Stoker uses a character like Lucy in his novel to portray that sexually assertive women who try and use their beauty to win over men will not make it in the Victorian culture. On the other hand, when Dracula intimidates Jonathan during his effort to attack Mina, she reacts in the correct matter of what the Victorian culture would want her to. In this very situation, she puts Jonathan’s safety and life before her own. Therefore, Mina is rewarded by having her life spared in the novel due to her truthful behavior and how she helps the men track down
Then the skin of my throat began to tingle” (Stoker, 48), and the “soft shivering touch of lips.”(48) He then says that as he waiting he felt “ecstasy” as their “fair cheeks, blazing red with passion” (48) descended upon him. As Dracula notices what is happening he is furious. Harker describes him as having red eyes that were “lurid, as if the flames of hell fire blazed behind them” (48), then pushes the women aside. Dracula then yells at them saying, “‘How dare you touch him… This man belongs to me!’”(48.) This fury and possessive behavior are in no means typical in a healthy relationship, but perhaps Stoker chooses to represent Dracula in this way, as to show the jealous rage sometimes associated in obsessive, forbidden love, and the anger surrounding the acceptance of one 's
As a result, gothic horror is important to a reader because of how it can connect to their lives in a certain way. In the novel Dracula, author Bram Stoker focuses on multiple elements of gothic horror which apply to several of the characters in the novel and can compare to contemporary works that have gothic elements, as well. In any novel, mystery and suspense is a popular characteristic, but contributes very well to what secures a gothic theme to a novel. Here, mystery and suspense are built throughout the novel based on the predicament of the characters. Initially, mystery is built very early on in the story, where the reader is interested to know who the
Female sexuality and its representation has been the primary concern of this research while applying each of the approaches to proves that du Maurier’s work builds on Jane Eyre but the portrayal it grants to feminine sexuality and identity renders her work a narrative of modernity on its own. Several critics have analyzed the intertexuality between the two novels. However, this study builds what has been said before to dwell on the not yet exhausted topic of feminine sexuality. Nungesser is one of the critics who have presented a comparison between the novels to conclude that both works bring an air of freshness and novelty to the traditional female Gothic plot, the novel of development and the fairy-tale narratives. Nonetheless, Nungesser
There exists a very real relationship between the Female Gothic novel of the late eighteenth and early nineteenth-century and the social context of women at that time. This new class of fiction is essentially treated by women as it addresses women’s experiences offered an opportunity to address “the hidden, unspeakable reality of women’s lives: not just their lives in the private inner world of the psyche, but also their social and economic lives in a real world of patriarchal institutions” (DeLamotte 165). Notwithstanding the success of male Gothicists, Gothic fiction is perceived as a female-dominated genre as Leonard Wolf writes: Despite the triumphs of Lewis and Maturin, the Gothic novel was something of a cottage industry of middle-class
‘Dracula’ is a modern play which is adapted, by Liz Lochhead, from the classic horror novel written by Bram Stoker. The play is set during the Victorian era and develops the key themes that were prevalent during this era such as sexual hypocrisy. Lochhead’s unusual approach paces much more significance on the female characters, in particular, Mina and Lucy and puts much less significance on the more well-known and traditional main characters Dracula and Van Helsing. This repression of sexual desires is expressed as Lucy struggles to cope with the social convention of how Victorian women had to behave. In the opening scene, Lucy has conflicting elements in her character and struggles to cope with social convention as Liz Lochhead describes
„I desire the company of a man who could sympathize with me; whose eyes would reply to mine. You may deem me romantic, my dear sister, but I bitterly feel the want of a friend” (Shelley 163-164). This is the wish of the scientist Robert Walton whose letters start Mary Shelley’s novel Frankenstein. Unlike the first thoughts coming to mind when hearing the title, friendship is one of the main topics in the story and the wish Walton expresses in the beginning stands for the desires of all the main characters. Not only Walton feels to be in need of companionship, the central character Victor Frankenstein does so too and even the Creature he brings into being expresses its strong wish to belong to someone.
The repetition of the word ‘lust’, combined with the sexual associations of Desdemona’s bed, reflects and draws attention to Othello’s preoccupation with sensual matters. Othello even refers to his precious wife as ‘whore’ (III.iii.356), a ‘subtle whore’ (III.ii.20) and a ‘cunning whore’ (IV.ii.88), in a way to appreciate him. Shakespeare actually has indirectly revealed Othello’s fear of Desdemona’s sexuality. Even though Othello seems to be very confident in him and his control over Desdemona, he is actually tentative and afraid that Desdemona will cheat on him, proving his
The aspiration of power, transform Lady Macbeth into a person devoid of human senses to accomplish her goal, when she says, “Come, you spirits that tend on mortal thoughts, unsex me here. And fill me, from the crown to the toe, top-full of direst cruelty!”(I.V.41-44). Lady Macbeth invokes evil to obtain the assets essential toward her seat on the throne. This idea embodies Lady Macbeth’s strong, decisive, and wicked personality, making her the foil of her husband. She admit that her womanhood is a weakness and that men are the ones who retain strength.
Shelley appeals to emotion through the characters in the novel. This conveys the idea that emotional components are drawn to connect to aspects of knowledge. Frankenstein writes a letter to Mrs. Saville in the beginning of the novel that states, “You seek for knowledge and wisdom, as I once did; and I ardently hope that the gratification of your wishes may not be a serpent to sting you, as mine has been” (Shelley, 31). While this evokes suspense and confusion, it also portrays a heightened emotional state of mind considering