It is perhaps surprising that few, if any, critics adopt a psychoanalytic approach to Dracula, considering its many fantastic elements and hints toward the subconscious, including sleep, drugs, hypnotism, madness, and magic. The fairy tale, being older than the written word itself, is perhaps the most quintessentially “unconscious,” yet psychologically relevant, story form in existence. Many of the situations of Dracula mirror such tropes, since Jonathan also journeys to a castle, meets his nemesis—the overcoming of which is the imposed conflict—and finally achieves success and marriage to Mina thereafter. Considered in this light, Dracula (the character) can be viewed not so much as an oppressive source of terror, but as a necessary catalyst for Jonathan's evolution and maturity. A recurring image within fairy tales about journeys of maturity is the circle—a symbol of wholeness and integration. Despite being an integral, recurring element throughout Dracula, this concept and image is curiously missing from the current canon of criticism. I argue, however, that the circle and the cyclic aspects of nature it represents are key to a psychoanalytic reading of the novel—and in the case in hand, one made through the lens of Marie-Louise von Franz' fairy tale motif.