In chapter 17, the passage I would like to focus my attention on is from page 190 to 192, at the same time

look at the chapter as a whole. It brings about a variety of interesting elements, which have much to do with societys attitude and expectations of women and men. To begin with, Stoker subtly reveals certain characteristics of the New Woman, which is a contrast to the traditional views of the women during the 19th century. The paradox of these two different natures of women is implicitly defined in Mina Harkers character. It is ironic that she comprises both of these characteristics due to her love and devotion for her husband (Jonathan Harker). For example, I was sick with apprehension demonstrates the typical response of a wife when their husband is absent. They feel distressed while they are away and always think of their return. On the other hand, Mina exemplifies many new woman traits, she is able to think independently and act on it. Earlier in the novel, we know that she learns shorthand because of her desire to help Jonathan in the future. Once again, out of her own will, she collated all the account of events that had taken place recently. We notice that many of the male characters comment on their surprise on Minas ability to take initiative, for example, What a good thing that Mrs Harker put my cylinders into type! (Dr Seward, page 187), Did you write all this, Mrs Harker? (Lord Godalming, page 190) and if we read further into chapter eighteen, Van Helsing comments on Mina as well, mans brain (page 195). Mina is found to be more advanced than the women of her time are. She uses a typewriter, which was a new invention during Stokers time and her great interest of the phonograph that Dr Seward uses shows that her mind is able to grasp new ideas that are more refined and is keen to learn new things, I felt quite excited over it (page 183). It is another feature of the new woman. She also manages to highlight the boundary between human and animal form. The way she describes Dracula shows her understanding and comprehension of what kind of creature they are dealing with. It also seems to underline the boundary between the natural and unnatural, it is explicitly made in her comment on page 190, this Thing is not human not even beast. Mina certainly knows they are battling a strange force. The new woman figure consists of two features, these are social autonomy as demonstrated by Mina, and then there is sexual autonomy, which is in fact illustrated by Lucy. From the very start, Lucy is presented as the temptress. She exhibits personality traits potentially dangerous in women. She often teases and falls into the traditional Victorian female role more than Mina did. Her vanity and superficiality is shown very clearly in a letter to Mina on page 48, THREE proposals in one day! Isnt it awful! ... dont tell any of the girls, or they would be getting all sorts of extravagant ideas. It appears that as a mortal, Lucy was already a sexual being, after her transformation into a vampire it seems to only accentuates her seductiveness, making her a quite a threat to men. The three vampire women from page 33 were sexually aggressive and it suggests that Dracula is not necessarily the one to cause the sexuality but release it in others. He releases sensuality in the women and allows them to carry out their sins as they feed on human life. If we refer back to Gothicism, then this is considered as deserved punishment to those women who allowed themselves to be seduced. The actual act of drawing blood is akin to the vampire seducing the victim and hence they were engaging in a sexual act. The result is the corruption both moral and physical of the victim. Lucy demonstrates the sexuality that would be perceived as an attribute of the new woman. She becomes wanton, seductive, nightmare of Lucy. The direct contrast of Lucys nature from before and after her alteration only proves that the

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Victorians ideal women are very different and distinct in comparison to the new woman image. Both Mina and Lucy are similar; they both display traditional aspects of Victorian feminism. Mina steps back submissively when the men ask her to not to worry and allow them to destroy this monster (page 195). Yet both also show traits of the new woman, Lucy show the sexual side, and Mina is quick to favour the social side. There is the rejection of maternity as well in the new woman. Lucy and Mina contrast here. Lucy uses the advantage of being a woman as she lures children in order to feed on, yet on page 191, we read into Minas thoughts, We women have something of the mother in us that makes us rise above smaller matters when the mother-spirit is invoked. She is quite conscientious of this maternal instinct inside of her when she is comforting Arthur and uses it for a good purpose, unlike Lucy. John Ruskin made a point on gender ideology where middle class women in particular had limited options. It was towards 1880-90 that women actually began to rebel against such restrictions. They challenged the views of marriage laws, and demanded better education; it was the time where women wanted to decide what their own boundary limit. Minas character is made to be a stronger and more wilful. In many ways, she can be linked to the women suffragette movement and within social context; to be able to read into the thoughts and movements of such a character would have effectively influenced some women during the nineteen century. The passage on page 190 to 192 uses highly emotive language to engage readers with sensitivity and compassion towards the Arthurs loss. This scene is a good insight into how men were perceived to be and what was expected of them during the Victorian period. For example, it is obvious how Arthur had bottled much of his bereavement and sorrow. This not being able to display emotion is believed to be one of the characteristic of men. They were not allowed to be so emotional. I suppose there is something in womans nature that makes a man free to break down before her and express his feelings on the tender or emotional side without feeling it derogatory to his manhood, emphasises how men thought revealing their emotions would tarnish their manhood or pride. The statement by Jonathan, No one but a woman can help a man when he is in trouble of the heart. Van Helsing compliments Mina by embodying her of two high qualities of both sexes, for example, man's brain and a woman's heart. His compliment reflects the traditional Victorian stereotypes of men and women. It would be more in line with modern sensibilities to say that Mina symbolises both the masculine principle of rationality and the feminine principles of empathy, love and compassion. It is evident in this chapter, since we know she is deeply moved by Seward's account of Lucy's death but she also insists that the information should be shared among their friends in order to gain advantage over the Count, yet Dr Seward wanted to keep it a secret due to his overwhelming grief. It is apparent that womens power or influence is to be feared. With them having control over both the social and sexual autonomy, it is not ambiguous to see how they can use it to control men. In fact, if we look closely, Mina already demonstrates this with the male characters of Arthur, working so earnestly and so energetically, thataccept your ideal blindfold (page 190) and Dr Seward, I gave in at once to her wishes (page 185). In concern to Lucy, we see she tries to attempt to hypnotise and seduce men through her beauty and sexuality.

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