Bram Stoker's Dracula is more than a Gothic Horror Novel. It is a profound commentary on the gender roles and sexual norms of Victorian society.
We are well aware that the story of Dracula revolves around vampires. However, Stoker uses these creatures as metaphors. They highlight the anxieties that surround women's understanding of feminism and the upheaval of traditional values in a patriarchal culture. At the heart of this exploration are two pivotal women in Dracula—Wilhelmina “Mina” Murray/Harker and her friend Lucy Westenra—who embody contrasting aspects of Victorian femininity.
Women in Dracula and Victorian Feminity
The Victorian era spanned from 1837 to 1901 and is noted in British history as the period during which Queen Victoria reigned. Naturally, this influenced Bram Stoker's writing, particularly his portrayal of female characters.
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Expectations for women during the Victorian era
In society, there were expectations for women at this time. Victorian women were expected to emphasise modesty, purity, passivity, and patience. Queen Victoria embodied the ideal of the perfect woman, advocating for the values of marriage, motherhood, and domestic life.
Men went out to work and socialise; they had lived in public. Women were mostly expected to embrace their roles as wives and mothers. They had to ensure their homes remained orderly and peaceful while engaging in few interests outside household duties.
Gender norms influenced this separation. Women were expected to be pure, nurturing, gentle, and self-sacrificing, while men were characterised as assertive, materialistic, and competitive.
Women were often seen as incompetent and dependent
An 18th-century English barrister, William Blackstone, noted that a husband and wife were legally considered one. A married woman had no rights unless supported by her husband.
This treatment of women led to significant issues, particularly regarding voting and property rights. Women encountered numerous challenges stemming from their legal status, social class dynamics, marriage expectations, sexuality, economic conditions, and the rights of middle-class women. This highlighted the pressing need for change in a society that was governed mainly by patriarchal values.
Women in Dracula, The New Women
The “New Woman” concept emerged from the organised feminist movement of the 19th century, which played a crucial role in highlighting women’s issues through public discourse, print media, and political activism. Women wanted radical change.
Married women gained the right to retain and manage their earnings with the passing of the Married Women’s Property Acts in 1870. Additionally, women were granted the authority to own and care for their possessions.
A significant milestone occurred in 1878 when the University of London awarded its first B.A. degrees to female students. The New Woman is “intelligent, educated, emancipated, independent, and self-supporting.”
Though Lucy and Mina possess distinct personalities and lifestyles, they collectively represent the ideals of femininity while showcasing how the New Woman phenomenon manifested. Stoker's nuanced portrayal of these characters invites readers to reflect on the complexities of women's roles and identities in a rapidly changing world.
Mina Murray/Harker
The novel depicts Mina as a woman who embodies her time's sentiments, beliefs, and values. She is dedicated to her family and friends, particularly when they face illness or danger. This highlights her attractiveness, gentleness, sensitivity, love, and empathy. Mina's bravery and goodness inspire those around her.
Jonathan Harker, her husband, notes in his journal, “She was so good and brave that we all felt that our hearts were strengthened to work and endure for her, and we began to discuss what we were to do.”
Mina's grit to survive until Count Dracula is vanquished reflects the ideal of virtuous womanhood at the close of the nineteenth century, serving as a motivating force for the men in the story.
If Mina had exhibited flaws, the men may not have felt they needed to protect her. She embodies the Victorian ideal by remaining devoted to her husband. She represents chastity and purity not merely as societal expectations but as a personal conviction.
Mina also reveals traits of the New Woman
She is educated and works as an assistant schoolmistress. Mina's professional life showcases her determination to acquire knowledge and skills, even when educational opportunities for women were limited during the Victorian era. She is fascinated by new technologies. She communicates with Jonathan using shorthand, a method involving condensed symbols for quick writing and uses a typewriter, which she values greatly.
Van Helsing's observation about Mina encapsulates her duality: “Ah, that wonderful Madam Mina! She has man's brain, a brain that a man should have were he much gifted, and a woman's heart.”
Mina is intelligent and strong. She has qualities that challenge traditional Victorian femininity and align more closely with the emerging ideals of the New Woman.
Lucy Westenra
Lucy Westenra is Mina Harker's best friend; she features extraordinary beauty and natural voluptuousness. She embodies sweetness, innocence, and purity.
“Lucy looked sweetly pretty in her white lawn frock. Since arriving here, she has acquired a beautiful glow. I noticed that the older men didn't hesitate to sit near her when we settled down. She has such a tender nature with them; I believe they all fell in love with her at first sight”
Like Mina, Lucy epitomises the ideal of Victorian femininity. She is celebrated for her delight, purity, and chastity, making her an adored young woman. Yet, she also expresses her sexuality and emotional sensitivity.
Lucy acknowledges the three marriage proposals she receives with surprise. She toys with the idea of defying societal expectations by accepting them all, stating, “Why can't they let a girl marry three men, or as many as want her, and save all this trouble?”
After her transformation into a vampire, the sexualisation intrinsic to the New Woman becomes even more pronounced
Once transformed into a vampire, Lucy shifts from a mere flirt to a sensual seductress.
Furthermore, Lucy's close bond with Mina can be viewed as a reflection of the New Woman ideal. Lucy's letters reveal a deep affection. They are filled with phrases like “Oceans of love and millions of kisses” and expressions of longing for their past times together: “I wish I were with you, dear, sitting by the fire undressing, as we used to sit, and I would try to tell you what I feel”.
These declarations reflect the intensity of their intimate friendship. Although charged with a homoerotic undertone, this friendship remains unselfconscious and values their bond as idealised rather than sexual.
Lucy's behaviour in her vampiric state would have been seen as a profound affront to the ideals of motherhood and womanhood. “With a careless motion, she flung to the ground, callous as a devil, the child she had clutched strenuously to her breast, growling over it as a dog growls over a bone”
Lucy's representation of the New Woman is nuanced. While defined by hyper-femininity and sensitivity, it ultimately leads to her downfall from the traditional ideals of Victorian femininity to a version of the New Woman.
Bram Stoker's Dracula is a compelling exploration of the tensions between Victorian ideals of femininity and the emerging concept of the New Woman. Ultimately, Stoker's nuanced portrayal of women reflects the anxieties of his era and invites readers to consider the ongoing struggles for women's identities and rights. This makes Dracula a timeless commentary on the evolution of gender norms.
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