Similarly, the novelist did not want to disclose the precise site of the Count's residence, Castle Dracula. As confirmed by Stoker's own handwritten research notes, the novelist had a specific location for the Castle in mind while writing the narrative: an empty mountain top in the Transylvanian Kelemen Alps near the former border with Moldavia.[54] Efforts to promote the Poenari Castle (ca. 200km away from the novel's place of action near the Borgo Pass) as the "real Castle Dracula" have no basis in Stoker’s writing; Stoker did not know this building. Regarding the Bran Castle near Brașov, Stoker possibly saw an illustration of Castle Bran (Törzburg) in Charles Boner's book on Transylvania.[55] Although Stoker may have been inspired by its romantic appearance, neither Boner, nor Mazuchelli nor Crosse (who also mention Terzburg or Törzburg) associate it with Vlad III; for the site of his fictitious Castle Dracula, Stoker preferred an empty mountain top.
Furthermore, Stoker's detailed notes reveal that the novelist was very well aware of the ethnic and geo-political differences between the "Roumanians" or "Wallachs"/"Wallachians", descendants of the Dacians, and the Székelys or Szeklers, allies of the Magyars or Hungarians, whose interests were opposed to that of the Wallachians. In the novel's original typewritten manuscript, the Count speaks of throwing off the "Austrian yoke", which corresponds to the Szekler political point of view. This expression is crossed out, however, and replaced by "Hungarian yoke" (as appearing in the printed version), which matches the historical perspective of the Wallachians. This has been interpreted by some to mean that Stoker opted for the Wallachian, not the Szekler interpretation, thus lending more consistency to the Romanian identity of his Count: although not identical with Vlad III, the Vampire is portrayed as one of the "Dracula race".[56]
Screen portrayals

See also

Elizabeth Báthory
Carmilla
Clinical vampirism
List of fictional vampires
List of horror film antagonists
List of vampire traits in folklore and fiction
Varney the Vampire

Bibliography
Clive Leatherdale (1985) Dracula: the Novel and the Legend. Desert Island Books.
Bram Stoker (1897) Dracula. Norton Critical Edition (1997) edited by Nina Auerbach and David J. Skal.
Senf, Carol. Dracula: Between Tradition and Modernism (Twayne, 1998).
Senf, Carol A. Bram Stoker. University of Wales Press, 2010.

 Full text, PDF and audio versions of Dracula.


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History of synthetic rubber
The expanded use of bicycles, and particularly their pneumatic tires, starting in the 1890s, created increased demand for rubber. In 1909, a team headed by Fritz Hofmann, working at the Bayer laboratory in Elberfeld, Germany, succeeded in polymerizing isoprene, the first synthetic rubber.[3][4]
The first rubber polymer synthesized from butadiene was created in 1910 by the Russian scientist Sergei Vasiljevich Lebedev. This form of synthetic rubber provided the basis for the first large-scale commercial production by the tsarist empire, which occurred during World War I as a result of shortages of natural rubber. This early form of synthetic rubber was again replaced with natural rubber after the war ended, but investigations of synthetic rubber continued. Russian American Ivan Ostromislensky who moved to New York in 1922 did significant early research on synthetic rubber and a couple of monomers in the early 20th century. Political problems that resulted from great fluctuations in the cost of natural rubber led to the enactment of the Stevenson Act in 1921. This act essentially created a cartel which supported rubber prices by regulating production, but insufficient supply, especially due to wartime shortages, also led to a search for alternative forms of synthetic rubber.
By 1925 the price of natural rubber had increased to the point that many companies were exploring methods of producing synthetic rubber to compete with natural rubber. In the United States, the investigation focused on different materials than in Europe, building on the early laboratory work of Fr Julius Nieuwland, a professor of chemistry at the University of Notre Dame, who developed the synthesis of neoprene.
Studies published in 1930 written independently by Lebedev, the American Wallace Carothers and the German scientist Hermann Staudinger led in 1931 to one of the first successful synthetic rubbers, known as neoprene, which was developed at DuPont under the direction of E. K. Bolton. Neoprene is highly resistant to heat and chemicals such as oil and gasoline, and is used in fuel hoses and as an insulating material in machinery. The company Thiokol applied their name to a competing type of rubber based on ethylene dichloride,[5] which was commercially available in 1930.
The first rubber plant in Europe SK-1 (from Russian "Synthetic Kauchuk", Russian: СК-1) was established (Russia) by Sergei Lebedev in Yaroslavl under Joseph Stalin's first five-year plan on July 7, 1932.
In 1935, German chemists synthesized the first of a series of synthetic rubbers known as Buna rubbers. These were copolymers, meaning the polymers were made up from two monomers in alternating sequence. Other brands included Koroseal, which Waldo Semon developed in 1935, and Sovprene, which Russian researchers created in 1940.[6]
World War II

B. F. Goodrich Company scientist Waldo Semon developed a new and cheaper version of synthetic rubber known as Ameripol in 1940. Ameripol made synthetic rubber production much more cost effective, helping to meet the United States' needs during World War II.
The production of synthetic rubber in the United States expanded greatly during World War II, since the Axis powers controlled nearly all the world's limited supplies of natural rubber by mid-1942.Military trucks needed rubber for tires, and rubber was used in almost every other war machine. The U.S. government launched a major (and largely secret) effort to improve synthetic rubber production. A large team of chemists from many institutions were involved, including Calvin Souther Fuller of Bell Labs. The rubber designated GRS (Government Rubber Styrene), a copolymer of butadiene and styrene, was the basis for U.S. synthetic rubber production during World War II. By 1944, a total of 50 factories were manufacturing it, pouring out a volume of the material twice that of the world's natural rubber production before the beginning of the war. It still represents about half of total world production.
Operation Pointblank bombing targets of Nazi Germany included the Schkopau (50,000 tons/yr) plant and the Hüls synthetic rubber plant near Recklinghausen (30,000, 17%),[7] and the Kölnische Gummifäden Fabrik tire and tube plant at Deutz on the east bank of the Rhine.[8] The Ferrara, Italy, synthetic rubber factory (near a river bridge) was bombed August 23, 1944.  Three other synthetic rubber facilities were at Ludwigshafen/Oppau (15,000), Hanover/Limmer (reclamation, 20,000), and Leverkusen (5,000).  A synthetic rubber plant at Oświęcim, in Nazi-occupied Poland, was under construction on March 5, 1944[9] operated by IG Farben and supplied with slave labor, by the SS, from the associated camp Auschwitz III (Monowitz).[10][11]
Post-war

Solid-fuel rockets during World War II used nitrocellulose for propellants, but it was impractical and dangerous to make such rockets very large. During the war, California Institute of Technology (Caltech) researchers came up with a new solid fuel based on asphalt mixed with an oxidizer (such as potassium or ammonium perchlorate), and aluminium powder. This new solid fuel burned more slowly and evenly than nitrocellulose, and was much less dangerous to store and use, but it tended to slowly flow out of the rocket in storage and the rockets using it had to be stockpiled nose down.
After the war, Caltech researchers began to investigate the use of synthetic rubbers to replace asphalt in their solid fuel rocket motors. By the mid-1950s, large missiles were being built using solid fuels based on synthetic rubber, mixed with ammonium perchlorate and high proportions of aluminium powder. Such solid fuels could be cast into large, uniform blocks that had no cracks or other defects that would cause non-uniform burning. Ultimately, all large solid-fuel military rockets and missiles would use synthetic-rubber-based solid fuels, and they would also play a significant part in the civilian space effort.
Additional refinements to the process of creating synthetic rubber continued after the war. The chemical synthesis of isoprene accelerated the reduced need for natural rubber, and the peacetime quantity of synthetic rubber exceeded the production of natural rubber by the early 1960s.
Synthetic rubber is used a great deal in printing on textiles, in which case it is called rubber paste. In most cases titanium dioxide is used with copolymerization and volatile matter in producing such synthetic rubber for textile use. Moreover, this kind of preparation can be considered to be the pigment preparation based on titanium dioxide.
By the 1960s, most chewing gum companies had switched from using chicle to butadiene-based synthetic rubber which was cheaper to manufacture.
Natural vs. synthetic rubber

Natural rubber, coming from latex of Hevea brasiliensis, is mainly poly-cis-isoprene containing traces of impurities like protein, dirt etc. Although it exhibits many excellent properties in terms of mechanical performance, natural rubber is often inferior to certain synthetic rubbers, especially with respect to its thermal stability and its compatibility with petroleum products.
Synthetic rubber, like other polymers, is made from various petroleum-based monomers.  The most prevalent synthetic rubbers are styrene-butadiene rubbers (SBR) derived from the copolymerization of styrene and 1,3-butadiene. Other synthetic rubbers are prepared from isoprene (2-methyl-1,3-butadiene), chloroprene (2-chloro-1,3-butadiene), and isobutylene (methylpropene) with a small percentage of isoprene for cross-linking. These and other monomers can be mixed in various proportions to be copolymerized to produce products with a range of physical, mechanical, and chemical properties. The monomers can be produced pure, and the addition of impurities or additives can be controlled by design to give optimal properties. Polymerization of pure monomers can be better controlled to give a desired proportion of cis and trans double bonds.
See also
Thermoplastic


William Hope Hodgson (15 November 1877 – 19 April 1918) was an English author. He produced a large body of work, consisting of essays, short fiction, and novels, spanning several overlapping genres including horror, fantastic fiction, and science fiction.[2] Hodgson used his experiences at sea to lend authentic detail to his short horror stories, many of which are set on the ocean, including his series of linked tales forming the "Sargasso Sea Stories". His novels, such as The House on the Borderland (1908) and The Night Land (1912), feature more cosmic themes, but several of his novels also focus on horrors associated with the sea. Early in his writing career Hodgson dedicated effort to poetry, although few of his poems were published during his lifetime. He also attracted some notice as a photographer and achieved renown as a bodybuilder. He died in World War I at age 40.
Life
Early years and life at sea
Hodgson was born in Blackmore End, Essex, the son of the Reverend Samuel Hodgson, an Anglican priest, and Lissie Sarah Brown. He was the second of 12 children, three of whom died in infancy. The death of a child is a theme in several of Hodgson's works including the short stories "The Valley of Lost Children", "The Sea-Horses", and "The Searcher of the End House".
Hodgson's father was moved frequently and served 11 different parishes in 21 years, including one in County Galway, Ireland. This setting was later featured in Hodgson's novel The House on the Borderland.
Hodgson ran away from his boarding school at age 13, in an effort to become a sailor. He was caught and returned to his family, but eventually received his father's permission to be apprenticed as a cabin boy and began a four-year apprenticeship in 1891. Hodgson's father died shortly thereafter, of throat cancer, leaving the family impoverished; while William was away, the family subsisted largely on charity. After his apprenticeship ended in 1895, Hodgson began two years of study in Liverpool and was then able to pass the tests and receive his mate's certificate; he then began several more years as a sailor.
At sea, Hodgson experienced bullying. This led him to begin a program of personal training. According to Sam Moskowitz,[3]
The primary motivation of his body development was not health, but self-defence. His relatively short height and sensitive, almost beautiful face made him an irresistible target for bullying seamen. When they moved in to pulverize him, they would learn too late that they had come to grips with easily one of the most powerful men, pound for pound, in all England.
The theme of bullying of an apprentice by older seamen, and revenge taken, appeared frequently in his sea stories.
While away at sea, in addition to his exercises with weights and with a punching bag, Hodgson also practised his photography, taking photographs of aurora borealis, cyclones, lightning, sharks, and the maggots that infested the food given to sailors. He also built up a stamp collection, practised his marksmanship while hunting, and kept journals of his experiences at sea. In November 1898, he was awarded the Royal Humane Society medal for heroism for saving another sailor who, in March of the same year, had fallen from the topmast into the sea in shark-infested waters off the coast of New Zealand.
Physical culture, essays and poetry
In 1899, at age 22, he opened a School of Physical Culture in Ainsworth Street, Blackburn, England, as "the inventor and teacher of a system that will cure indigestion". The School offered tailored exercise regimes for personal training. Among his customers were members of the Blackburn police force. In 1902, Hodgson himself appeared on stage with handcuffs and other restraining devices supplied by the Blackburn police department and applied the restraints to Harry Houdini, who had previously escaped from the Blackburn jail. His behavior towards Houdini generated controversy; the escape artist had some difficulty removing his restraints, complaining that Hodgson had deliberately injured him and jammed the locks of his handcuffs.
Hodgson was not shy of publicity, and in another notable stunt, rode a bicycle down a street so steep that it had stairs, an event written up in the local paper. Despite his reputation, he eventually found that he could not earn a living running his personal training business, which was seasonal in nature, and shut it down. He began instead writing articles such as "Physical Culture versus Recreative Exercises" (published in 1903). One of these articles, "Health from Scientific Exercise", featured photographs of Hodgson himself demonstrating his exercises. The market for such articles seemed to be limited, however; so, inspired by authors such as Edgar Allan Poe, H. G. Wells, Jules Verne and Arthur Conan Doyle,[4] Hodgson turned his attention to fiction, publishing his first short story, "The Goddess of Death", in 1904, followed shortly by "A Tropical Horror" (1905). He also contributed to an article in The Grand Magazine, taking the "No" side in a debate on the topic "Is the Mercantile Navy Worth Joining?" In this piece, Hodgson laid out in detail his negative experiences at sea, including facts and figures about salaries. This led to a second article in The Nautical Magazine, an exposé on the subject of apprenticeships; at the time, families often were forced to pay to have boys accepted as apprentices. Hodgson began to give paid lectures, illustrated with his photography in the form of colorized slides, about his experiences at sea.
Although he wrote a number of poems, only a handful were published during his lifetime; several, such as "Madre Mia" (1907), appeared as dedications to his novels. Apparently cynical about the prospects of publishing his poetry, in 1906 he published an article in The Author magazine, suggesting that poets could earn money by writing inscriptions for tombstones. Many of his poems were published by his widow in two posthumous collections, but some 48 poems were not published until their appearance in the collection The Lost Poetry of William Hope Hodgson (2005).
Career in fiction, and marriage
Hodgson's first short story was "The Goddess of Death" (1904), in which he utilised a statue of Flora which stood in Corporation Park, Blackburn, as the focus of a tale in which a Hindu statue, seized from an Indian temple, stood in a small English town. The statue comes alive to take its revenge on the people who stole it. The Royal Magazine published the story in April 1904.
In 1906, the American magazine The Monthly Story Magazine published "From the Tideless Sea", the first of Hodgson's Sargasso Sea stories. Hodgson continued to sell stories to American magazines as well as British magazines for the remainder of his career, carefully managing the rights to his work in order to maximize his remuneration.
While he still lived with his mother in relative poverty, his first published novel, The Boats of the "Glen Carrig", appeared in 1907, to positive reviews. Hodgson also published "The Voice in the Night" the same year, as well as "Through the Vortex of a Cyclone", a realistic story inspired by Hodgson's experiences at sea and illustrated with tinted slides made from his own photographs; Hodgson had previously used these slides to illustrate a "lantern lecture" entitled "Through the Heart of a Cyclone", which he had given at the Trinity Wesleyan School in Montague Street, Blackburn, on 16 November 1906. Hodgson also explored the subject of ships and cyclones in his story "The Shamraken Homeward-Bounder" (1908). Also in 1908, Hodgson published his second novel, The House on the Borderland, again to positive reviews, as well as an unusual satirical science fiction story, "Date 1965: Modern Warfare", a Swiftian satire in which it is suggested that war should be carried out by men fighting in pens with knives, and the corpses carefully salvaged for food, although in letters to the editor published at the time, Hodgson expressed strong patriotic sentiments.
In 1909, he published "Out of the Storm", a short horror story about "the death-side of the sea", in which the protagonist drowning in a storm rants about the horrors of a storm at sea. According to Moskowitz,
"This story proved an emotional testament beyond all other evidence. Hodgson, whose literary success would be in a large measure based on the impressions he received at sea, actually hated and feared the waters with an intensity that was the passion of his life."[3]
Also in 1909, Hodgson published another novel, The Ghost Pirates. In the foreword, he wrote that it
"... completes what, perhaps, may be termed a trilogy; for, though very different in scope, each of the three books deals with certain conceptions that have an elemental kinship. With this book, the author believes that he closes the door, so far as he is concerned, on a particular phase of constructive thought."
The Bookman magazine in its review of the novel in 1909 concluded with the comment:
"We can only hope that Mr. Hodgson may be induced to reconsider his decision, for we know of nothing like the author's previous work in the whole of present-day literature."
Despite the critical success of his novels, Hodgson remained relatively poor. To try to bolster his income from short story sales, he began working on the first of his recurring characters, Thomas Carnacki, featured in several of his most famous stories and partly inspired by Algernon Blackwood's occult detective John Silence.[4] The first of these, "The Gateway of the Monster", was published in The Idler (1910). In 1910, Hodgson also published "The Captain of the Onion Boat", an unusual story that combines a nautical tale and a romance. He continued to publish many stories and non-fiction pieces, occasionally resorting to the use of recycled plot elements and situations, sometimes to the annoyance of his publishers.
His last novel to see publication, The Night Land, was published in 1912, although it likely had its genesis a number of years earlier. Hodgson also worked on a 10,000-word novelette version of the novel, now known as The Dream of X (1912). He continued to branch out into related genres, publishing "Judge Barclay's Wife", a Western adventure, in the United States, as well as several non-supernatural mystery stories and the science fiction story "The Derelict" (1912), and even war stories (several of the Captain Gault tales feature wartime themes).
In 1912, Hodgson married Betty Farnworth, known also as Bessie, a girl from Cheadle Hulme and a staff member who wrote the "agony" column for the women's magazine Home Notes. Both were 35. She gave up her job after they married on 26 February 1913, in the London borough of Kensington. They moved to the south of France and took up residence there, owing in part to the low cost of living. Hodgson began a work entitled "Captain Dang (An account of certain peculiar and somewhat memorable adventures)" and continued to publish stories in multiple genres, although financial security continued to elude him. When war broke out in Europe, the Hodgsons returned to England.
Later life, World War I experience and death
Hodgson joined the University of London's Officers' Training Corps. Refusing to have anything to do with the sea despite his experience and Third Mate's certificate, he received a commission as a lieutenant in the Royal Artillery. In 1916, he was thrown from a horse and suffered a broken jaw and a serious head injury; he received a mandatory discharge, and returned to writing.
Refusing to remain on the sidelines, Hodgson recovered sufficiently to re-enlist. His published articles and stories from the time reflect his experience in war. He was killed by the direct impact of an artillery shell at the Fourth Battle of Ypres in April 1918; sources suggest either the 17th or 19th. He was eulogized in The Times on 2 May 1918. The American magazine Adventure, to which Hodgson had contributed fiction, also ran an obituary which reprinted a clipping from his widow, describing how Hodgson led a group of
NCOs to safety under heavy fire.[5]
Most famous works
Hodgson is most widely known for two works. The House on the Borderland (1908) is a novel of which H. P. Lovecraft, in his long essay "Supernatural Horror in Literature", wrote "but for a few touches of commonplace sentimentality [it] would be a classic of the first water".[6] The Night Land (1912) is a much longer novel, written in an archaic style and expressing a sombre vision of a sunless far-future world; Lovecraft described it as "one of the most potent pieces of macabre imagination ever written".[6] These works both contain elements of science fiction, although they also partake of horror and the occult. According to critical consensus, in these works, despite his often laboured and clumsy language, Hodgson achieves a deep power of expression which focuses on a sense not only of terror but as well of the ubiquity of potential terror, of the thinness of the invisible boundary between the world of normality and an underlying, unaccountable reality for which humans are not suited.
The Ghost Pirates (1909) has less of a reputation than The House on the Borderland, but is an effective seafaring horror story of a ship attacked and ultimately dragged down to its doom by supernatural creatures. The book purports to be the spoken testimony of the sole survivor, and the style lacks the pseudo-archaism which makes The Boats of the "Glen Carrig" (1907) and The Night Land tedious reading for many.
Hodgson is also known for his short stories featuring recurring characters: the "detective of the occult" Thomas Carnacki, and the smuggler Captain Gault. The Carnacki story "The Whistling Room" has been reprinted in numerous anthologies, including collections introduced by Alfred Hitchcock. Hodgson's single most famous short story is probably "The Voice in the Night" (1907), which has been adapted for film twice. Another story regarded highly by critics is "The Shamraken Homeward-Bounder".
Hodgson's work is said to have had an influence on H.P. Lovecraft, even though Lovecraft did not read his works until 1934. In a 2009 essay, China Miéville traces the origin of "the tentacle" as an object of horror to Hodgson's The Boats of the "Glen Carrig", but the motif had already been used by M. R. James in "Count Magnus", which Lovecraft first read shortly before employing the motif.
Literary influence
After his death, Hodgson's work was largely forgotten. In the 1930s, however, Hodgson's supernatural fiction was anthologised in both Colin de la Mare's They Walk Again (1931) and Dennis Wheatley's A Century of Horror Stories (1935); this began a revival of interest in Hodgson's work.[7]
Hodgson's work was inspirational to many science fiction and fantasy writers. In Britain, both Olaf Stapledon and Dennis Wheatley were influenced by Hodgson's work.[7] Across the Atlantic, Clark Ashton Smith[8] and Henry S. Whitehead[9] were also influenced by Hodgson's writings. Modern authors who cite Hodgson as an influence include Iain Sinclair,[10] Gene Wolfe, Greg Bear, China Miéville, Simon Clark, Elizabeth Massie, Tim Lebbon, and Brian Keene.
Hodgson's literary estate
Hodgson's widow, Bessie, worked to keep his books in print and to publish works he was not able to get published during his lifetime, including two books of poetry. After Bessie Hodgson died in 1943, Hodgson's sister Lissie took over his literary estate.
While the first six Carnacki stories were collected during Hodgson's lifetime, "The Haunted Jarvee" appeared posthumously in 1929, and two more Carnacki stories, "The Find" and "The Hog," were published in 1947 by August Derleth. Some critics suspected that Derleth might actually be the author of these two stories, but that theory has been discounted.
One Captain Gault story, "The Plans of the Reefing Bi-Plane", was not published until 1996, when it was included in the short story collection Terrors of the Sea.
Some of Hodgson's poems were first published in 2005, when they appeared in The Lost Poetry of William Hope Hodgson.
A number of other Hodgson works are reprinted for the first time since their original publication in the five-volume Collected Fiction of William Hope Hodgson series published by Night Shade Books.
Copyright protection has now expired on most of Hodgson's work, with the exception of some of the works published posthumously, including many of his poems.
Novels
The Boats of the "Glen Carrig" (1907)
The House on the Borderland (1908)
The Ghost Pirates (1909)
The Night Land (1912)
The Dream of X (1912) (a 20,000-word abridgement of the 200,000-word novel The Night Land)
The House on the Borderland and Other Novels (1946) (a posthumous collection of Hodgson's four major novels)
Captain Dang (unfinished)
Order of writing versus order of publication
Sam Gafford, in his 1997 essay "Writing Backwards: The Novels of William Hope Hodgson" has suggested that Hodgson's four major novels may have been published in roughly the reverse order of their writing.[11] If this is true, then The Night Land was Hodgson's first novel, in which he poured out his imagination at its most unbridled, and not his last. Gafford writes:
"This concern over the order of composition of the novels may seem of little importance until we consider the implications toward Hodgson's work overall. .. in effect, Hodgson moved away from TNL’s quasi-science fiction scenario (which contained an astounding number of original conceptions) and toward BoGC’s more basic adventure slant."
If we accept Gafford's thesis, then Hodgson actually wrote The Boats of the "Glen Carrig" last, and it benefits from the modernization of style to the point where it is Hodgson's most accessible novel:
"When he finishes the group with BoGC, Hodgson has managed to rid himself of these affectations of style and produces a book written in a flat but serviceable tone. With each book, Hodgson learns better control of language and more writing savvy and eventually begins to develop his own voice."
But despite the excessively archaic prose style, which does make them less approachable, it is actually Hodgson's earlier works that are considered masterpieces today. And as Gafford says:
"...we can only wonder what wonderfully imaginative excesses like The Night Land may have been lost because of an unappreciative public."
Short stories
Miscellaneous stories
Note: the following list of stories is based on the five-volume Collected Fiction of William Hope Hodgson published by Night Shade Books, completed in late 2006. The list includes details of first publication, where known.
"The Goddess of Death" (Hodgson's first published story, which appeared in 1904 in Royal Magazine)
"The Valley of Lost Children". Cornhill Magazine, February 1906
"Terror of the Water-Tank" (The Blue Book, 1907)
"Bullion" (Everybody's Weekly, 1911)
"The Mystery of the Water-Logged Ship" (Grand Magazine, 1911)
"The Ghosts of the Glen Doon" (The Red Magazine, 1911)
"My House Shall Be Called the House of Prayer". Cornhill Magazine, February 1911
"Mr. Jock Danplank" (The Red Magazine, 1912)
"The Mystery of Captain Chappel" (The Red Magazine, 1917)
"The Home-Coming of Captain Dan" (The Red Magazine, 1918)
"Merciful Plunder" (first published in 1925 in Argosy-Allstory Weekly)
"The Haunting of the Lady Shannon" (Out of the Storm, 1975)
"The Heathen's Revenge" (first published in a chapbook as "The Way of the Heathen", 1988)
"A Tropical Horror" (first published in 1905)
"The Voice in the Night" (first published in 1907)
"The Derelict" (first published in 1912)
"Eloi Eloi Lama Sabachthani" (first published as "The Baumoff Explosive" in 1919)
"The Shamraken Homeward-Bounder"
"Out of the Storm"
"The Albatross"
"The 'Prentices' Mutiny"
"The Island of the Crossbones"
"The Stone Ship"
"The Regeneration of Captain Bully Keller"
"The Mystery of Missing Ships"
"We Two and Bully Dunkan"
"The Haunted Pampero"
"The Real Thing: 'S.O.S.'"
"Jack Grey, Second Mate"
"The Smugglers"
"In the Wailing Gully"
"The Girl with the Grey Eyes"
"Kind, Kind and Gentle Is She"
"A Timely Escape"
"The Homecoming of Captain Dan"
"On the Bridge"
"Through the Vortex of a Cyclone". Cornhill Magazine, November 1906
"A Fight with a Submarine"
"In the Danger Zone"
"Old Golly"
"Demons of the Sea"
"The Wild Man of the Sea"
"The Habitants of Middle Islet"
"The Riven Night"
"The Heaving of the Log"
"The Sharks of the St. Elmo"
"Sailormen"
"By the Lee"
"The Captain of the Onion Boat"
"The Sea-Horses"
"The Valley of Lost Children"
"Date 1965: Modern Warfare"
"Judge Barclay's Wife"
"How the Honorable Billy Darrell Raided the Wind"
"The Friendship of Monsieur Jeynois"
"The Inn of the Black Crow"
"What Happened in the Thunderbolt"
"How Sir Jerrold Treyn Dealt with the Dutch in Caunston Cove"
"Jem Binney and the Safe at Lockwood Hall"
"Diamond Cut Diamond with a Vengeance"
"The Room of Fear"
"The Promise"
Sargasso Sea stories

"From the Tideless Sea Part One" (first published in 1906 in Monthly Story Magazine)
"From the Tideless Sea Part Two: Further News of the Homebird" (first published in 1907 in Blue Book Magazine)
"The Mystery of the Derelict" (first published in 1907 in Story-teller)
"The Thing in the Weeds" (first published in 1912 in Story-teller)
"The Finding of the Graiken" (first published in 1913 in The Red Magazine)
"The Call in the Dawn" (first published as "The Voice in the Dawn" in 1920 in Premier Magazine)
Carnacki stories
"The Thing Invisible" (first published in 1912 in The New Magazine)
"The Gateway of the Monster" (first published in 1910 in The Idler)
"The House Among the Laurels" (first published in 1910 in The Idler)
"The Whistling Room" (first published in 1910 in The Idler)
"The Searcher of the End House" (first published in 1910 in The Idler)
"The Horse of the Invisible" (first published in 1910 in The Idler)
"The Haunted Jarvee" (first published in 1929 in The Premier Magazine)
"The Find" (first published in 1947 as part of the Carnacki the Ghost Finder collection)
"The Hog" (first published in 1947 in Weird Tales)
Captain Jat stories
(Details of first publication are given)
"The Island of the Ud". The Red Magazine, 1912
"The Adventure of the Headland". The Red Magazine, 1912
Captain Gault stories
(Details of first publication are given)
"Contraband of War". London Magazine, 1914
"The Diamond Spy". London Magazine, 1914
"The Red Herring". London Magazine, 1914
"The Case of the Chinese Curio Dealer". London Magazine, 1914
"The Drum of Saccharine". London Magazine, 1914
"From Information Received". London Magazine, 1914
"The German Spy". London Magazine, 1915
"The Problem of the Pearls". London Magazine, 1915
"The Painted Lady". London Magazine, 1915
"The Adventure of the Garter". London Magazine, 1916
"My Lady's Jewels". London Magazine, 1916
"Trading with the Enemy". London Magazine, 1916
"The Plans of the Reefing Bi-Plane" (not published until its inclusion in Terrors of the Sea in 1996)
D.C.O. Cargunka stories
"The Bells of the Laughing Sally" (first published in 1914 in The Red Magazine)
"The Adventure with the Claim Jumpers" (first published in 1915 in The Red Magazine)
Selected short story collections
Carnacki, the Ghost-Finder (1913) (collection of short stories)
Men of the Deep Waters (1914) (collection)
The Luck of the Strong (1916) (collection)
Captain Gault, Being the Exceedingly Private Log of a Sea-Captain (1917) (collection)
Carnacki, the Ghost-Finder (1947) (expanded from the 1913 edition)
Non-fiction
Health from Scientific Exercise. Cassell's Magazine, November 1903
Poems
"Amanda Panda"
"Beyond the Dawning"
"Billy Ben"
"Bring Out Your Dead"
"The Calling of the Sea"
"Down the Long Coasts"
"Eight Bells"
"Grey Seas are Dreaming of My Death"
"The Hell! Oo! Chaunty" (appears in The Ghost Pirates)
"I Come Again"
"I Have Borne My Lord a Son"
"Listening"
"Little Garments"
"Lost"
"Madre Mia" (appears as the dedication in The Boats of the "Glen Carrig")
"Mimosa"
"The Morning Lands"
"My Babe, My Babe"
"Nevermore"
"The Night Wind"
"O Parent Sea"
"The Pirates"
"The Place of Storms"
"Rest"
"The Ship"
"The Sobbing of the Freshwater" (first published in 1912 in London Magazine)
"The Song of the Great Bull Whale" (first published in 1912 in Grand Magazine)
"Song of the Ship"
"Speak Well of the Dead"
"Storm"
"Thou Living Sea"
"To My Father"
"The Voice of the Ocean"
"Shoon of the Dead" (appears in The House on the Borderland)
"Who Make Their Bed in Deep Waters"
Poetry collections
The Calling of the Sea (published posthumously by Hodgson's widow in 1920)
The Voice of the Ocean (published posthumously by Hodgson's widow in 1921)
Poems of the Sea (published in 1977 and collecting the poems from the two previously published collections)
The Lost Poetry of William Hope Hodgson (published in 2005, edited by Jane Frank, including 43 previously unpublished poems)
Recent publications of Hodgson's work
Out of the Storm: Uncollected Fantasies (1975) (Sam Moskowitz, ed.) The 1975 hardcover edition contains an introductory 100-page essay by Moskowitz about Hodgson's life and work; the paperback reissue lacks the essay.
The Haunted "Pampero" (1992) (Sam Moskowitz, ed.)
Terrors of the Sea (Unpublished and Uncollected Fantasies) (1996) (Sam Moskowitz, ed.)
The Boats of the "Glen Carrig" and Other Nautical Adventures: The Collected Fiction of William Hope Hodgson Volume 1 (2004) ISBN1-892389-39-8
The House on the Borderland and Other Mysterious Places: The Collected Fiction of William Hope Hodgson Volume 2 (2004) ISBN1-892389-40-1
The Ghost Pirates and Other Revenants of the Sea: The Collected Fiction of William Hope Hodgson Volume 3 (2005) ISBN1-892389-41-X
The Night Land and Other Romances: The Collected Fiction of William Hope Hodgson Volume 4 (2005) ISBN1-892389-42-8
The Dream of X and Other Fantastic Visions: The Collected Fiction of William Hope Hodgson Volume 5 (2009) ISBN1-892389-43-6
Adrift on The Haunted Seas: The Best Short Stories of William Hope Hodgson (2005) (Douglas A. Anderson, ed.)
The Lost Poetry of William Hope Hodgson (published in 2005, edited by Jane Frank, including 43 previously unpublished poems)
The Wandering Soul: Glimpses of a Life: A Compendium of Rare and Unpublished Works (2005), edited by Jane Frank. This volume contains photographs, articles, and essays by and about Hodgson, including an essay on bodybuilding, one of his sailing logs, and his obituary.
See also
List of horror fiction authors
Notes and references

Further reading
CS1 maint: uses authors parameter (link)

 at Project Gutenberg
 at Faded Page (Canada)

 at Internet Archive
 at LibriVox (public domain audiobooks)
 at The University of Adelaide Library

 at Archive.org

 at the Internet Speculative Fiction Database
 on IMDb
 at Library of Congress Authorities, with 24 catalogue records