The concept of competition is a prominent theme throughout Stoker’s Dracula. In the novel, Dracula competes with the “good” men in various ways. This can be seen as a variation of Freud’s “Primal Horde” theory, which suggests that a dominant male asserts control over a group and claims ownership of the females. Although this theory is often linked to incest, I propose reevaluating the sexual competition depicted in the novel through the lens of interracial rivalry.
Though Dracula has his own women, he expresses a strong interest in women who are already in relationships with other men. His goal is to assert his dominance as the sole male figure by surrounding himself with these women and claiming them as his possessioins. From this perspective, Dracula can be regarded as the ultimate adulterer whose aim is to divert good Englishwomen like Lucy and Mina from their own customs and people. Stevenson argues that Stoker effectively portrays vampire sexuality as a complex phenomenon with two intertwined aspects. In this essay, I will examine the dual interpretations of “feeding” and “sex” and how they are interconnected.
Stoker’s portrayal of the various characters in his novel helps to elucidate the unfamiliar roles they assume and facilitates comprehension of their relationships. In this essay, I intend to contend that a perpetual struggle between good and evil permeates Stoker’s narrative. I posit that he constructs Dracula as a contest between the group of men and Dracula. Who emerges victorious? Throughout the novel, Dracula is consistently depicted as an otherworldly being, odd in appearance. “As soon as I saw him, I recognized him based on the others’ descriptions.”
The text highlights the description of a figure with a waxen face, a high aquiline nose, parted red lips, and red eyes. The speaker mentions observing these features on the windows of St. Mary’s Church in Whitby at sunset. Additionally, the speaker mentions a red scar on the figure’s forehead, which was caused by Jonathan’s strike. John Allen Stevenson’s critical essay poses an important question regarding Dracula: “In what way are vampires another ‘race’?” Stevenson suggests that vampires can be perceived as another race due to their possession of distinct human tendencies.
Both Stevenson’s and my essay use the term “interracial” when referring to the relationships between vampires and non-vampires. The novel portrays all vampires in a similar manner. Stoker employs the symbolism of red and white to depict the transition period and completed vampirism. Describing the three women encountered by Jonathon Harker in Dracula’s castle, Stoker mentions their “brilliant white teeth that shone like pearls against the ruby of their voluptuous lips” (Stoker, 46). Additionally, Lucy and Mina exhibit these same features during Dracula’s visit.
Stoker utilizes color as a means of establishing racial categorizations in this novel. Vampires, unlike humans, are depicted with pale skin resembling that of a corpse, and their lips are described as red and voluptuous, as though stained with blood. In Stevenson’s essay, he contends that both Mina and Dracula possess scars that serve as indications of their association with a group foreign to the men Mina is connected to. Jonathon describes the scar on Mina’s forehead as a “red scar on my poor darling’s white forehead” (Stoker, 321). Van Helsing bestows this scar upon Mina in an effort to safeguard her from future attacks.
The text suggests that Mina is being identified as an outsider, possibly due to her foreign background. To fully comprehend the competition depicted in the book, we need to examine Stoker’s portrayal of the men involved in attempting to rescue Mina and Lucy while also vanquishing the Count. It is argued that Stoker describes these men based on their moral qualities rather than their physical attributes, using terms such as good, brave, and strong. Their roles throughout the novel revolve around protection and destruction. Mina believes that these brave men have a responsibility to take whatever actions are necessary to prevent the Count from achieving his objective. She mentions examples of courageous men who have been willing to kill their own loved ones in order to prevent them from falling into enemy hands, highlighting that it is their duty in times of great difficulty. Mina goes further to assert that if she were to become a victim of the Count, it would be right for one of these men, specifically Jonathon, to kill her as part of his duty to stop Dracula. Ultimately, these men play a crucial role in preserving the integrity of both Lucy and Mina in the novel.
Stevenson poses a significant question: why are wives and womenkind considered a valuable possession that is better destroyed than lost to the enemy? In this novel, the men who attempt to prevent the Count’s influence believe it is their responsibility to ensure that neither Lucy nor Mina become enemies. When Lucy is transformed into a vampire, they recognize that they must kill her in order to preserve her integrity and bring her peace. “Arthur took the stake and the hammer, exhibiting unwavering hands once his determination was solidified… Arthur positioned the tip directly over her heart, and I observed its imprint on her pale flesh.”
Then, with all his might, he struck. The Thing in the coffin writhed and emitted a horrifying, blood-chilling screech through its opened red lips. The body convulsed, trembled, and contorted in a frenzied manner; its sharp white teeth gnashed together, causing the lips to be injured and the mouth to be covered in a foamy crimson substance. However, Arthur remained steadfast. With an unwavering arm resembling that of Thor, he repeatedly drove the stake deeper into the heart of the monstrous being, causing blood to gush forth and splatter around. This is the scene depicting Lucy’s demise (Stoker, 223).
Stoker portrays the men’s obligation to preserve Lucy’s integrity as one of the main themes in this particular scene. Lucy’s fiance, Arthur, is entrusted with the task of driving a stake through her heart as a means to release her soul. This gruesome act symbolizes their duty to confront their fear and sadness in order to eradicate Dracula’s influence. Stoker depicts Arthur’s emotional detachment while killing the woman he loves, emphasizing his bravery and resilience. Meanwhile, Lucy is depicted as sexually deviant, in need of being controlled. Consequently, this scene contains subtle references to penetration and sexuality.
Up until this point in the novel, only Dracula has had a sexual encounter with Lucy. Now, Arthur gets his first chance to be close with her. Stoker describes the stake as representing Arthur’s penis, and he implies that Lucy experiences orgasm through her movements and noises. This scene symbolizes the establishment of their relationship, suggesting that Arthur brings Lucy back to a state of monogamy. This connects to the theme of competition, as Arthur takes back what he believes is rightfully his (Lucy) from Dracula. Wicke argues that this sexual violation can be seen as punishment for Lucy’s sexuality as a vampire. Dracula clearly harbors resentment and opposition towards female sexuality. According to Stevenson, vampire sexuality in the novel represents a metaphorical link between “feeding” and sex itself. Stevenson suggests that in this phenomenon, traditional gender roles are reversed, with men being feminized while being penetrated by fangs. I agree with this viewpoint.
The unconventional roles of women in this novel involve some women consuming infants rather than nurturing them, such as Lucy and the three women in the Counts castle. These women also exhibit a “masculine” characteristic of aggressive sexuality. These roles defy traditional expectations for the time period. Due to vampires procreating differently than humans, the act of feeding is described in a manner similar to human sexual encounters. Stoker presents feedings throughout the novel with great intimacy. It is intriguing why both feeding and sex are depicted in a similar manner within this novel.
According to Stevenson, vampire reproduction may appear unusual, but it bears strong resemblance to human sexuality. It is worth noting that a significant distinction between vampire and human sexuality is that vampires satisfy their needs by both feeding and procreating simultaneously (Stevenson). An illustration of this intimate feeding and sexual undertones can be observed in the scene where Dracula is present in Jonathon and Mina’s bedroom. In this scene, Jonathon Harker lies on the bed near the window, displaying flushed cheeks and heavy breathing, as if in a stupor.
His wife, dressed in white, knelt on the near edge of the bed while facing outwards. Standing next to her was a tall, thin man in black attire. Although his face was averted from us, we instantly recognized him as the Count due to his appearance and the scar on his forehead. Using his left hand, he grasped both of Mrs. Harker’s hands and extended her arms to their maximum length. Simultaneously, with his right hand gripping the back of her neck, he forced her face onto his chest. The blood-stained white nightdress she had on was tainted by a small trickle running down the man’s exposed chest through a tear in his dress.
The two individuals displayed a remarkably similar attitude, resembling that of a child forcing a kitten’s nose into a saucer of milk to make it drink. Stoker emphasizes this by describing the Count’s peculiar appearance once again, including the scar on his forehead as a sign of his foreign identity. However, why does he “feed” Mina like a child? In this context, feeding represents a motherly act. Mina is portrayed as the Count’s offspring in this particular scene, bringing up the notion of an “incestuous relationship.”
In her argument, Foster contends that rather than simply killing the women he assaults, Dracula assumes a maternal role and encourages them to explore their sexuality. This raises the question of why he chooses not to eliminate his victims outright. In one specific instance, Mina is treated by the Count as if she were his own child, being compelled to consume blood from his chest while engaging in a sexual act with him. Many critics interpret this scene as an illustration of fellatio. Within this context, the blood can be seen as symbolizing semen and the act itself represents an exchange of bodily fluids. This concept is connected to Freud’s primal horde theory, wherein Dracula seeks to maintain control over females and assert dominance as the sole male who possesses them.
According to Riquelme (477), Dracula is portrayed as being in a preliminary stage of development where his desire for sex and nourishment are not yet differentiated. However, the manner in which he moves and his ability to exert control over individuals suggests otherwise. Eric Kwan-Wai Yu asserts that the mobility and power possessed by Dracula are aspects of the story that evoke fear. Dracula’s quick movements give him a significant advantage, showcasing his intelligence and bravery, such as when he courageously enters the room with Jonathon and Mina.
In the middle of the story, Dracula mocks the “Crew of Light” led by Van Helsing, who are determined to fight against him. According to Yu, Dracula claims ownership over the girls that the crew loves and intends to use them as his own puppets. Furthermore, he asserts that he will have control over the crew and others through these girls, making them his servants and minions whenever he desires to satisfy his hunger (Stoker, 267). The Count also proclaims that once the girls are under his influence, he will have power over the men as well and can feed on them when needed. Throughout the novel Dracula, the men consistently assume the role of heroes who strive to protect Mina and Lucy from falling into foreign hands.
It is worth mentioning that Jonathon desired to engage in sexual activity with the three women from the castle. However, it is perplexing as to why they believe Mina and Lucy’s sexuality should be repressed when they themselves can openly admit to enjoying it. According to Stevenson, the men are afraid of facing a “superior sexual potency in the competition”. I agree with this viewpoint and believe that both Dracula and the men attempting to destroy him exhibit similar attitudes. They all view women as possessions, resulting in the ongoing competition depicted in Dracula. The male characters in this novel are fearful of the emergence of the “New Woman”.
Eltis suggests that Lucy differs from most critics’ viewpoint in that she embodies the characteristics of a traditional Victorian woman. However, I believe that Lucy deviates significantly from the traditional Victorian woman archetype. Instead, it is Mina who embodies those traditional qualities. Conversely, Lucy assumes a non-traditional role as a sexual being, expressing her frustration by saying, “Why can’t they let a girl marry three men or as many as want her and save all this trouble?” (Stoker, 80). This difference in attitude is a crucial factor in explaining why Mina was saved while Lucy was not. Lucy’s unabashed sexuality and desire for dominance in relationships posed a threat to the men’s power dynamics.
When it is discovered that Lucy has given in to the temptation of consumption, she undergoes a transformation in both her physical appearance and behavior. The narrator now refers to her as “Lucy,” noting that while she still resembles Lucy physically, there is a noticeable change in her demeanor. Upon seeing us, she reacts with an angry snarl reminiscent of a startled cat. Her eyes scan over us, still resembling Lucy’s in shape and color, but now filled with impurity and intense fury instead of their previous gentle and pure nature. In this moment, my affection for her turns into hatred and disgust. If it became necessary to end her life, I could have done so with savage pleasure.
While gazing at her, the woman’s eyes burned with an unholy brightness and she wore a seductive smile on her face. Despite this, he recoiled and covered his face when she approached him with open arms and a provocative smile. However, she continued to advance with lazy and alluring elegance, saying: “Come to me, Arthur. Leave the others behind and join me. I yearn for your embrace. Come, my husband, come!” (Stoker, 219) This moment made Arthur realize that he must kill Lucy to restore her purity. It is a crucial event in the novel as it represents the clash between good and evil. The virtuous men understand that they have lost Lucy to evil forces; she is now seen as impure and monstrous capable of heinous acts. She is no longer considered a “new Victorian woman” but rather repulsive creature enticing Arthur into embracing the life of a vampire that defies everything good stands for. Competition plays a prominent role in Stoker’s Dracula; Dracula himself is attracted to women who belong to others.
In this essay, it is argued that Dracula’s pursuit of Lucy and Mina reflects his intention to challenge the cultural norms and values of English women. The author also questions the notion of good versus evil, suggesting that neither side emerges victorious. While Dracula’s death may be seen as the downfall of evil, the “good” men in the novel also exhibit a similar desire for control over women. Ultimately, the competition for power and dominance over women is a recurring theme. (Stevenson)
Work Cited:
The text includes references to various sources analyzing different aspects of Bram Stoker’s Dracula. These sources include Christopher Craft’s “‘Kiss Me with Those Red Lips’: Gender Inversion in Bram Stoker’s Dracula,” Sos Eltis’ “A Gender Studies Perspective, Corruption of the Blood and Degeneration of the Race: Dracula and Policing the Borders of Gender,” Dennis Foster’s “A Psychoanalytic Perspective, The Little Children Can Be Bitten: A Hunger for Dracula,” John Allen Stevenson’s “A Vampire in the Mirror: The Sexuality of Dracula,” Jennifer Wicke’s “Vampiric Typewriting: ‘Dracula’ and its Media,” and Eric Kwan-Wai Yu’s “Productive Fear: Labor, Sexuality, and Mimicry in Bram Stokers Dracula.” These sources provide a variety of insights on the themes and interpretations of the novel, which can be found in their respective published works or online.
