By Bram Stoker
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Additional info for Dracula (Critical Insights)
But Lucy as we had seen her in her life, with her face of unequalled sweetness and purity" (232). This, therefore, is the strange dichotomy that the vampire establishes: the living woman is full of "sweetness and purity," while the undead vampire is associated with voluptuousness, carnality, and wicked desire. Stoker displaces feminine sexuality and male desire alike, locating them not in the natural realm of human relations and human biology, but in a supernatural and diabolical one. In the normal scheme of things, it seems, Lucy should be entirely sweet and entirely free of the carnal.
Blood & Roses: The Vampire in 19th Century Literature. Ed. Adele Olivia Gladwell and James Havoc. London: Creation Press, 1992. 47-70. Gelder, Ken. Reading the Vampire. New York: Routledge, 1994. Le Fanu, Sheridan. Carmilla, 1872. Three Vampire Tales, ed. Anne Williams. Boston: Houghton Mifflin, 2003. 86-148. Moretti, Franco. " The Horror Reader. Ed. Ken Gelder. New York: Routledge, 2000. 148-160. Nodier, Charles. " Trans. Judith Landry. Blood & Roses: The Vampire in 19th Century Literature. 1821.
For Dracuia, blood is life. This reduction of needs to only blood makes Dracuia the ultimate aristocrat. He has phased out the bourgeois need for food, fancy dress, and servants and, like the ancient lords to their vassals, seems never to die. Though the lord is replaced by his progeny, the change never affects the lives of the vassals—thus A Look at the Critical Reception 49 the sense of immortality. Ultimately, Dracula comes to stand for lineage as surely as he stands for the breaking of Victorian taboos.