Examples Of Sexuality In Dracula

Sexuality in Dracula

When reading Dracula, most are overwhelmed with a sense of the carnal. Vampires in the modern day are often seen as symbols or beings of sexuality. The same is true of Dracula, although using less direct language. Due to confines of the era of writing, Bram Stoker uses metaphor and symbolism to express sexual encounters.

In Dracula, sex is never directly referenced. That is a surprising fact, as most consider it a novel almost entirely devoted to sexual expression. This is primarily due to the era of writing. In the 1890s, blatant discussion of sexuality was forbidden, or in the very least, frowned upon. That is not to say novels of this time were devoid of sex, it just had to be written in a concealed fashion. Blood drinking, blood transfusions, and slaying of a vampire become key modes of describing sex scenes.

The act of blood drinking has some clear correlations with sexual intercourse.

Whenever Dracula feeds, the words used have sexual undertones. This can be seen when Lucy sleep walks, and Dracula is bent over her drinking her blood. Lucy and Mina agree never to talk of this night (78-80). Another example of blood drinking as a sex act is visible in the disturbing scene in which Dracula forces Mina to feed on his own blood, from his chest. “With his left hand he held both Mrs. Harker’s hands, keeping them away with her arms at full tension; his right hand gripped her by the back of the neck, forcing her face down on his bosom.” (242). This passage has the tone of rape, and oral sexuality. This method allows Stoker to characterize the Vampire as a form of sexual predator, while adhering to the confines of his

generation.
Another illustration of eroticism in the novel is the blood transfusions given to Lucy. As each man gives Lucy blood, the language to describe the action signals the reader to erotic metaphor. Arthur is the first to give Lucy blood, as her fiancé (106). As her condition worsens, Dr. Van Helsing must use Dr. Seward’s blood, saying “There is no young Arthur here now; I have to call on you yourself this time, friend John,” (110). The doctor than explains that he needed less blood from John because Arthur is “Her lover, her fiancé,” (110). This continues as Quincey Morris, and even Dr. Van Helsing give their blood (116, 128). These sections suggest the blood transfusions were more intimate than simply medical.
One more form of sexual interaction is present in the final destruction of Lucy. Dr. Van Helsing, Dr. Seward, Arthur Holmwood, and Quincey Morris trap Lucy in her coffin, and intend to put her to her eternal rest. Dr. Helsing suggests Arthur do this, as he was her lover. Arthur agrees, and acts as Helsing tells him, in order to extinguish the beast Lucy has become. As he does so, Stoker uses peculiar language, correlated with the act of intercourse. “The body shook and quivered and twisted in wild contortions […] but Arthur never faltered,” (185). The stake is driven through her heart, and through a holy act of redemption, her soul is saved. This interaction has transparent suggestion to sexual relations.
Through descriptive language and symbols, eroticism is seen throughout Dracula, regardless of the period’s negative stigma towards sexuality. Bram Stoker did not refrain from including it; he simply disguised it by assigning alternate acts. The theme of sexuality is heavily intertwined with vampire literature, and Dracula is no exception. The vampire presents itself as a sexual being. These themes are a part of what makes the vampire a vampire, across the ages.