Bram Stoker uses the characters of Lucy Westenra and Mina Harker in his novel Dracula to explore the essential attributes of a “new woman” in Victorian England. Written in the late 19th century, this novel emerges from a time when long-standing traditions of men being perceived as superior and acting with authority over their subservient female counterparts were changing. Forces such as the suffragette movement drove these changes, and from this was born the concept of the “New Woman” which was based on two important changes in women's values: an increase in intellectual inquiry and greater sexual autonomy. The destinies of Mina Harker and Lucy Westenra after their encounter with Dracula differ due to the different characteristics of the “New Woman” they embrace. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essayMina Harker is the representation of an "ideal" woman in this novel. First, she is instinctively maternal and caring, as evidenced by the scene in which she comforts Quincey Morris and writes: “We women have something of the mother in us that makes us rise above the smallest matters when the maternal spirit is invoked; I felt the head of this large, sorrowful man rest on me, as if it were that of the child who might one day lie on my breast, and I stroked his hair as if he were my own son” (230). Through the recognition of the presence of an intrinsic "mother-spirit" within her, Mina suggests that part of her feminine identity lies in being a mother. The presence of someone in distress automatically evokes a maternal response within her, and when this response occurs, the act of mothering overrides all other impulses. Second, Mina maintains throughout the novel the belief that men are superior, even exclaiming at one point, “Oh, thank God for good, brave men!” (311). Mina's understanding of her social position as inferior to the men in her life ensures that she does not threaten their power. During the Victorian era, the only aspect of life in which a woman was believed to be superior to a man was her ability to raise children. Through Mina's maternal instincts, she demonstrates that she has the ability to become a wonderful mother, and combined with her non-threatening attitude towards men, Mina proves to be the ideal Victorian woman. However, it also embraces aspects of the New Woman. Mina is familiar with the advanced technologies of the time, such as typewriters and shorthand. She also educates herself, even memorizing train times "so that [she] can assist Jonathan in case he is in a hurry" (186). Mina's intellect reflects the characteristics of the “New Woman,” but she approaches her knowledge in a way that also preserves traditional Victorian values. Instead of using her intellect to increase her independence, Mina educates herself to keep up with her husband and to assist him whenever possible. In doing so, she also ensures that she does not challenge the superiority of the men in her life, but rather works to integrate their power. On the other hand, Lucy embraces the aspect of the New Woman that requires greater sexual autonomy and Stoker suggests that this is ultimately the reason for her inability to survive. She is described as "voluptuous" throughout the novel and makes inappropriate comments, such as "why can't they let a girl marry three men, or everyone who wants her, and save herself all this trouble?" (59). This suggestion that she wanted to marry three different men would have been considered extremely controversial in Victorian times. ThereLucy's sexuality threatens the power of men, as evidenced by her description of Quincey Morris proposing to her and how he "began to pour out a perfect torrent of lovemaking, putting his heart and soul to [his] feet" (58). Quincey is vulnerable in this position because Lucy has all the power, and his vulnerability is reinforced when she denies his proposal, a dynamic that occurs again when she rejects John Seward. The fact that three men proposed to Lucy in one day suggests that she had been in contact with all three at the same time, which demonstrates her overtly flirtatious personality. Furthermore, Lucy shows no maternal instincts throughout the novel. In fact, once transformed into a vampire, she hunts children, and throws a newborn baby to the ground, revealing that not only is she unable to express her maternal instincts, but that she has none at all. This makes Lucy incompetent in the one aspect of femininity she should excel at, suggesting that promiscuity and motherhood cannot coexist. Likewise, Lucy's involvement with three men at the same time and her desire to marry all three demonstrates the negative consequences of a woman having a more open sexuality, as it threatens the superiority of men over women that Stoker believed was crucial to the maintenance of the social order. The different reasons why Dracula attacks each character also function as a reflection of the New Woman's traits. Lucy, who is Dracula's first victim, is attacked due to her vulnerability. Her less restricted sexuality leaves her more exposed to men, and the ease with which Dracula is able to visit her at night proves this. The night after Lucy was bitten by Dracula in the cemetery, Mina says that “twice during the night [she] was woken up by Lucy trying to get out. He seemed, in his sleep, a little impatient to find the door closed” (93). Lucy's unconscious attempts to meet Dracula show that she easily gives in to complacency and is not fighting against his visits. Mina, on the other hand, is deeply opposed to Dracula's attacks. As soon as she discovers that she has been bitten, she exclaims: “Impura! Impure! I must not touch him or kiss him again” (284). His immediate disgust and reluctance are the opposite reaction to Lucy's. Unlike Lucy, Mina decides to fight against what is happening instead of succumbing to Dracula's desires, and this is ultimately why their fates are different. Mina survives the attacks thanks to her socially correct behavior, while Lucy dies due to her lack of it. . Through her organization, intellect, and resourcefulness, Mina is able to assist the men in their hunt for Dracula. It is she who collects all the documents and evidence that help organize the narrative of the hunt into a collective body. He also uses his psychic connection with Dracula to the men's advantage, thus turning his misfortune into a major asset. Lucy, on the other hand, is completely helpless. She relies entirely on men to keep her safe and is unable to help her in any way. She quickly becomes evil, and her "sweetness is described as turning to adamantine, heartless cruelty, and purity to voluptuous wantonness" (211). This passage clearly illustrates that Lucy was unable to defend herself from the effects of vampirism and that she herself fell into that evil. Due to Lucy's inability to fight Dracula's influence, Stoker suggests that when a woman embraces her sexuality, her morals weaken. While Lucy succumbs to the descent into monstrosity, Mina is able to fight her. Her strong morals allow her to prevent Dracula's visits and keep her soul pure, despite being.