Victorian Gender Roles and Sexuality in Bram Stoker’s Dracula

Victorian London's gaslit streets darken beneath Dracula's shadow as Stoker unleashes Gothic horror on proper society. Told through various perspectives, the novel explores the tension between Victorian ideals and the emerging modernity of the late 19th century. One of the most compelling themes of the novel is the exploration of gender roles and sexuality, particularly how these concepts are embodied by its female characters. In "Dracula," Stoker presents a dichotomy between the ideal Victorian woman, as represented by Mina Harker, and the more transgressive female figures, such as Lucy Westenra and the three female vampires.

Through these characters, Stoker critiques the rigid gender norms and sexual mores of his time.

Mina Harker epitomizes the Victorian ideal of womanhood. She is intelligent, devoted, and above all, selfless in her dedication to her fiancé, Jonathan Harker. Mina's intelligence is not for her own empowerment but is instead channeled into serving her husband. For instance, she practices shorthand solely to be "useful to Jonathan" (Stoker 86), highlighting her role as a supportive partner. Her monogamous loyalty is unwavering, and even in Jonathan's absence, her thoughts remain fixated on him, eventually culminating in their marriage. Stoker reinforces Mina's status as the archetypal Victorian woman through descriptions that liken her to a divine creation, stating she is "one of God's women, fashioned by His own hand to show us men and other women that there is a heaven where we can enter" (Stoker 306). This characterization underscores the societal expectation that women should be virtuous, loyal, and subservient to men.

In stark contrast, Lucy Westenra and the female vampires in Dracula's castle embody the antithesis of Victorian womanhood. These characters are depicted as dangerously seductive and morally deviant, challenging the era's strict codes of female behavior. The three female vampires are introduced with "voluptuous lips," and Jonathan Harker confesses a burning desire for their kisses. Their sexual allure is portrayed as inherently evil, aligning with the Victorian belief that female sexuality outside the bounds of marriage was corrupting and sinful. Similarly, Lucy's character defies societal expectations through her flirtatious demeanor and desire for multiple suitors. Her lament, "Why can't they let a girl marry three men, or as many as want her, and save all this trouble?" (Stoker 96), reflects a rebellious spirit that Victorian society deemed heretical. Stoker emphasizes the moral transgression by having Lucy herself acknowledge the impropriety of her thoughts.

This dichotomy between Mina and Lucy, along with the three female vampires, serves as a commentary on the restrictive gender norms of the time. Mina's character reinforces the societal ideal of the obedient and loyal woman, while Lucy and the vampires highlight the perceived dangers of female independence and sexuality. Stoker's portrayal of these characters is not merely a reflection of Victorian attitudes but also a critique of the oppressive structures that confined women to rigid roles. By juxtaposing these different expressions of womanhood, Stoker invites readers to question the moral and social codes of his era.

In conclusion, Bram Stoker's "Dracula" intricately weaves themes of gender roles and sexuality into its narrative, using its female characters to explore and critique the Victorian ideals of womanhood. Mina Harker represents the societal expectation of women as virtuous and devoted wives, while Lucy Westenra and the female vampires symbolize the fear of female sexual autonomy. Through these contrasting portrayals, Stoker challenges the moral rigidity of his time, urging readers to reconsider the value and limitations of the societal norms that dictate female behavior. As such, "Dracula" remains a powerful exploration of the complexities of gender and sexuality, resonating with readers even today.

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