However, a mere simulacrum’s ability to divulge insatiable desire foreshadows the power of the unfamiliar to eradicate virtue, implying Ambrosio is dissatisfied, desperately seeking the untainted woman. Ambrosios fragile humanity is implicitly threatening- animalistic imagery used later in the novel depicting his demise, like Dracula, exaggerating his fall, likened to an archetypal Gothic creature, acting out the repressed fantasies of the other5-the pure embodiment of the uncanny. Using anthropomorphism to describe Dracula and Ambrosio amplifies the unfamiliars ability to shroud humanity in monstrosity, Draculas long and sharp teeth, his ability to rip and tear akin to Ambrosios violation and sucking of Antonia, the semantic field of inhumane violence exemplifying the monks utter moral collapse and Draculas sheer inhumanity. Draculas actions isolated, and incredibly mundane, incite fear because he personifies a terror of being simultaneously unknowable and known, threatening to breach the definitive constraints of living through pure personification one evil thro
wn into a pure society, as Podinsky opines, beginning an onslaught of corruption6; like Ambrosio his inherent humanity, contrasting with physical metamorphous, embodying the immoral unfamiliar. Ambrosio becomes the licentious monk, the adjective insinuating his sexual deviations to be unprincipled; Lewis use of hyperbole exaggerates this transgression. As Dracula is the embodiment of pure evil, Ambrosio is excessively personified. The motif of ruinous, stifling weather, such as thunder and fog describing the two antagonists show the unmerciful omnipotence of the uncanny, suggestive of utter nihilism, a return to the Dark Ages void of metaphorical enlightenment, expressing the moral darkness of Ambrosio and Draculas ability to reinstate desolation. Pathetic fallacy intensifies Ambrosios power, possessing the omnipotence of a Deity ironically at his most satanic, but one devoid of benevolence and humanity and therefore, demonic. Ambrosio is compared to a force of nature in his corruption; the Romantic ideals of the Sublime highlight the human conscience’s fragility.