In starting I had cut myself slightly, but did not notice it at the moment. Having answered the Count's salutation, I turned to the glass again to see how I had been mistaken ... but 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.
May 8th
There lay the Count, but looking as if his youth had been half renewed, for the white hair and moustache were changed to dark iron-grey; the cheeks were fuller, and the white skin seemed ruby-red underneath; the mouth was redder than ever, for on the lips were gouts of fresh blood, which trickled from the corners of the mouth and ran over the chin and neck. Even the deep, burning eyes seemed set amongst swollen flesh, for the lids and pouches underneath were bloated. ...Then I stopped and looked at the Count. There was a mocking smile on the bloated face which seemed to drive me mad. ... I seized a shovel which the workmen had been using to fill the cases, and lifting it high, struck, with the edge downward, at the hateful face.
June 30th
These are the only two direct acts of violence between Jonathan and Dracula in the Transylvania sequence, nicely bookending their relationship.
In the May 8th encounter, Jonathan has blood trickling over his chin, and when Dracula sees his face he is seized with "demonic fury" and attacks him.
Then on June 30th, it is Dracula who has blood trickling over his chin, and when Jonathan looks at his face he is driven mad and attacks him.
What really gets me is the specific detail of blood trickling over the chin, down to verbatim wording. And of course that both attacks are unsuccessfully, but still leave the recipient wounded (and possibly scarred)
I hadn't noticed this particular parallel before, but as somebody who has long loved the other ways in which you can see aspects of Jonathan and Dracula mirroring one another, this is a great observation. The fact that the Count seeks to steal Jonathan's identity (and to acquire unaccented English and blend in with London's "teeming masses") is made all the more fascinating by the ways that you can find aspects of the Count in Jonathan. While the transference of blood between them is never made explicit in the text, there's still a chilling transference of other properties that I feel one can read a lot into as regards the dynamics of vampiric predation.