A Cultural Analysis Of Bram Stokers Dracula English Literature Essay

From the years 1887 through 1901, the English Empire entered an interval known as the Victorian Era. This time, which is way better known for the great prosperity it helped bring upon the British middle income, was also designated by the increasing concerns in "THE FANTASTIC Public Evil", a reference to prostitution. These concerns were founded on the theory that ladies in this time were to stay real and chaste unless bound with their husbands through relationship. Violating these constraints would result in the loss of all Victorian virtues and the expulsion from family members. In Bram Stoker's Dracula, which coincidently is defined in the Victorian Age, a similar pattern emerges due to the presence of a blood-sucking UnDead known as Count number Dracula. Stoker's novel celebrates the paranoia brought upon the Victorian people at the very sound of the word "sex" (Leatherdale 145). The writer is ultimately seeking to mention the theme that sexually assertive ladies in the novel should be demolished because they bargain men's self-control in a society that must be dominated by them. Lucy and Mina's respected transformations into the new women as well as the three vampires came across by Jonathan Harker in Dracula's castle all greatly strengthened the theme created by Stoker.

Lucy Westenra's figure portrayed before and after her come across with Dracula shows accurately what Stoker designed to bring forth in his novel. The reader is first created to Lucy early on in the storyline, and the impression of sexuality is immediately thought. In one of her early letters to Mina, Lucy discusses the many experience she has possessed with men, specifically, Arthur Goldaming. She constantly stresses her love for him in the letters yet she still mentions other men and how they too have marked her life in a far more than positive way. That is very unusual patterns for a female in the Victorian Period who must typically be docile when it comes to love and sexuality. She persists by whining about how precisely "[they can't] let a woman marry three men, or as much as [she] want[s]" (Stoker 50). That declaration proves certainly that Lucy has many dreams she can sadly not meet because of her public category. When Dracula beings his assault on the innocent Lucy, the latter begins her long descent into vampirism and Vehicle Helsing and his team take full good thing about the situation. "Her admirers and the medical men are obliged to set up what Dracula has applied for - blood" which is usually associated to intercourse (Leatherdale 150). Quinsey Morris and Dr. Seward, who experienced previously announced their love for the indegent Lucy, now possessed the opportunity that only Lord Goldaming could ever imagine, making want to this woman. Precisely the same could be employed to Truck Helsing "who despite his era retains an enthusiastic eye for feminine beauty" (Leatherdale 150). The four blood transfusions depict just how men's discipline can turn to recklessness in the face of sexuality. Stoker will not stop here. When Lucy's transformation into the UnDead is prosperous, her once "erotic occurrence" becomes "the wanton voluptuousness of male illusion" (Leatherdale 151). As a matter of fact, during the team's trip to her tomb, she taunts her lover to "comecome!" which is rarely resisted by Arthur (Stoker 181). Arthur "seemed under a spell" by the "diabolically sugarytones" given off by the Undead Lucy (Stoker 181). He opened up his arms vast to the opportunity of at last fulfilling his sexual desires with Lucy. This naturally kept him in a prone position which is certainly unacceptable for a man in the Victorian Age. This kept the team with no other choice than to ruin the undead Lucy and bring back the pureness which is essential for a Victorian girl. Arthur possessed the honors of traveling a stake through the new woman's heart, which can also symbolize a male organ. Arthur thus experienced the last word on Lucy's destiny, and he brought her back again to what matters for him, innocence and pureness. This related to the theme proves that sexually assertive ladies in the novel need to be demolished because they leave the men prone which is undesirable.

Contrary to her buddy Lucy, Mina portrays the perfect female in the Victorian Age. Showing humbleness and chastity throughout the novel, Mina gets spared from Dracula's fangs for the first fifty percent of the history. As a matter of fact, Mina never talks of sexuality or wants despite being married to Jonathan. As Vehicle Helsing says, Mina is "one of God's women" (Stoker 161).

Also We Can Offer!

Other services that we offer

If you don’t see the necessary subject, paper type, or topic in our list of available services and examples, don’t worry! We have a number of other academic disciplines to suit the needs of anyone who visits this website looking for help.

How to ...

We made your life easier with putting together a big number of articles and guidelines on how to plan and write different types of assignments (Essay, Research Paper, Dissertation etc)