He presents a kind of Christ, personified in King Laugh, that the Gospels attest to but never quite enflesh: one who is fully human, capable of embracing all the little paradoxes and quirks of the emotional spectrum, including mirth and laughter.
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Through the character of Van Helsing, Stoker presents a certain kind of faith that looks quite foreign to the intellectualized West, one that embraces both a very real and tangible presence of evil - an evil that must be staked through the heart rather than educated or medicated - alongside the prodigious power of goodness. “Bleeding hearts,” he continues, “and dry bones of the courtyard, and tears that burn as they fall - all dance together to the music that he make with that smileless mouth of him.” 1 The gift of laughter is not the only thing in view here nor is Van Helsing’s personification of laughter as a king mere coincidence.
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What some critics tend to stumble over, of course, is the biblical imagery in Van Helsing’s explanation. Contextually, the exchange occurs after the burial of Lucy Westenra, as Van Helsing attempts, in his broken English, to justify his laughter at a seemingly inappropriate moment.
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Jesus of nazareth dvd in spanish full#
“Oh, friend John, it is a strange world, a sad world, a world full of miseries, and woes, and troubles and yet when King Laugh come he make them all dance to the tune he play.” These are the words spoken by Abraham Van Helsing in Bram Stoker’s gothic masterpiece, Dracula, as part of his lengthy speech on the ambiguous figure he called “King Laugh.” It’s a little-known passage that has stumped literary scholars since the book’s publication, with words like “ambiguous” and “unclear” littering any number of commentaries.