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Bram Stoker's Dracula is the narrative about the way the little company of men and a lady contribute by Professor Abraham Van Helsing struggles against Count Dracula, who moves out of Transylvania to England in order to manipulate people as "foul things of the night like him, without heart or conscience, preying on the bodies and the souls of those [they] love best" (223). Stoker applies an epistolary format in this novel and nowadays, Dracula becomes one of popular literary works representing epistolary books written in the nineteenth century. The term "epistolary books" refers to the novels composed of different types of documents, like letters, journals, newspaper clippings and so forth. One of the consequences created by having an epistolary arrangement is supplying the characters' internal state during the narrative, which "focuse[s] to a broader exploration of those insights that made up the awake self by and [the broader context]" (Ştefan 73). Therefore, Stoker's utilization of fragmentary narratives provides the principal characters' emotions and thoughts in much more picturesque ways. In Dracula, the epistolary structure of this novel increases suspense and terror, which originated from tension once the narrative shifts after alluding characters' risky future and immense ability of Dracula impacting not just the main characters, but also the third parties that are immaterial to them. A reader's nervousness accelerates from shifting the narrative from Jonathan Harker's diary to Mina Murray's correspondence when Jonathan commits to escape out of Dracula's castle. While Jonathan remains at Dracula's castle coercively, since he depicts himself as "a veritable prisoner, but with no protection of this law that's even a criminal's right and consolation" (40), he constantly seeks for an chance to g.. .