Lucy’s. They begin to start adapting to the human culture by changing their food habits. Before they come to St. Lucy’s, they make a promise to their parents that they will adapt at St. Lucy’s and change their host culture to a human culture. Later, most of the girls are beginning to progress at St. Lucy’s, but Mirabella is not. They find her “wading in the shadows to strangle a mallard with her rosary beads”.
Anagrams Response An anagram in the traditional sense is a word that can be scrambled into another word. What Lorrie Moore’s Anagrams does is put a narrative inside a narrative, which places the characters in different scenarios as the time jumps forward. There isn’t a perfect way to put another story within a story, which is demonstrated by Moore’s use of literal imaginative characters when Benna is confronted about her fake daughter (Moore, 201). The overall meaning of the novel is somewhat confused by the end, though the use of Benna’s imagination is a clever way to explain the struggles of a lonely, envious, and lustful adult woman.
Wilhemina (Mina) Harker (neé) Murray is a central character in Bram Stoker’s 1897 novel Dracula. Mina is initially mentioned in the first chapter of the novel when protagonist Jonathan Harker notes that he needs to ask for a chicken recipe to give to her, since the two will be married soon. Jonathan mentions Mina several other times in the opening chapters of the novel, during his time of imprisonment at Count Dracula’s castle. Mina assumes a narrator role in Chapter 5, beginning with a letter to Miss Lucy Westenra, which is the first time that readers learn more about Mina than simply her name and her relationship with Jonathan.
At the beginning of the novel, Lucy is constantly preoccupied with trivial, love affair matters: “Why can’t they let a girl marry three men, or as many as want her, and save all this trouble?”(Stoker 50). In other words, Lucy is lustful. She fancies the love and affection she gets from all of the men that she does. She is the epitome of the Victorian women that is emotionally unstable: “…I feel so miserable, though I am so happy” (Stoker 50). Her contradicting emotional state is part of what makes her vulnerable to Count’s wrath in the novel, but after she is attacked by the Count, she undergoes a transformation into the “New Woman” ideology.
evil (dark). To begin with, light colors, such as white, are highlighted through characters such as Lucy Westenra, as she is both literally and figuratively characterized to be among “the white garments of the angel,” indicating that Lucy is a character who represents all that is pure and noble in a lady (Stoker 209). On the other hand, the vampires in the novel, Count Dracula and the three female vampire wives, are associated with the colors black and red. For example, when Jonathan Harker first encounters Count Dracula, Dracula is revealed to be “clad in black from head to foot, without a single speck of colour about him anywhere” (Stoker 13). This emphasizes his role as an antagonist in the novel.
Killing children, they also besmirch the image of the angel in the house and the perfect Victorian mother figure. The female vampire is also connected to the New Woman who is seen as a threat in connection with her open sexuality (Lucy Westenra), unless she incorporates mostly Victorian values and only superficially seems like a New Woman (Mina Harker). The monstrous-feminine is visible in Dracula himself as an archaic mother who gives and takes life at the same time. She is also visible in Transylvania 's nature – threatening but at the same time enchanting its visitors. Monstrous-femininity is marginalised throughout Stoker 's novel.
Bram Stoker utilizes the brides and Lucy to represent “bad women.” Throughout the novel they exemplify overly-sexual, nonmaternal women who need to be punished. This idea is evident in the scene where the brides find Jonathan while he is visiting Dracula’s castle. They enter the room he is lying in and Jonathan describes one. “There was a deliberate voluptuousness which was both thrilling and repulsive, and as she arched her neck and 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” (Stoker 64).
Lucy is the complete opposite of Mina in the retrospect of men. She wants to have three men chasing her; she wonders what could be so wrong about three men. “Why can’t they let a girl marry three men, or as many as want her, and save all this trouble?” Mina wasn’t saying this as a way to solve the problem without hurting anyone. She genuinely wanted three men to be her husbands.
Westley, the protagonist of The Princess Bride, is loyal, clever, and heroic. He is very dedicated to saving Buttercup and does everything he can to get her back from Prince Humperdinck. The novel that was later turned into a movie was directed by Rob Reiner; the screenwriter’s name was William Goldman. The main character has long blond hair and blue eyes that Buttercup describe as having, “like the sea before a storm.”
Moreover, the she-vampires can be seen as our Femme Fatale characters that are not controlled by male authority. Jonathan Harker is “only in the presence of theses she-vampires through an act of wilful defiance of the count’s instructions-it is a situation at least so for his own seeking and his response to events as they unfold demonstrates at least a tacit willingness on his part to participate.” Through this “wilful defiance” he deliberately refuses to recognise Dracula as his authority figure, as in the Marxist society Dracula is the employer with wealth and Harker is the employee who would be of a lower financial status to the Count, and goes against his superego and lets his ID take over. When he waits in “agony of delightful anticipation” it leads us to believe that Harker is an active participant in this act and is not
Perhaps this is indicative of his incapacity to form profound, meaningful relationships. Throughout their relationship, Lucy feels stifled by Cecil who rejects Lucy’s way of thinking in regards to love. Cecil’s notions on what
, satisfied with her sole suitor, eager in a way that she wants to be "useful to Jonathan” when the two are married (125). Moreover, she is never physically portrayed in any image-evoking detail. Lucy, on the other hand, is described in extraordinary physical detail that goes as far as “a very beautiful corpse… quite a privilege to work on” (378). While Mina is known for having “a man’s brain,” Lucy is essentially the charming “little girl” that everyone seems drawn to (545/537). Lucy’s natural allure, her quieted sexuality, gives her power yet is eventually tied to her destruction.
Mina is represented as the “last woman” the men is having, and they have lost the battle. Women symbolize a motherly-figure that gives birth and takes care of children. They represent the society and the future. Even though, Dracula have died in the end, he is successful in conquering England because he has “mother” Mina which is the hope of future. He becomes immortal in a sense that he lives within people after Mina generation and eventually will
Lucy's seduction by Dracula parallels sexual seduction. The virgin is ruined by the aristocratic vampire, in keeping with a common Gothic theme of the aristocracy preying on women of non-aristocratic blood. His penetration of her parallels the penetration of sex, and Lucy is unable or unwilling to save herself from him. Lucy is far more vulnerable than Mina to Dracula's seduction: because of her flirtatious nature, she is an easier target for the vampire. Although she is still basically innocent and pure, Dracula will eventually corrupt her.
As Lucy becomes a vampire, she becomes increasingly sexualized. Like the vampire ladies of Castle Dracula, her repressed sexuality comes to the surface, and she becomes the sexual aggressor, women in 1897 weren 't supposed to be the ones to ask for kisses. They were supposed to be