Female Sensuality and Rebellion in Dracula - Free Essay Example

Sample details Pages: 6 Words: 1802 Downloads: 3 Date added: 2019/05/15 Category Literature Essay Level High school Tags: Dracula Essay Did you like this example? In his novel Dracula, Bram Stoker seeks to highlight the importance of following gender roles in the late 19th century. Throughout the story, many women rebel against societal gender norms and embrace their sexuality. In this novel, Bram Stoker suggests that women should follow their traditional Victorian roles and that female sensuality and rebellion will result in the destruction of a woman and her character. Literary critic John Ruskin describes Victorian gender roles: The mans power is active, progressive, defensive while women must be enduringly, incorruptibly, good (59). This statement proves that men of this time period had many more freedoms than and were generally superior to women, and Bram Stoker analyzes this social construct in Dracula. Mans control over woman in this novel is shown in Draculas character. Dracula is the only male vampire in the novel as well as the implied leader of the rest of the vampires. It is Dracula who is responsible for exerting control on women such as Lucy and Mina by turning them into vampires. His male dominance is clear after Dracula is attacked by the band of men and he exclaims, My revenge is just begun! Your girls that you all love are mine already; and through them you and others shall yet be mine my creatures, to do my bidding and to be my jackals when I want to feed (Stoker 325). Dracula says this with no regard to the women at all; he treat s them as objects, taking advantage of their passivity and exerting his power over them as was typical of men in this time period. Don’t waste time! Our writers will create an original "Female Sensuality and Rebellion in Dracula" essay for you Create order In this novel, female sexuality is presented in a negative light as aggressive and violent. This is shown in various places throughout the story, most notably with the three vampire women. In the first scene of the novel when Jonathan is in Draculas mansion, the three women try to seduce him against his will. Upon seeing the women, Jonathan states, There was something about them that made me uneasy, some longing and at the same time some deadly fear (Stoker 43). Jonathan goes on describing the dark sensuality of the women, referring to them as the three terrible women licking their lips (57). Jonathan repeatedly uses the word voluptuous to describe the three vampires, writing that they have voluptuous lips and a deliberate voluptuousness in their approach to him (46). This word choice emphasizes the womens overt sexuality, which Stoker associates with aggressiveness and cruelty towards children. Harker writes in his journal about the vampiresses, stating that one pointed to the bag w hich moved as though there were some living thing within it There was a gasp and a low wail, as of a half-smothered child. The women closed round, whilst I was aghast with horror, but as I looked they disappeared, and with them the dreadful bag (45). The womens brutality in their treatment of the child leads Jonathan to conclude that these creatures are hardly women at all, basing this judgment off of the traditional women with whom he is familiar, such as Mina. The three vampiresses lack of maternal feelings serves to emphasize that a womans ideal role in this novel is as an innocent mother-figure, and that any woman who strays from that role is evil. These voluptuous women are shown as monsters, their sexuality as animalistic and murderous. The three vampire women violate Stokers ideas about womanhood and femininity, and it is because of this that their characters are destroyed by the end of the novel. Throughout the novel, the more concealed sensual side of Lucy Westenra also becomes evident. Lucy is constantly torn between the need to conform and the desire to rebel; she is dissatisfied with the female social tendency towards compliance and obedience (Senf 42). One example of Lucys inherently rebellious nature is shown at the beginning of the novel, when she writes to Mina, Why cant they let a girl marry three men, or as many as want her, and save all this trouble? (Stoker 66). Lucy always has this natural wild side to her, yet she is never really portrayed as a physically sexual being until she is transformed into a vampire. In his analytical essay Sex and Sexuality in Dracula Mitchell R. Lewis considers that The contrasting of angelic purity and monstrous sexuality is evident in the portrayal of Lucy Lucy vacillates between monstrosity and purity until she is completely transformed into a sexual vampire (1). Lucy is portrayed as a sexualized being after she is turned into a vampire who seeks to inspire an intimate response in the men around her. Upon meeting the men in the graveyard, Dr. Seward writes that Lucy said in a soft, voluptuous voice Arthur! Kiss me! (Stoker 167). Lucys dark, villainous seductiveness is evident here, and it is clear that she wants to enkindle sensual passion in Arthur in order to turn him into a vampire. When Seward sees the undead Lucy outside of her tomb later in the novel, he says, we recognized the features of Lucy Westenra but yet how changed. The sweetness was turned to cruelty, and the purity to voluptuous wantonness (226). Throughout the next four paragraphs of this section, Seward describes Lucy with eyes unclean and full of hell-fire and a voluptuous smile stating that she speaks with a languorous, voluptuous grace. Again, there is a noticeable repetition of the word voluptuous as there was in the scene with the three vampire women at the beginning of the novel. Parallels can be drawn between these two sections of the story. Lucy, like the three vampire women, has an excessive sensuality about her that is hostile. After Lucy dies she is turned back from a monstrous sexual being with an unspiritual appearance to Lucy with her face of unequalled sweetness and purity (232). It is clear that Lucy as an erotic being was deeply evil to the point of being demonic, yet the moment that she is transformed from that sinful, sexualized being, she is again characterized as pure (Stevenson 145). In the scene of Lucys death, Bram Stoker insinuates that it is because of her rebelliousness and sensuality that she meets a tragic end where she is killed, beheaded, and her mouth filled with garlic. On the other hand, Mina, with her compassion and sexual innocence, is characterized as the quintessential woman throughout Dracula. Mina is the ideal wife of this time period, considering herself submissive to her husband and invariably putting his needs before her own. For instance, Mina writes to Lucy early in the novel, I have been working very hard lately, because I want to keep up with Jonathans studies When we are married I shall be able to be useful to Jonathan (Stoker 61). Comments like these show Minas determination to be the perfect wife and assist her husband when he might need it. Furthermore, Mina adheres to traditional gender roles throughout her marriage to Jonathan, as she never once gives voice to any sexual desire. Also, contrary to Lucy and the three vampire women, Mina is portrayed as a true mother-figure. She considers herself lucky to have so many strong men watching out for her well-being, and in turn is always willing to offer them emotional support as a moth er would with their child. For example, following Lucys death, Mina allows Lord Godalming to cry to her, remarking that We women have something of the mother in us that makes us rise above smaller matters when the mother-spirit is invoked; I felt this big, sorrowing mans head resting on me, as though it were that of the baby that some day may lie on my bosom, and I stroked his hair as though he were my own child (246). When Quincey Morris enters the room directly after this incident, he says to Mina that No one but a woman can help a man when he is in trouble of the heart (247), implying that she has fulfilled her roles as a woman. Mina is described as angelic and kind-hearted in many parts of the novel; she is portrayed as the depiction of moral purity as was expected of an ideal Victorian woman. Minas perfection as a woman is further emphasized as the story progresses. As literary critic Carol Senf states, the second half of Dracula shifts from the presentation of women as vampires to focus on a woman who is the antithesis of these destructive creatures (34). Even after Mina is turned into a vampire, she continues to fulfill her established roles as a woman and act in ways that will benefit the men around her. For instance, Mina allows Van Helsing to hypnotize her as much as he might need in order to obtain information about the ringleader of the vampires. She also tells the men not to discuss their plans in front of her in fear of them getting back to Dracula, as much as it pains her to not know what the men are doing. Mina even goes as far as to make the men promise to kill her before she can betray them (Stevenson 139). As a model of domestic propriety, Mina rejects openness and the pursuit of her own desires, preferring instead to be dutiful and deferential towards the b and of men (Senf 36). Although her physical body is tainted and scarred both from Draculas bites and the Host touching her forehead, Minas soul remains pure. It is this that sets her apart from the other vampire women. Because of her embodiment of the perfect woman of the time, Mina escapes the fate of the other women and even is able to take part in the destruction of Dracula. At the time Dracula was written, women were expected to follow their traditional Victorian gender roles, and Bram Stoker shows that straying from societal gender roles results in the destruction of a womans character. The three vampire women and Lucy become sexual, rebellious, and in turn evil creatures, and consequently they have all been destroyed by the end of the novel. Mina, on the other hand, adheres to conventional gender roles of the time period, and because of this she ends the novel alive and well. Evidently, not following traditional societal gender roles leads to the destruction of womens characters in this novel. Works Cited Craft, Christopher. Kiss me with Those Red Lips: Gender and Inversion in Bram Stokers Dracula. Representations, vol. 8, 1984, pp. 107-133. Lewis, Mitchell R. Sex and Sexuality in Dracula. Encyclopedia of Themes in Literature, 3-Volume Set, Facts On File, 2010. Blooms Literature, online.infobase.com/Auth/Index?aid=100992itemid=WE54articleId=39509. Senf, Carol A. Dracula: Stokers Response to the New Woman. Victorian Studies, vol. 26, no. 1, 1982, pp. 33-49. JSTOR, www.jstor.org/stable/3827492. Stevenson, John Allen. A Vampire in the Mirror: The Sexuality of Dracula. PMLA, vol. 103, no. 2, 1988, pp. 139-149. JSTOR, www.jstor.org/stable/462430. Stoker, Bram. Dracula. Barnes Noble Classics, 2004.

Personal Essay Identity Expository Essay - 1427 Words

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Class Speech Mayan and Egypian Architecture Essay Example For Students

Class Speech Mayan and Egypian Architecture Essay We all know who the Egyptians are, and we know that they had massive pyramids in which they buried the Pharaohs and where the famous idea of the creepy â€Å"Mummy† comes from but there is another civilization that lived in Central America, the Maya Civilization. The Mayans had some things in common, even at 11,857 kilometers and 2,300 years of difference the Egyptians coming first and the Mayan coming second, both of the Egyptians and the Mayans are isolated from the world, having to create and be creative they create languages, religion and many other things to survive. As I mentioned before Egyptians had pyramids but the Mayan civilization developed its own pyramids. If you compare and Egyptian pyramids with Mayan pyramids you can see that they don’t look much alike but the way they were used and the purpose they served was similar in some ways. The uses for the pyramids are similar in both of these different cultures the Gods were important to them both had different gods but both the Mayans and the Egyptians would praise them, in different ways, but they both praised them using the pyramids they built and pray to them inside them, they had a very religious meaning that was important to both of the cultures. As you may know the Egyptians had many gods and appreciated them a lot, the Mayans also had a lot of gods and just as the Egyptians they also had sanctuaries where they would speak to the gods and pray to the gods, the only difference is that the Mayans had the sanctuary on the actual pyramid while the Egyptians didn’t have them on the pyramid they had them separately. The Mayans placed the sanctuary on the top part of the pyramid, that is why it was flat on the top and had a room like shape on the top. The first Egyptian pyramids such as the Djoser were stepped like the Mayan ones they would have a stepped pyramid shape and the Mayan pyramids would always be like so. Later on the Egyptians make more triangular pyramids and more pyramidal shape, instead the Maya always would have their pyramids in the same stepped pyramid shape. The facing of the pyramids was important in both of the cultures, the Mayan pyramids would be facing certain things, most of the main Mayan pyramids would face the sun, while the smaller ones were normally facing the main pyramid or the center of the plazas. It was important to the Mayans that the pyramids in the plaza were facing straight and not angled toward different directions, most of the times the main pyramid ruled and the rest of the smaller ones would be faced based on how the main one was. Many of these pyramid facing importances were done on their astronomy and was not guessed randomly. The Egyptians also had an astronomical facing method for the pyramids, normally they faced constellations or would be perfectly aligned with the stars, they just like the Mayans had a way of facing their pyramids on a logical way that would make sense and was important. The alignments on the pyramids were both close to perfect because all of the methods they had to measure the angles were precise and very inventive. And last but not least the Mayans and the Egyptians both buried the kings or pharaohs inside the pyramids, most of the pyramids contained one of these rulers inside them to preserve them and nowadays the archeologists have found huge amounts of Mayan and Egyptian rulers inside these pyramids. .ua8d0c11e23cf8ce23f9039a36e481ea4 , .ua8d0c11e23cf8ce23f9039a36e481ea4 .postImageUrl , .ua8d0c11e23cf8ce23f9039a36e481ea4 .centered-text-area { min-height: 80px; position: relative; } .ua8d0c11e23cf8ce23f9039a36e481ea4 , .ua8d0c11e23cf8ce23f9039a36e481ea4:hover , .ua8d0c11e23cf8ce23f9039a36e481ea4:visited , .ua8d0c11e23cf8ce23f9039a36e481ea4:active { border:0!important; } .ua8d0c11e23cf8ce23f9039a36e481ea4 .clearfix:after { content: ""; display: table; clear: both; } .ua8d0c11e23cf8ce23f9039a36e481ea4 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .ua8d0c11e23cf8ce23f9039a36e481ea4:active , .ua8d0c11e23cf8ce23f9039a36e481ea4:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .ua8d0c11e23cf8ce23f9039a36e481ea4 .centered-text-area { width: 100%; position: relative ; } .ua8d0c11e23cf8ce23f9039a36e481ea4 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .ua8d0c11e23cf8ce23f9039a36e481ea4 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .ua8d0c11e23cf8ce23f9039a36e481ea4 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .ua8d0c11e23cf8ce23f9039a36e481ea4:hover .ctaButton { background-color: #34495E!important; } .ua8d0c11e23cf8ce23f9039a36e481ea4 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .ua8d0c11e23cf8ce23f9039a36e481ea4 .ua8d0c11e23cf8ce23f9039a36e481ea4-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .ua8d0c11e23cf8ce23f9039a36e481ea4:after { content: ""; display: block; clear: both; } READ: Same sex marriagescall to act speech EssayBoth the Maya people and the Egyptian people would conserve their kings inside their pyramids. Now we can see that both the Egyptians and Mayans had similar ways of building their famous pyramids. So next time you see an Egyptian pyramid picture or something about them remember that the Mayans had some similar beautiful structures that you can as well see. Bibliography: Judith Fein (2011) Maya and Egyptian Pyramids: A Hidden Connection?, Retrieved March, 1 2015 https://www.psychologytoday.com/blog/life-is-trip/201110/maya-and-egyptian-pyramids-hidden-connection William (2003) Mayan and Egyptian Pyramids Retrieved March, 1 2015 http://willsproject.8m.com/cc.htm Dee Shneiderman (2006) Ancient Egyptian vs. Mayan Culture, Retrieved March, 1 2015 http://classroom.synonym.com/ancient-egyptian-vs-mayan-culture-21883.html Chris Loethen Pyramids Schmeramids: Why the Pyramids of Egypt and Mesoamerica Do Not Share a Common Source, Retrieved March, 1 2015 http://anth507.tripod.com/pyramids.htm http://www.exampleessays.com/viewpaper/47283.html

The poet Edna Vincent Millay Essay Example For Students

The poet Edna Vincent Millay Essay The poet Edna Vincent Millay uses vivid words and phrases that bring out her attempts to cope with betrayal. This poem is her actual experience as she is trying to move on after the treachery she has faced. She is talks about love, how according to her it comes and goes away so quickly. The repetition of the words Pity me not does affect the structure of the verse. The reader is confused whether she wants them to pity her, or she herself is lost while muddling through this mess. The tone changes subtly as the poem mirrors the head v/s heart situation. We will write a custom essay on The poet Edna Vincent Millay specifically for you for only $16.38 $13.9/page Order now The tone of the very first quatrain is rational. It illustrates that the fluctuation of ups and downs are routine in life. The natural images created by the poet, for instance, the sun which is associated to warmth, Pity me not because the light of day reveal emotions and warmth of love. At close of day no longer walks the sky and as the sun goes, it returns the next day. Pity me not the waning of the moon, this describes the different phases of the moon, the loss of romance and magic crucial in a relationship. These vivacious images help to show a pattern, a natural cyclic process. She continues to be very rational in the second quatrain but as it progresses it becomes emotional as she involves personal matters. She voices Pity me not for beauties passed away by which she means that beauty fades with age as nothing lasts forever. From field to thicket as the year goes by; Something very important she indirectly points out that one needs to give time and attention when in a relationship. She also expresses the tides like physical fervor and when the tide withdraws, resulting a dying of passion. Nor that the ebbing tide goes out to sea. Nor that a mans desire is hushed so soon. this implies that the love fades away. She makes an attempt to generalize in line 8, And you no longer look with love on me. But she feels that life has both positive as well as the negative aspects of it, but love is just momental and losing things is a part of life. Then the violent images in quatrain 3 express her agitation, her emotions strewing fresh wreckage. This have I known always: Love is no more influences her conception of love that it is fragile just like the blossom but the wind crushes it. Than the wide blossom which the wind assails. Than the great tide that treads the shifting shore. This line describes the love that destroys, that is uncertain, the love shifts. The emotional pattern reflects the images just like a cry of pain. The climax of the poem is the last two lines of the poem, the Couplet, Pity me that the heart is slow to learn/ When the swift mind beholds at every turn. This shows that she is extremely exhausted. The first words of the couplet link in with the rest of the poem, and what the first line of the couplet suggests about the poets past experience. The mind knows all this but the heart continues to love. The sonnet form is the Shakespearian form with four quatrains and a rhyming couplet at the end. The way the poem is written and structured with regard to style enhances the fact that she tries to cope with betrayal. Her tools are vivid figurative imagery, setting a mood and tone, by controlling the pace and how the atmosphere created. The harsh alliterations Strewing fresh wreckage illustrates her pain and what she is going through. The fact that she uses simple vocabulary also signifies that she doesnt want to pretend anymore. .ud762934367885c5828c6a953b648f164 , .ud762934367885c5828c6a953b648f164 .postImageUrl , .ud762934367885c5828c6a953b648f164 .centered-text-area { min-height: 80px; position: relative; } .ud762934367885c5828c6a953b648f164 , .ud762934367885c5828c6a953b648f164:hover , .ud762934367885c5828c6a953b648f164:visited , .ud762934367885c5828c6a953b648f164:active { border:0!important; } .ud762934367885c5828c6a953b648f164 .clearfix:after { content: ""; display: table; clear: both; } .ud762934367885c5828c6a953b648f164 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .ud762934367885c5828c6a953b648f164:active , .ud762934367885c5828c6a953b648f164:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .ud762934367885c5828c6a953b648f164 .centered-text-area { width: 100%; position: relative ; } .ud762934367885c5828c6a953b648f164 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .ud762934367885c5828c6a953b648f164 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .ud762934367885c5828c6a953b648f164 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .ud762934367885c5828c6a953b648f164:hover .ctaButton { background-color: #34495E!important; } .ud762934367885c5828c6a953b648f164 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .ud762934367885c5828c6a953b648f164 .ud762934367885c5828c6a953b648f164-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .ud762934367885c5828c6a953b648f164:after { content: ""; display: block; clear: both; } READ: Beloved Essay: Flashbacks EssayThe regular rhythm and rhyme scheme shows how desperately shes trying to understand. The poet hints at wider meaning, which she is going through so much but now she wants a steady regular life.  The meaning of the antithesis in the last two lines is that she goes against what she had agreed with earlier and the effect of presenting it as she does. She felt that the form enabled the poet to challenge her readers presumptions about life.