Feminism In Dracula

The “budding influence of the turn-of-the-19th-century feminism” resonates throughout the novel. Victorian society’s rigid boundaries and high principles suppressed the value of women and forced upon them expectations to follow. The socially correct portrayal of women were to be innocent, pure, and submissive and ascribe to men. Women who had subdued their expression of sexual desire were commended, and society scorned the promiscuous and flirtatious women. Sex was as a taboo topic and was only brought up for means of procreation. In the novel, Mina embodies the aura of an ideal Victorian woman, who complies within the Victorian society’s firm boundaries. She is portrayed as a woman who is incontrovertibly devoted to her husband and withholds the standards of an ideal female. She

There is a use of religious overtone, which helps bring Christian symbols to keep evil at bay. Dracula who is much provocative to the every aspect of good and civilization in the novel, needs to be combated by a force of good to prevent the onslaught of evil, which is fulfilled by Van Helsing and the group. The group is a microcosm of righteous Crusaders, who devote their efforts in vanquishing evil. The group aligns themselves with God’s will and use this with the great power of Christian objects to ultimately triumph over evil. The battle between good and evil metaphorically explains the people who adhere to religion and align themselves with an almighty being (god) and those who have an absence of faith. Dracula, the physical embodiment of the Devil, perpetuates his evil and taints Mina, in an effort to emasculate the men, however good prevails and Dracula is killed. With the help of God and religious traditions, evil is always vanquished and good prevails with an existence of euphoria for all