Lucy's Fialer Analysis

Jonathan is exposed to his unconscious sexual feelings during his meeting with the three vampire women. Upon the three vampire women’s entrance, Jonathan is immediately entranced and develops a longing for them. Jonathan notices that “All three had brilliant white teeth, that shone like pearls against the ruby of their

The death of Lucy Westenra serves as a pivotal moment in Dracula. It is a reminder of the terrible fate that awaits the victims of the Count, and it motivates many of the men later involved in his defeat. But Lucy’s death also demonstrates one of the novel’s core themes, and this is no better seen than in Van Helsing’s conversation with Dr. Seward regarding her blood transfusions. We learn through this conversation that Lucy died due to her impurity, and so one of Dracula’s core themes is revealed: the struggle between lust and chastity, between promiscuity and marriage. The novel serves as an indictment of sexual freedom and a call for a return to traditional romance.

With the intention for the boarding schools students to forget their old culture right from the start, many different things took place. Students at the boarding schools had limitations placed upon them and they were banned from behaving as they did in their original culture. Sarah Stone writes that the Indian students were required to “get rid of their tribal clothes and any memorabilia” (21); a task that caused the students to begin to forget their old way of life. In a similar manner, the wolf girls of St. Lucy’s were required to act as civilized humans and refrain from acting as wild creatures. Russell writes that the wolf girls felt as if the limitations made them “feel invisible” (240) and in a it did. As the process continued, the Indian

Mina Murray is the fiancée of Jonathan Harker. She is portrayed as a good character in the book because she is shown as a really kind hearted and vivacious school mistress that always seems and is innocent and helps in anyway that she is able too. Mina is Lucy Westerna’s best friend and she is a very intelligent and resourceful young woman who eventually leads Dr. Van Helsing’s men to Castle Dracula.

This passage characterizes Mina’s obedience to her spouse Johnathan, and introduces her as the modest woman. Lucy Westenra represents the sexual woman. In her second letter to Mina, she tells of the three marriage proposals that have come to her in one day, and the results of each. She has turned down two men, and accepted the last, but feels badly about having to turn down two of her suitors. She proclaims, “Why can’t they let a girl marry three men, or as many as want her, and save all this trouble?” (61). From this passage, it can be assumed that Lucy desires sexual relationship with all three men, as that is the result of marriage. Here lies the main difference between the two women. In the end Mina benefits from her domesticity and life of service to men. Lucy, on the other hand, is deviate from social norms, and in turn suffers the consequences for her own sexual aptitude. Dracula’s deadly bite does not harm Mina due to her morals dictating that she continues to live as a human. Dracula soon disappears from the scene, and Mina enjoys her marriage and bears a child. However, Lucy is not as lucky. She is described as a sexual monster after her death. It is believed her sexuality that sealed her fate. It is clear that this is a statement about not only the roles of women in society, but also about the fears of society. The good Victorian woman, represses her sexual desires and will lead a respectable life.

Lucy and Mina both were victims of the Count both were unsure of the things that were happening to them as the Count came into their rooms as either in a form of a bat or the mist. Both could not remember anything that happened but either stated they were dreaming or in a trance. Even Jonathan Mina’s husband fell victim to this, “Jonathan is in a stupor such as we know a vampire can produce” (405). Dracula uses a ship to send his earth box across the sea. The captain and mates of the ship that carried the wooden boxes of soil began to lose all sense of reason. The men started disappearing one by one and one of the mates, goes down to where the wooden boxes were and opened them. The captain does not know what to do for he is afraid himself, “He is mad, stark, raving mad and it’s no use my trying to stop him” (124). After a while the mate comes up the deck, “A raging madman, with his eyes rolling and his face convulsed in fear” (124). The mate swears he has seen a person down there and jumps off the ship into the

In Arthur’s absence, Lucy unknowingly takes up her old nervous habit of sleep-walking. Late in the night while sleep-walking she makes her way to the church courtyard overlooking the harbor. Here, Lucy is exposed and helpless and Dracula begins to take advantage of her. As Weissman notes, the change in Lucy is almost immediate; throughout the day she appears frail, gloomy and preoccupied, but as night falls, Lucy’s manner changes and she is sultry and aggressive (4). Arthur Holmwood returns to Lucy’s side and with the help of Van Helsing and his group of God-fearing men attempt to save her. Sadly, the men’s efforts are in vain, as Lucy does not contest her transformation and surrenders to Dracula. Lucy’s undead body is buried; however, she flees her coffin nightly to feed on unsuspecting victims. Dr. Seward notes in his diary, “ ‘ The sweetness was turned to adamantine, heartless cruelty, and the purity to voluptuous wantonness’ ” (Diary, 29 September, Continued). Van Helsing and the gang of men descend on Lucy’s burial chamber where they dread the task that is at hand. Nonetheless, Arthur bravely accepts the duty of freeing his beloved’s soul. With the aid of Van Helsing, Arthur drives a stake through Lucy’s heart. The men look on as Lucy’s body quivers and her soul is freed. Lucy’s appearance returns to the soft, beautiful girl of their memory. The men can at last mourn the loss of sweet Lucy, and she may finally rest in peace.

Now, they encounter a supreme ordeal, a life or death situation, a moment of suspense and tension for the audience. The group finds Renfield in the insane asylum, covered in blood and dying. He imparts that Dracula had been “taking the life out of Mina” (ch.21). Rushing upstairs to the Harker’s room, the company witnesses Dracula, “in his left hand he held both of Mrs. Harker’s hands; his right hand gripped her by the back of the neck, forcing her face down on his bosom. Her white nightdress was smeared with blood, and a thin stream trickled down the man’s bare breast which was shown by his torn open dress” (ch.21). Mina took the first, irreversible step towards becoming one of the undead. Van Helsing later discloses to Mina that, “[Dracula] can live for centuries, and you are but a mortal woman. Time is now to be dreaded—since once he put that mark upon your throat.” (ch.23). Mina and her camaraderie must now follow Dracula back to Transylvania in order to destroy the power that threatens to obliterate Mina’s

Hence, Mina takes the responsibility of watching over Lucy and making sure that she receives only the best in life. In addition to Mina being able to take care of herself and others, she also possesses unrelenting determination. It is this conviction that allows her to never lose faith in herself or her decisions. This is revealed after Dracula has attacked Mina and Jonathan describes: “We tried to be cheerful and encourage each other, and Mina was the brightest and most cheerful of us” (320). To explain, instead of breaking down and relinquishing to a doomed fate, Mina, not-so-surprisingly, becomes even more audacious by helping the group through voicing her ideas. Furthermore, Mina has truly becomes a leader in the group as she holds the power to stand as an autonomous, confident figure in the novel. In addition to Mina being self-reliant, she is also extremely intelligent and becomes the brains behind the operation. Not once in the novel is Mina confused or perplexed by that of what the men discuss. In fact, she is the one who establishes the plan to go to Transylvania to capture Dracula. This is shown when Mina construes: “My surmise is this, that in London the Count decided to get back

I spoke with Lucy Olivarez about the manufactured home. She listened thoroughly and patiently to my inquiry. She paused to reference the property file and politely informed me that it was still available. Although Lucy noted that it needed a good deal of work, she was encouraging about its potential. She stated, "There are many others out there then are definitely worse." Lucy was nice but made no effort to build rapport. Our conversation throughout the call was professional and

Just when all the characters and the audience had thought the events with Lucy were already enough, now they face a horrible reality; Mina is on the verge of turning into a vampire. As soon as Van Helsing began to speak, Jonathan was already fearing this. The love of his life was turned into an evil creature that he hated. Both the audience and Jonathan Harker knew that once Van Helsing informed she was changing, she was going to turn into a bloodthirsty vampire. Not only did Harker certainly have his fair share of terror with the Count, now he also faces the terror of loosing Mina.

In the 1993 version, Van Helsing refers to Lucy as "a willing recruit, a whore of darkness, a bitch of the devil."(Bram Stoker's Dracula). Also, Mina chooses whether to be with Dracula or with Jonathan. We wonder at the end whether she will choose to remain with Jonathan after Dracula's death.

In this chapter the narrative focuses on Sewards diary. On September 17th, Lucy records everything she can remember in a memorandum to place it somewhere in the house so that someone can find it the following day although it doesn’t happen that way. We see the transformation of Lucy into a super natural creature and a destructive scene portraying the death of Lucy’s’ mother, unconscious maids, and Lucy coming close to death with horrible wounds on her neck and in need of more blood. While home along with her mother and four maids, Lucy hears a frightening sound and moments later a loud howl comes from glass flying through her room caused by a large wolf. Her mother lying next to her died frantically and Lucy became unconscious, while drugs

Drawing form Kimberly M. Radek-Hall “Women in the Nineteenth Century” article she labels of the men of the 1890s as being powerful, active, able to resist temptation, independent and sexual. In Dracula, Stoker illustrates Jonathan in a different way than this. Through the story we see Jonathan’s changes from masculinity to femininity and back again. From the beginning we see that he has some dependency on Mina, as Kathryn Boyd put it in her article on “Making Sense of Mina: Stoker's Vaporization of the Victorian Woman in Dracula” she says that Mina helps keep up with Jonathan’s studies. Also when Jonathan is in the castle he is paranoid, hysterical and very emotional, traits normal for only women. When he comes out of the castle he uses Mina as someone he can lean on showing his dependency on her. Another way Stoker breaks gender norms through Jonathan is when, Jonathan is first captured by the daughters of Dracula he is very passive and emotional, a very feminine way of behaving by victorian standards. After, he is taken and about to be

Right before his father died, he told his twin brother, Bartholomew, to give Mrs. Morstan her share of the treasure. Major Sholto was about to tell his sons about the treasure but the man with the wooden leg appeared and Major Sholto died of instant fear.