Sexuality In Dracula Essay
Jan. 11 2002 Sexuality in Dracula Is there a relationship between eroticism and the evil being known as the vampire? Of all the assorted "monsters" of fiction, the only one overtly associated with sex, is the vampire. The act of the vampire plunging its teeth into the neck of its victim can be seen as a sexual act. A bond is formed between the two in contact similar to the ones created during marriage and or sexual intercourse. Such an act of giving one self to another allows the two beings to become one. In vampire reproduction it is only the male vampire that is able to create other vampires. During this reproducing, the blood often symbolizes semen. After the initial "biting", the vampire allows his lust to build by denying himself the pleasure of the flesh thus exercising control of his inhibitions. Full sexual satisfaction doesn't happen until he completely kills his victim, withdrawing all the blood. Female vampires have victims as well, but in this case there is no reproduction. There is a very strong link between sexuality and vampirism. The act of the vampire using its victim for its own pleasure is a very intimate act. The vampire has to invade its victim's private space and penetrate the skin before reaching the blood. The blood is sexually important or even arousing in this case, as it symbolizes the blood shed from a virgin during her first sexual encounter.
In the novel Dracula by Bram Stroker, sexuality and eroticism are frequently used as an important part of vampirism. Stoker uses sexuality in how he depicts the vampires seduction of their victims, the destroying of the vampires, the reproduction of vampires and by the thoughts and acts of the characters in the novel The first major encounter of sexuality in Dracula is seen when Jonathon Harker is visiting count Dracula in Transylvania. As Jonathon is exploring the castle he enters a room where he lays down on a couch and falls into an unconscious state. As Jonathon is in this trance, he has a vision of three beautiful and sexy women. The women whom Jonathon encounter are three female vampires who belong to Dracula. During this scene Stoker writes that Jonathon is sexually aroused by the vampires even though he is in love with his girlfriend Mina. Jonathon describes the vampire's lips as being "voluptuous", meaning "full of delight or pleasure to the senses". By the thoughts of Jonathon it can be said that he desired the vampires, and when the one vampire bent over to "kiss" him he did not prevent her from what she was about to do as though he was longing for her kiss. This scene is very intimate and the hunger of the vampires for Jonathon's blood is very lustful which ties into the theme of sexuality. The vampire and Jonathon nearly "kissing" has a...
Loading: Checking Spelling0%
A Vampire’s Touch: Exploring Sexual Nature in Dracula1206 words - 5 pages Jonathan and Sexuality Jonathan Harker, Mina Murray’s fiancé, represents a typical human dealing with sexual desires. He knows for certain that he wants to marry and spend the rest of his life with Mina but still struggles with natural, sexual urges. The reader clearly detects Jonathan’s struggle when he encounters the three vampire ladies in Dracula’s castle. As he lies there, Jonathan feels “an agony of delightful anticipation,” and also...
Dracula by Bram Stoker: Modern Man to Enduring Romance1982 words - 8 pages In Bram Stoker’s Dracula, Dracula is representative of the superhuman ideal that man is striving to achieve. Dracula is a strong willed, powerful, brilliant masculine figure, and through these characteristics, he appeals to the contemporary reader. By the late 20th and early 21st century, vampires have been transformed into creatures that offer endless happiness and immortality on earth. Such a transformation can be seen in Francis Ford Coppola’s...
Powerpoint Presentation- Comparative Analysis: Sex Appeal in Dracula and its Appropriations675 words - 3 pages Note: Powerpoint presentation is attached- Sex appeal was, at the time of the production of 'Dracula' a very much repressed value. It was common in people's thoughts however was considered unacceptable by the dominant beliefs of the nineteenth century society.- Bram Stoker attempts to...
Good by Evil1555 words - 6 pages Carol A. Senf uses a critical theory lens when she picks apart Bram Stoker’s Dracula. The majority of literary critics interpret this popular myth to be the opposition of good and evil, they turn a blind eye to the more specifically literary matters such as method of narration, characterization, and style. Carol Senf’s critical essay “Dracula: the Unseen Face in the Mirror” she believes that Stokers novel “revolves, not around the conquest of...
Inverted Gender Roles: Dracula by Bram Stoker1585 words - 6 pages There’s a Hidden “Monster” in Everyone In Bram Stoker’s novel Dracula, Stoker’s use of inverted gender roles allows readers to grasp the sense of obscureness throughout, eventually leading to the reader’s realization that these characters are rather similar to the “monster” which they call Dracula. Despite being in the Victorian era, Stoker’s use of sexuality in the novel contributes to the reasoning of obscureness going against the Victorian...
The Vampire: What boundaries does it threaten?9793 words - 39 pages The VampireWhat boundaries does the Vampire threaten?-----------------------------------------------------------Discuss possible answers to this question with reference to at least two critical or theoretical essays and at least two tellings' of the Dracula story.___________________________________________________________The Vampire in Dracula threatens the very existence of
Bram Stoker's "Dracula"1425 words - 6 pages 1.)There are many ways that Bram Stoker's Dracula can be considered Anti-Christian byshowing of Anti-Christian values and perversions of the Christian religion. In chapter one asJonathan Harker is traveling to Castle Dracula he is met by several people. When he meets these people andtells them where he is going they cross themselves...
Can I Be You Dracula?1228 words - 5 pages Can I Be You Dracula? Have you ever caught yourself amidst a fantasy? One where you hold all the power? Where you are the epitome of everything and anything everyone around you want to be? Where these very same people who revere you, feare you because you are what they want to be? In this fantasy, you have no conscious, no morals, no ethics, and no values- you are carefree. You do as you please when you deem it so,...
Dracula and the Threat of Female Sexual Expression by Bram Stoker1697 words - 7 pages The late nineteenth century Irish novelist, Bram Stoker is most famous for creating Dracula, one of the most popular and well-known vampire stories ever written. Dracula is a gothic, “horror novel about a vampire named Count Dracula who is looking to move from his native country of Transylvania to England” (Shmoop Editorial Team). Unbeknownst of Dracula’s plans, Jonathan Harker, a young English lawyer, traveled to Castle Dracula to help the count...
Bram Stoker's Dracula774 words - 3 pages Victorian Women were highly held back in their full potential. Their main role in the household was to “be happy - a sunbeam in the house, making others happy” (Hardy, E.J. 1887). On top of this, Women in the Victorian era were not allowed to display their sexuality or “tempt” men in public; they were meant to be submissive and meek (Causey S., 2008). The Victorian era lasted from 1837 til 1901, with women being punished everyday for crimes that...
Female Sexuality1247 words - 5 pages The female sexuality plays the very important role in both DRACULA and MAXIMUM GAGA. They both talk about the virginity and dissoluteness in female sexuality, but have different views about it. In DRACULA, only virginity is accepted; dissoluteness is completely intolerable. Stoker thinks virginity is very precious, and he want the readers know that women will be punished for being lascivious, so each female character has different ending in terms...
Table of contents
2. Historical context
2.1. Victorian Era
2.1.1. The Angel in the House
2.1.2. The New Woman
3.1. The three Vampiresses
3.2. Lucy Westenra
3.3. Mina Harker
For decades stories and sagas have told us to be aware of the vampire. Since the 18th century he has belonged to the central topics of literature (cf Harmening 11). But more importantly Harmening points "[…] erst Bram Stokers Dracula, mittlerweise in unzäh- ligen Versionen verfilmt, hat ihren Ruf unsterblich gemacht" (11). Bram Stokers Dracu- la has never stopped being printed since it was published in 1897 (cf Leatherdale 11) and has become the figurehead for vampirism. Twitchell even goes as far to say that "vampire and Dracula have become synonymous" (132). He is an outsider, a symbol of evil (cf Williamson 2). The vampire has always been an object of terror and at the same time he has fascinated us. How famous the genre still is after 200 years first reading of vampires can be seen in the amount of re-makes represented in books, movies or series such as Buffy, Blade, The Vampire Diaries, Twilight and many more. Each re-make uses the vampire for itself and re-invents the idea of the vampire, some being cruel others even romantic and sexual.
Indeed, vampirism is very often associated with sexuality, especially with re- pressed sexuality (cf Kline 18). Williamson points out that Dracula is written in the Vic- torian age which is "considered to be one of sexual repression and the vampire repre- sents the return of the (masculine) repressed" (5). Craft even speaks of "sexual energy“ which is closely connected to vampirism (107). Nevertheless, there are other opinions about that period. Elaine Showalter argues that Dracula was also written in a time of "sexual anarchy" (cf Showalter 3) and that this was a decade of alternative definitions of being male or female and also a time where the ‚New Woman‘ was invented.
That Stoker’s Dracula has often been interpreted and analyzed for its sexual contents is due to the "powerful sexual charge" which Murray claims runs throughout the novel (cf Murray 200f; Kline 5f). There is no agreement "as to what kind of sexuality is present in the novel", but Spencer points out that among them there is no doubt that "a given sexuality […] is repressed and displaced throughout the text" (cf Spencer 197). Of course, sexuality is not explicitly described and rather masked, therefore the interpretations of these symbols are different.
This paper seeks to analyze the depiction of sexual women in the novel on the basis of particular plots: the seduction of Jonathan Harker by three vampiresses, Lucy’s transformation into an vampire and Mina’s resistance against the Count. First a histori- cal context will be given and explained, focussing especially on gender roles in the Vic- torian age, looking at the ‚New Woman‘ and the ‚Angel in the House‘. How does Stoker describe the scene? How are the female characters displayed? Can their representation be traced back to Victorian ideals? The last chapter will summ up all the ideas and re- sults previously analyzed.
2. Historical context
2.1. Victorian Era
The Victorian period was the period of Queen Victoria’s reign which started in 1837 and lasted until 1901 (cf Wolffe 129f). It was a time of sexual conservativeness. People would not talk about sex in public and it was "restricted to the marital bed, in the belief that preoccupation with sex interfered with higher achievements" (cf Carroll 16). Strangely, it was also a very hypocritical period, because also pornography and prostitu- ion were very popular and common in these times (cf Carroll 16). Nevertheless, most important were public propriety and conservative values, even "if it was not always practiced" (cf Carroll 16).
2.1.1. The Angel in the House
The pure woman was to be very passive and reserved in her sexuality never to admit sexual longing. Sexual prudery and repression is probably the best term to describe this era. The perfect victorian woman would not see a doctor for "female problems", would have to be interested in music but was not allowed to play for example flute, because "pursing the lips was unladylike" (carroll 16) There were even recommendations to have sex only 12 times a year, because doctors claimed it would lead to hundreds of illnessess. (cf carroll 16). For wives to have sex was associated with duty and for hus- bands with a necessity, rather than a joyful act (cf Middeke 62). Being the ‚Angel in the House‘ was a successful female ‚career‘, being sexually prudish, earnest and pure.
Nevertheless, the admiration of the ‚Angel in the House‘ could not get rid of adultery and illegitimate children born to unmarried women (cf Middeke 62). Women that were not married and had illegitimate children and did not live up to Victorian standards were seen as ‚fallen women‘. They lived on the outcasts of society with no other option left but prostituion (cf Middeke 62; Fry 20).
2.1.2. The New Woman
The ‚New Woman‘ is the breaking-free of the ‚Angel in the House‘ - the pure woman. They want self-determination, higher education (cf Spencer 206). They demand free- dom and an active role in life and society, which was for people at that time very scary as Spencer explains: "In the eyes of most Victorian men, for women to deny their tradi- tional role was to deny their womanhood, to challenge the distinctions between men and women" (206). This fear can also be explained by the fact that gender was seen as sexu- al complementation - what is male, is not female and also the other way around. What affected the one sex also afftected the other sex, being called the "tandem theory" by Palmegiano (cf Kline 79). Hurst points out that the development of the ‚New Woman‘ was connected to the loss of long-established Victorian values (cf Hurst 147). Also women now had an active part in the sexual act.
When Stoker wrote Dracula the association of the ‚New Woman‘ with the ‚femme fatale‘ was beginning to appear. The more self-dependent and free the women got the more terror was associated with their heartless figures (cf Kline 87). Kline even claims that "the New Woman was experienced as a vampire from the start" (cf Kline 87). She was no deadly beauty, but a threat, disgusting and ugly, even had magical powers. Her weapon was not feminine charms, but "masculine aggressiveness, brute force and sexual wantonness of the most primitive sort" (cf Kline 87). Clearly, the ‚New Woman’ pushed the limits in a male-dominated society.
A lot of sexual implications in the novel can be referred back to the ‚New Woman‘. As previously mentioned only men were allowed "freedom of sexual expression" (cf Spencer 206), which offers many discussions and interpretations as these gender roles are reversed in Dracula (cf Hurst 147ff). In the following three events will be analyzed, the first being when Jonathan Harker is seduced by the female vampires in Dracula’s castle, the second being the transformation of Lucy into a vampire and her end and the last being Mina resisting Dracula’s power. How are the women in these plots sexually represented, are they active or passive? Can these representations be traced back to the notions of the ‚New Woman‘ and the Victorian woman?
3.1. The three Vampiresses
This scene is one of the most widely discussed, because of its supposedly extreme sexual conflicts (cf Kline 101). Jonathan Harker is on his way to Dracula’s castle and not long after his arrival he encounters the three vampire women:
"In the moonlight opposite me were three young women, ladies by their dress and manner. I thought at the time that I must be dreaming when I saw them, for, though the moonlight was behind them, they threw no shadow on the floor. They came close to me and looked at me for some time and then whispered together. Two were dark, and had high aquiline noses, like the Count’s, and great dark, piercing eyes, that seemed to be almost red when contrast- ed with the pale yellow moon. The other was fair, as fair can be, with great, wavy masses of golden hair and eyes like pale sapphires. I seemed to know her face, and to know it in con- nection with some dreamy fear, but I could not recollect at the moment how or where. All three had brilliant white teeth, that shone like pearls against the ruby of their voluptuous lips. There was something about them that made me uneasy, some longing and at the same time some deadly fear. I felt in my hear a wicked, burning desire that they would kiss me with those red lips" (p. 44).
It is a perfect example of what has been said in the previous chapter. Stoker potrays the "magical" irrational power women have over men. They are presented very extreme having "great dark, piercing eyes […] almost red" with "brilliant white teeth, that shone like pearls against the ruby of their voluptuous lips". Harker is "uneasy" and in "deadly fear" but at the same time he feels a desire to pursuit the women. Harker, as the male character in this scene, is not self-confident as men ought to be of that time; they normally play the active part in sexual events. In this case he is the passive part, which he fears very much, to be overpowered by the three vampire females. On the one hand he desires the "kiss", but also fears it. It could be even suggested that Harker longs for passiveness, as he does not seem willing to make a decision. Bentley claims that ""it is only in the human character’s interaction with vampires hat they are able to engage in the desired, but repressed, ‚perverted‘ encounters" (cf Bentley 26). This event stands for loss of traditional values, weakness of men, but also "demoniac feminine love of power"(cf Kline 103). Bentley argues that "ambivalence of Harker’s response […] is especially revelatory, as is his concern over […] Mina", meaning that the vampiresses offer direct sexual intercourse, which is a "tempting alternative" to the "sexless Mina" (cf Bentley 28).
The three vampire women represent "fallen women", they are outsiders, living on the outcasts (in Dracula’s castle) of society. They have once been Dracula’s victims and now "live" in his castle. They are described in erotic physical beauty. The connection of seduction and vampirism is clear, as one of the vampire women says "He is young and strong; there are kisses for us all“ (p. 45) (cf Fry 21), which is also a statement about is potency (cf Bentley 28). Bentley argues that "Stoker’s vampires are premitted to assert their sexuality in a much more explicit manner than his ‚living‘ characters" (cf Bentley 28). That is that vampires have all the freedom in their sexual urge that is never attributed to Stoker’s living characters.
3.2. Lucy Westenra
The reader gets to know Lucy virginal and pure - an ‚Angel in the House‘. At that stage she is never physically described, this accounts also for Mina. The male characters just refer to them as being "sweetly pretty" (cf Kline 113).