Mina and Lucy are pure from the beginning of the novel, and untouched by Dracula. Their initial characterizations play on the stereotypes of the ideal “mother” and “wife,” respectively, yet once Lucy dies, all that remains is Mina’s chaste model of the perfect mother. She mothers the men in the group, going as far as embracing Arthur Holmwood as he weeps for his diseased fiancée, Lucy. Lucy also offers to comfort Quincey P. Morris, another of Lucy’s suitors. Moreover, the men in the group praise Mina for her intellect; Van Helsing goes so far as to state “She has man 's brain, a brain that a man should have were he much gifted, and a woman 's heart” (Chapter 18, 30 September, Dr. Seward’s Journal). Lucy can type, follows her husban...
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...o this child, despite his usurping of the “mother” role in the previous scene. Since Dracula takes the role of both mother and father, he demonstrates that in parenthood, he does not have a defined gender. He both appropriates Mina’s defining characteristic, and defiles it, thereby reinforcing the idea that liminal characters, not men, pollute women.
The policing of the female sexuality is another way that women are subject to gendered expectations in this novel. Sex and sexuality are not even mentioned in the Lucy’s and Mina’s characterizations before their encounters with Dracula. Mina remains sexually passive throughout the novel, only to give birth to her son Quincy, and even then, Stoker did not mention any sexual encounters between Mina and Jonathan preceding Quincy’s birth. However, once succumbed to Dracula’s influence, Lucy has sexual outbursts wherein she
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