sexuality in Dracula

 Sexuality in Dracula

The male and female characters in Bram Stoker’s novel are used to investigate sexuality in Dracula, women, and gender. When it comes to female characters, the book depicts them as either sexy or prim, which is meant to be a critical look at Victorian-era women. Character arcs in the book also explore the variations in gender roles.

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Feminine Sexuality in Dracula

Female sexuality and seduction are central to depicting wicked women in Bram Stoker’s Dracula. The phrase “voluptuousness” is often employed, thus demonizing women’s sexuality in the wake of Bram Stoker’s work.

Readers are introduced to evil girls at the beginning when sexuality in Dracula is evident. Three ladies in Transylvania contact Jonathan Harker. “The beautiful girl fell on her knees…there was a purposeful voluptuousness which was both exhilarating and revolting, and as she stretched her neck, she licked her lips like an animal,” Jonathan writes of one woman in the novel. The erotically explicit picture is animalistic and successfully separates the sexualized lady from her more human counterpart.

The contrast between purity and sex, life and death, may be seen in Lucy Westenra’s physical appearance. As a little girl, Lucy was described as “blonde, giggly, with a countenance of unparalleled tenderness and purity” when she was well. After becoming a vampire and spending time among the undead, her physical appearance has changed. If Dr. Seward is writing about Lucy’s “voluptuous voice,” it’s because she’s about to die. It is observed that Lucy’s “sweetness…turned to adamantine, merciless malice, and [her] purity to sensual wantonness” when she is discovered to be a full-fledged vampire later in the film. As a result, the Victorian age condemned women’s sexual appetites by linking wickedness and evil to femininity and sensuality.

Dracula’s Sexuality and Repression

Sexuality in Dracula is complicated, highlighting the Victorian era’s widespread sexual oppression of both sexes. Women in the Victorian period were supposed to remain virgins until they married and not engage in any activity that may be seen as promiscuous.

In Dracula, Bram Stoker explores the issue of sexual repression via the characters’ encounters with sexuality. As Jonathan Harker’s thoughts and actions in Dracula’s castle demonstrate, men and women are sexually restrained.

The three daughters of Count Dracula are poised to bite Jonathan Harker. As sensual and intensely sexualized as the vampire ladies are, Victorian men and women cannot act on their sexual cravings. Having to cover his eyes reveals Jonathan’s incapacity to deal with sexuality in its open form. Still, at the same time, the thought of being ravished and consumed by the beautiful female vampire makes his blood boil with need. While he wants the woman to take advantage of him, he is ashamed since he sees her sexual expression as alluring and disgusting. It proves sexuality in Dracula.

The Threat of Female Sexuality in Dracula

Bram Stoker has a lot to say about gender roles and sexuality in Dracula. The stringent customs and restrictive gender norms that governed Victorian society sometimes resulted in the suppression of female sexuality. Women were either virgin seen as innocents and mothers, or they were whores who were considered unclean. “Why can’t they let a girl marry three men or as many as wants her and spare all this trouble?” Lucy, one of the most blatantly sexual female characters, pondered at one point. Her ambition to have several marriages challenges conventional ideas about gender and sexuality.

As soon as Dracula transforms Lucy, the men have no choice except to kill her and bring back Lucy’s purity. Stoker murders Lucy, a strong woman who poses a danger to the novel’s homogeneity and thus raises the issue of whether or not her death was predetermined.

The three female vampires seen at the opening of Dracula were sexualized and depicted as attractive but deadly ladies. Stoker made their sexuality in Dracula a danger to their victims by describing their physical characteristics and inducing trances in their victims’ minds and emotions.

Vampires’ beauty and sexuality in Dracula are what attract their victims. It is also what led to their danger. Stoker warns readers about the dangers of too much female sexuality in Dracula. This theme can be traced back to Adam and Eve when women’s desires led directly to the demise of humanity.

“Dracula” as a metaphor for Human Sexuality

The topic of human sexuality is a current-day issue for many people. It’s still a taboo topic in modern times, but the world is changing as more people talk about sexual liberation and other topics. The younger generation seems to accept the idea that sexuality is normal and not something to be ashamed of, from groups like the LGBT to the Kink communities. It is more than what Brahm Stoker’s Dracula demonstrates.

Aspects of human sexuality in Dracula that weren’t widely discussed when the book was initially released are discussed in this work. There were several criticisms and discussions of human sexuality in this film that were eye-catching at the time and still are now, even when seen through today’s norms. Even now, Dracula continues to attract readers, drawing them in and holding their attention until the very end. Dracula examines human sexuality through the eyes of a variety of women.

Mina is seen as a “pure” and “decent” lady by her peers. As her “pureness” begins to tarnish, she is forced to confront the fact that she has become someone she never intended to be. “ Mina Harker implores her husband to murder her if her partial transformation into a vampire should become full” towards the conclusion of Dracula. Simply put, Mina is giving her husband permission to take her own life if she loses herself in this endeavor. Rather than become a woman without values, she would rather die as she is.

Sexuality in Dracula is also evident when Mina is afraid of the changes inside her. It can be equated to the idea that Dracula represents a man who has seduced Mina and is expanding her sexual horizons against Dracula’s will. Mina, always the “good girl,” resists these attempts at changing her. Bram Stoker’s novel makes it clear that such euthanasia does not offer salvation from the sexy embraces of a foreigner.

Mina has been Dracula’s object of attention for a while. Loyalty is the problem: she isn’t at risk of being captured, but she is at risk of going willingly.” Mina feels that Dracula will eventually make her fall and become what she wants. Mina is also concerned that Mina might like it.

Dracula desires what he can’t have. Dracula eats on sexuality and desires to corrupt women to “Turn them to his ways.” It could be interpreted as a plot to convince women that no one will want them if they become impure. Dracula pursues Lucy and Mina because he has an omnivorous desire for novelty, for different things. He is not guilty of hoarding incest but sexual theft. This sin can be called excessive exogamy. It proves that there is sexuality in Dracula.

The old count does have women, but he only cares about women who belong to another.” Dracula sees his attempts to acquire Lucy and Mina as an act of sexual desire for women who do not belong to him. At the same time, he views this as a game. It is how Dracula can be compared to the “pimp.” He is determined to have the girls and will do anything to obtain them.

Mina is scared of what’s happening to her, but Lucy is quite the opposite. While she tries to keep herself from becoming the Dracula, she is being turned into. Lucy has the opposite reaction. We will never know if this is Dracula playing with her mind or innocence. Dracula decimates Lucy because she lacks self-knowledge, self-development, and self-development in dealing with sexuality in Dracula.

Since she has not grown much in her identity, her psyche is susceptible to Dracula’s attacks. She lacks a sense that can integrate the unconscious and prevent it from swallowing the self. . “Lucy’s inadequacy of awareness, innocence and weak mental guards led to her fall. This evidence shows that Lucy was attracted to the sins and desires of her flesh, and she fell prey.

Although there are many different interpretations of Dracula’s underlying meaning, we can see that the assumption that Brahm Stoker wrote Dracula as a criticism of prostitution proves sexuality in Dracula. It serves as a warning to women of the day. It warns them that if their guard is not up against these temptations, they’ll eventually become something “evil” or soulless, almost without life. It is evident in the different effects Dracula has upon Mina and Lucy. Mina fights to stop what she is becoming, but Lucy does not really have to struggle and goes with the flow.

Sexual Undertones in Stoker’s Dracula

Bram Stoker’s Dracula is based on Foucault’s four rules for viewing sex and its production as an exercise in power. The norms of Victorian social hegemony were the most powerful power relations during Dracula’s writing. Stoker’s novel gave us a glimpse into the “force relationships” of sex and how it is intertwined with power in this fictional setting. Stoker uses journals to communicate with his characters and allows them to self-examine. Foucault called it a “local center” of power-knowledge. It was a method for both introspections as well as subjugation.

Foucault continues to explain that “relations between power-knowledge and distribution are not static forms, but are “matrices for transformations.” Sexuality in Dracula emerges in the strange power dynamic between Jonathan Harker, Count Dracula, and the three mysterious women, who both tempt Harker and revolt against him in his dreams. Harker’s instinctual sexual urges conflict with the social norms he has internalized.

Sexuality in Dracula is evident at the point where Harker recalls that he was uneasy when he saw the mysterious woman in his dream. He felt a longing, fear, and a sense of unease. “I felt a burning desire in my heart that they would kiss me with red lips.” Harker’s power dynamic is that of a male in society and, most likely, in his sexual relationship with Mina. He holds the reins. This idea is rewritten, and Stoker transforms the power relationship into a matrix for transformation. Harker is astonished by these unexplainable feelings of attraction and can’t deny the helplessness and “agony” of delighting anticipation.

Stoker uses a creative approach to sex and power relations to prove sexuality in Dracula. He refuses to follow the dominant discourse or the dominated one. Instead, he views his storyline as a multitude of discursive elements that may be used in different strategies. Stoker places Harker in the power matrix, with males and women. Stoker outlines sexuality in Dracula when the predatory, animal-like nature of Harker, his “deliberate voluptuousness that was both thrilling and repulsive…she actually licked her lips as an animal” when she stretches her neck.

On the other hand, Harker can feel Dracula’s control over him. “I am so absolutely under his power; to refuse would be to excite his suspicion and to provoke his anger.” Both relationships have sexual undertones, but Foucault notes that there is no power without a set of goals and objectives. I’m curious to find out more about Stoker’s goal.

Dracula Sexuality Quotes

“All three had brilliant white teeth that shone like pearls against the ruby of their voluptuous lips.”

“I was afraid to raise my eyelids, but looked out and saw perfectly under the lashes. 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.”

“Lower and lower went her head as the lips went below the range of my mouth and chin and seemed to fasten on my throat. I could feel the soft, shivering touch of the lips on the supersensitive skin of my throat, and the hard dents of two sharp teeth, just touching and pausing there. I closed my eyes in languorous ecstasy and waited – waited with beating heart.”

“Why can’t they let a girl marry three men, or as many as wanting her, and save all this trouble?”