A Cultural Analysis Of Bram Stokers Dracula English Literature Essay

From the old ages 1887 through 1901, the British Empire entered a period known as the Victorian Era. This epoch, which is better known for the tremendous prosperity it brought upon the British in-between category, was besides marked by the increasing concerns in “ The Great Social Evil ” , a mention to harlotry.

These concerns were founded on the thought that adult females in this epoch were to stay pure and chaste unless edge to their hubbies through matrimony. Violating these limitations would ensue in the loss of all Victorian virtuousnesss and the ejection from the family. In Bram Stoker ‘s Dracula, which coincidentally is set in the Victorian Era, a similar form emerges due to the presence of a blood-sucking UnDead known as Count Dracula. Stoker ‘s novel celebrates the paranoia brought upon the Victorian people at the really sound of the word “ sex ” ( Leatherdale 145 ) . The writer is finally seeking to convey the subject that sexually self-asserting adult females in the novel are to be destroyed because they compromise work forces ‘s self-denial in a society that must be dominated by them. Lucy and Mina ‘s several transmutations into the new adult females every bit good as the three lamias encountered by Jonathan Harker in Dracula ‘s palace all greatly reinforced the subject introduced by Stoker.Lucy Westenra ‘s character portrayed before and after her brush with Dracula demonstrates accurately what Stoker intended to convey Forth in his novel. The reader is foremost introduced to Lucy early in the narrative, and the feeling of gender is instantly felt.

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In one of her early letters to Mina, Lucy talks about the many experiences she has had with work forces, in peculiar, Arthur Goldaming. She invariably emphasizes her love for him in the letters yet she still mentions other work forces and how they excessively have marked her life in a more than positive manner. This is really unusual behaviour for a adult female in the Victorian Era who must typically be docile when it comes to love and gender.

She continues by whining about how “ [ they ca n’t ] allow a miss marry three work forces, or every bit many as [ she ] want [ s ] aˆ¦ ” ( Stoker 50 ) . That statement proves without a uncertainty that Lucy has many desires she can unluckily non fulfill because of her societal category. When Dracula beings his assault on the guiltless Lucy, the latter begins her long descent into vampirism and Van Helsing and his squad take full advantage of the state of affairs. “ Her supporters and the medical work forces are obliged to set in what Dracula has taken out – blood ” which is traditionally associated to intercourse ( Leatherdale 150 ) . Quinsey Morris and Dr. Seward, who had antecedently declared their love for the hapless Lucy, now had the chance that merely Lord Goldaming could of all time woolgather of, doing love to this adult female.

The same could be applied to Van Helsing “ who despite his age retains a acute oculus for female beauty ” ( Leatherdale 150 ) . The four blood transfusions depict precisely how work forces ‘s subject can turn to recklessness in the face of gender. Stoker does non halt here. When Lucy ‘s transmutation into the UnDead is successful, her one time “ titillating presence ” becomes “ the wanton hot stuff of male phantasy ” ( Leatherdale 151 ) . As a affair of fact, during the squad ‘s visit to her grave, she taunts her lover to “ comeaˆ¦come! ” which is barely resisted by Arthur ( Stoker 181 ) . Arthur “ seemed under a enchantment ” by the “ devilishly sweetaˆ¦tones ” given off by the Undead Lucy ( Stoker 181 ) . He opened his weaponries broad to the chance of at last carry throughing his sexual desires with Lucy. This evidently left him in a vulnerable place which is surely unacceptable for a adult male in the Victorian Era.

This left the squad with no other pick than to destruct the undead Lucy and convey back the purity which is indispensable for a Victorian lady. Arthur had the awards of driving a interest through the new adult female ‘s bosom, which can besides stand for a phallus. Arthur therefore had the last word on Lucy ‘s destiny, and he brought her back to what truly affairs for him, artlessness and purity. This related to the subject proves that sexually self-asserting adult females in the fresh demand to be destroyed because they leave the work forces vulnerable and this is unacceptable.

Contrary to her good friend Lucy, Mina portrays the ideal adult female in the Victorian Era. Exposing unimportance and celibacy throughout the novel, Mina gets spared from Dracula ‘s Fangs for the first half of the narrative. As a affair of fact, Mina ne’er speaks of gender or desires despite being married to Jonathan. As Van Helsing says, Mina is “ one of God ‘s womenaˆ¦ ” ( Stoker 161 ) .


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