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Victorian period discuss
Life as a Victorian woman
Life as a Victorian woman
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In the late 19th century, the “new woman” era originated. These new woman were seen as independent, intellectual, sexual, and free. This was a huge change from before this time. Compared to the new woman, in the Victorian era, the Victorian’s were more seen as pure, innocent, and sweet. This type of woman was depicted as strong, heroic, and steadfast in relationships. The transition of Victorian woman to the new woman era moved toward taking on some of the traditional roles of a man, rather than those that were said to be just “a woman’s job”. As this gained traction this led many men to fear what else that could possibly come from this, the society become shook. The society was seen as a double standard back in the Victorian era, where men …show more content…
In the Victorian culture, it is said that gender roles for women were considered to be pure, sweet, innocent, and having all characteristics of that a mother or a wife would have.
In this novel, Mina and Lucy, both are represented as pure and most definitely reliant on their partners. In the beginning, Lucy Westerna seemed to portray the perfect Victorian woman as Van Helsing says:
She is one of God's women, fashioned by his own hand to show us men and other women that there is a heaven where we can enter, and what its light can be here on earth. So true, so sweet, so noble, so little an egoist
…show more content…
Before her transition, when Harker went missing, trapped in Dracula’s castle, Mina wrote in her Journal about her deep concern for where Harker had disappeared to. Here, she displays how a perfect wife should be. She writes in her journal, “No news from Jonathon. I am getting quite uneasy about him, though why I should I do not know; but I do wish that he would write, if it were only a single line” (81). Mina worries for Harker and cares deeply about his safety as she remains faithful to him throughout the whole time he is away. When Harker finally returns to her, she continues to be loyal and be by his side. One example of Mina’s traits as a “new woman” is the fact she has a job as a schoolteacher, which shows her intellectual abilities and at times can show determination and independence. When Helsing asks Mina to see Harker’s diary to discuss the events leading up to Lucy’s death, it seems that it is more difficult to read than it is for Mina. As Helsing starts to read it he says:
And will you not so much honour me and so help me as to read it for me? Alas! I know not the shorthand.’ By this time my little joke was over, and I was almost ashamed; so I took the typewritten copy from my workbasket and handed it to him.”
The 19th Century is an age that is known for the Industrial Revolution. What some people don’t realize is the effect that this revolution had on gender roles in not only the middle and upper classes (Radek.) It started off at its worst, men were considered powerful, active, and brave; where as women were in no comparison said to be weak, passive, and timid (Radek.) Now we know this not to be true, however, back in the day people only went by what would allow ...
Even though women such as Lucy demonstrate stereotypical female weakness, characters such as Mina defy the conventional submissive female, as an independent woman, a role uncommon of novels in this era. In addition, Mina, in comparison to men, possesses substantially stronger emotional fortitude and controls her emotions, while the men who are supposed to be strong expose emotional weakness and frailty. Ultimately, however, no matter Mina’s intelligence or strengths, the men continually suppress Mina’s vast amount of wisdom in order to maintain their perceived dominance. Nonetheless, Stoker’s messages throughout the novel regarding women silently protest the sexist expectations of the overly limiting Victorian era. Should today’s modern feminists take Stoker’s peaceful approach and protest subtly hoping for long-term change? Or should feminists act with violent protests in hope for prompt change? Gender equality will not happen overnight, however, instead of rushing minuscule modifications with violent protest, society must patiently wait for productive and peaceful change, in order to prevent an even larger
Mina clearly demonstrates her awareness and knowledge of the New Woman movement; whereby she exhibits her familiarity of the debate by referring to the term “New Woman” twice in her journal entries. Grant Allen’s “purity school” New Woman consisted of female characters that expressed particular interest in social problems while still maintaining their propriety. This sense of knowledge is exhibited when Mina attempts to reassure the oversensitive Lucy as they stopped for a “severe tea” (Stoker 141): “I believe we should have shocked the ‘New Woman’ with our appetites. Men are more tolerant, bless them!” (Stoker 141). The New Woman was a common subject of controversy in journalism and fiction (Senf 34). Mina’s preliminary reference merely characterized her as a well-informed young woman of the 1890s. Mina remains neutral and simply suggests her familiarization with the New Woman’s assertion on greater freedom and physical activity. Bicycle riding, badminton playing and bloomer wearing women may have shocked certain conservative people of the 1890s, but they were not enough to worry Stoker’s heroine (Senf 34). Nor was it a shock to her that the New Woman was often characterized as a professional woman who was capable of financially supporting herself. After all, Mina easily fell under this category of the New Woman; her career was not an archetypal Victorian housewife. She was often “overwhelmed with work […] [because] the life of an assistant schoolmistress [was] sometimes trying” (Stoker 83). Mina is able to support herself and by using her note-taking talents she is also able to support her husband too, outside of her domestic role. This notion was revolutionary at the time. Gail Cunningham notes that while independence and in...
During the Victorian Era, society had idealized expectations that all members of their culture were supposedly striving to accomplish. These conditions were partially a result of the development of middle class practices during the “industrial revolution… [which moved] men outside the home… [into] the harsh business and industrial world, [while] women were left in the relatively unvarying and sheltered environments of their homes” (Brannon 161). This division of genders created the ‘Doctrine of Two Spheres’ where men were active in the public Sphere of Influence, and women were limited to the domestic private Sphere of Influence. Both genders endured considerable pressure to conform to the idealized status of becoming either a masculine ‘English Gentleman’ or a feminine ‘True Woman’. The characteristics required women to be “passive, dependent, pure, refined, and delicate; [while] men were active, independent, coarse …strong [and intelligent]” (Brannon 162). Many children's novels utilized these gendere...
Mina is also vastly unlike the contemporary female Gothic tropes due to her financial independence. Although Mina could be described as the ideal Victorian lady, Stoker also managed to include qualities associated with the much feared and controversial New Woman in her. She and Lucy mock the independence of the New Woman and joke that the New Woman will try to introduce the inversion of gender roles that contemporary society feared;
Upon hearing the term, “The Victorian Woman,” it is likely that one’s mind conjures up an image of a good and virtuous woman whose life revolved around the domestic sphere of the home and family, and who demonstrated a complete devotion to impeccable etiquette as well as to a strong moral system. It is certainly true that during Victorian England the ideal female was invested in her role as a wife and a mother, and demonstrated moral stability and asexuality with an influence that acted as her family’s shield to the intrusions of industrial life. Yet despite the prevalence of such upstanding women in society, needless to say not all women lived up to such a high level of moral aptitude. Thus, we must beg the question, what became of the women who fell far short from such a standard? What became of the women who fell from this pedestal of the ideal Victorian woman, and by way of drunkenness, criminality, or misconduct became the negation of this Victorian ideal of femininity?
Lucy Westerna is the obtuse, innocent, fragile, yet sultry siren of male desire; her aggressive sexual power threatens the Victorian man, making her not quite pure enough of mind or strong enough of will to be saved. On the other hand, Mina Murray Harker is a clever, unadulterated, strong, yet motherly woman, the kind of woman all women should strive to be. Therefore, she is deemed superlative and worthy of salvage. Stoker illustrates Victorian women in what is possibly his own view and most likely the view of most men of his time. There are those women who are to be vehemently desired, yet never acquired, and those who are to be acquired with practical desire.
For the most part he carried the same views of women from the 19th century, but by giving Mina such an important role he also saw that maybe the?New Women? would not be such a threat to a male-dominated society. I really did enjoy reading this novel. I was surprised to find out how many words and meanings I did not understand until clarified, that Victorians understood. For example, giving someone your blood through a transfusion was considered so intimate that you were then seen as married. I would like to have spent more time learning about science during this particular era and how patients like Renfield were treated.
Mina Harker is the embodiment of the stereotypical Victorian era woman. Dr. Van Helsing , a Dutch professor described her as a heavenly woman. Dr. Van Helsing said "'She is one of God's women, fashioned by His own hand to show us men and other women that there is a heaven where we can
Reagin, Nancy. “Historical Analysis: Women as ‘the Sex’ During the Victorian Era.” Victorian Women: The Gender of Oppression. Pace University, n.d. Web. 23 Feb. 2014.
... because Mina believes that she is to fulfill a duty to her husband, rather than living life for herself. Throughout the novel, Mina’s physical appearance is observed upon by the standards of a patriarchal system of beliefs. After Mina had lived in Dr. Seward’s asylum for a while, Mina, like Lucy, is attacked by Dracula and starts to transform into a vampire (Stoker 283). While trying to bless Mina, Van Helsing burns a mark into her forehead which caused chaos of emotion from the characters (Stoker 296). Van Helsing responds to this occurrence by saying “And oh, Madam Mina, my dear, my dear, may we who love you be there to see when that red scar, the sign of God’s knowledge of what has been, shall pass away and leave your forehead as pure as the heart we know” (Stoker 296). Similar to Lucy’s case, Mina is seen as being pure before she was changed into a vampire.
During the late 1800's, when this novel takes place, the woman's Suffrage movement was gaining momentum in Europe. It is said that Mina read about these new ideas and seemed to wonder how events in her own life would be seen by the New Woman. Including whether they would think she may eat to heartily for a woman. Although she is interested in the concepts, she does not see herself as living this way. Any new skills she learns are for the b...
“Current views concerning Victorian femininity continued to be dominated by the 19th century concept of domestic purity and the association figure of the ideal woman, the ‘angle in the house’, carrying out her mission as wife, mother and daughter” (Swisher). During this era men had ...
The Victorian era established strict guidelines and definitions for the ladies and gentleman. Noble birth typically defined one as a "lady" or a "gentleman," but for women in this time period, socioeconomic rank and titles held no prestige or special privileges in a male-dominated society. Commonly, women in this era generally tried to gain more influence and respect but to no avail as their male counterparts controlled the ideals and practices of society. Women were subject to these ideals and practices without any legal or social rights or privileges. In the literary titles by Frances Power Cobbe, Sarah Stickney Ellis, Charlotte Bronte, Anne Bronte, John Henry Cardinal Newman, Sir Henry Newbolt, and Caroline Norton, the positions, opinions, and lifestyles of men and women during the Victorian era were clearly defined. Men in the Victorian era were raised to be intellectually and physically sound in order to be skillful in the workplace and the military while women were typically restricted to fulfilling roles within the home. As the female desire for equal rights and representation under the law mounted, an international vigor for female equality would produce a call for equality.
There was an inborn sense of subordination of women throughout the Victorian era, and rather significant similarities between housewife and servant. This idea that women were not seen as an equal towards men can be traced back to the Victorian English natural hierarchy. It was their belief that those had to serve and owed much to the people superior to them, i.e. kings to gods, lords to kings, and servant to master, ect. (Davidoff, 408). To be born a woman, was to be under complete control of her husband, much like to be born a slave confined to their masters’ demands and wishes (Davidoff, 408). The difference between wife and slave was Victorian England’s social concepts of servitude. Women moved from paternal control in their private home, into a lifetime of servitude of their husband’s home, therefore; women knew their duties were fo...