Human Sexuality in Bram Stokers “Dracula” July 27, 2009 Human Sexuality in Bram Stoker’s Dracula In the novel Dracula by Bram Stoker, we experience the traditional ways of the nineteenth century. There are strict gender roles for the Victorian man and woman. Through the acts of romanticism, sexuality, and seduction, Stoker introduces the idea of the ‘New Woman’ and its effects on men by lessening their ability to control their craving of forthcoming women and he portrays a man who yearns for the pure love that only a wife can give. Thus, it is important to consider the notion of the ‘New Woman’ and its effect on the Victorian man. The roles of women during Victorian times were considered to be constricted.
So true, so sweet, so noble, so little an egoist.” [Stoker, Ch14. Sept. 26] The threat Dracula poses in transforming these women becomes a battle that lies upon women’s sexuality. Therefore, the real fear in the book is not darkness and vampirisms, but the loss of female innocence. This is a trait apparently extremely valuable and Snyder 2 important to men. If Dracula succeeds in turning the ladies into vampires, this will fully release their sexuality and its expressions.
In the novel, the traditional roles and ideologies of men and women in Victorian society are challenged by Dracula. The male characters are challenged to maintain their reputation in Victorian society as powerful, rational and intelligent, while at the same time resisting sexual temptation. The female characters, most notably Lucy and Mina, are also challenged by Dracula to maintain their pure, innocent characteristics. As Dracula transforms certain women from being pure to highly sexual, it threatens the social order of the Victorian era, as the men lose their power due to their temptation and curiosity for the openly sexual female figures. When Jonathan Harker first visits Dracula’s castle, he is confronted by three female vampires in a scene where he drifts in and out of consciousness.
The Weird Sister -The three mistress vampires -encountered in Dracula’s castle represent all the qualities of how a woman should not be; voluptuous and sexually aggressive IV. Forward Women A. - “The fair girl went on her knees and bent over me, fairly gloating. There was a deliberate voluptuousness which was both thrilling and repulsive, and as she arched her neck, she actually licked her lips like an animal, till I could see in the moonlight the moisture shining on the scarlet lips and on the red tongue as it lapped the white, sharp, teeth” (Stoker 50). -mixed feelings men had towards forward women
Despite Lucy’s flirtatious manner and breezy ways, both Mina and Lucy are pure and sweet women, truly in love with their men. In Victorian England, women were either wives, or virgins. However, Dracula destroys the very essence of Lucy by turning her into a vampire. As a vampire, women become objects of desire and sexual gratification, an idea very contrary to Victorian norms. They become devoid of their purity, able to make men abandon all logic and control.
This reversal of gender stereotypes and gothic conventions is used often in Carter’s work. In the Bloody chamber, it seems that although she has adapted gothic conventions into a modern way, presenting females as the more powerful characters than men, she also retains some of these typical roles in some of her stories. The lady of the house of love would be an immediate example of how Carter creates a role reversal that differs from the typically valued places in gender. Carter creates the role of the ‘Femme Fatal’, with this dangerous woman that lives in the castle. This representation of the woman as powerful differs from the original expectation in a gothic novel, as the woman would usually be portrayed as weak, and in need of saving.
Joseph Sheridan Le Fanu's Carmilla, is the original vampire story to which Stoker's Dracula serves as a response. Carmilla - the first vampire tale whose protagonist is a powerful female vampire - marks the growing concern surrounding the power of female homosocial and homosexual relationships in the nineteenth century. His creation of a female vampire anticipates the shift toward the end of the century to predominantly female vampires. Carmilla is the vampire tale that most readily defies the established patriarchal systems of kinship and that most provokingly challenges nineteenth century notions of the "contamination of lesbianism" and the female "psychic sponge.” Le Fanu’s Carmilla is a prime example of how fearful men were of the rising surge of powerful females. In many ways, Carmilla can be seen by feminists as a heroine in an antagonist’s role because the story is written by a man.
As will be shown, mostly the ideas of symbolism for blood will center on the actions done to and by the characters. With symbolism for blood as seen by Bram Stoker, sex seems to stand out as a major factor of symbolism for blood. This mostly affects the characters like Dracula and the group of Van Helsing, Dr. Jack, Arthur and Quincey. For Dracula and the symbolism of blood as sex, it is seen for Dracula more as a single more unclean thought of the word. When Dracula bites certain victims such as when he attacks Lucy and Mina, it symbolizes him having a sexual interaction with these two women.
Lucy bends her head inviting Dracula to her room; Dracula makes love to her. Ultimately, this betrayal will lead to Lucy’s death because Dracula will continue to suck the life from her. Lucy’s character embodies femininity, and, therefore, she lacks the strength to counter Count Dracula. In addition, when the vampiric Lucy is approached by Holmwood in her tomb, she tries to seduce him in order to get him to protect her from the others. To the men, she has become a “monster” as well, and their desire for her is manifested in their obsession with destroying
They come upon Harker with sexual aggression and desire. In doing so, Harker is both enjoying and disgusted with the women and their ability to overpower him. Their actions are not those of any ideal Victorian female. Although they are capable of seducing and overpowering Jonathon Harker, they are still regarded as less than men. Upon seeing the women around Harker, Dracula confronts the sisters reminding them that Harker belongs to him and that they can’t have him until he says so.