Dracula reflects both the author's view, as well as the actual underlying gender relation issues of the time. The idea of the naturally assigned roles of the genders and what kinds of behaviors were expected from each was a prominent issue discussed not only in the literary field, but also the scientific and philosophic. But Stoker himself seems to be a bit confused with his own viewpoint in this matter, for in many instances in Dracula, he contradicts the popular view of the distinctness of gender boundaries and obscures them while at other times reinforcing these views.
The Common Victorian View
In Appendix G: Gender of the Penguins Classics edition, there are many articles that relate to the common viewpoint that is portrayed at times in Dracula from respected Victorian authors, historians, and scientists, as well as Stoker himself. They claim that these given stations were correct and natural, and that a maintenance of them was vital to the success of gender relations and even to society as a whole. Those who overstepped these boundaries were seen as degenerate and aberrant.
John Ruskin describes the common belief of the Victorians on the situation of the sexes when he says that "man's power is active, progressive, defensive...the woman's power is for sweet ordering, arrangement, and decision... [she is] incapable of error" (Appendix 473-474).
Although clearly defining his viewpoint on sexuality as traditional, the subtleties in Stoker's novel put a more complex light on his true beliefs. Gender blurring is shown by Mina Harker and Lucy Westenra, but also by the men in the novel.
Jonathan Harker in the Submissive Role
In Jonathan Harker's experience with the female vampires in Dracula's castle, the sexual roles are reversed, with Jonathan lying helpless on the couch and actually fainting, while the three women are in control and imposing the fear (Stoker 45-47). The blonde vampire actually approaches Jonathan sexually, while he lays entranced on the couch (a woman who takes control of her sexuality is evil).
He is saved only by Count Dracula, who also seems to put Jonathan in a feminine position: "How dare you touch him, any of you? …This man belongs to me! …Yes, I too can love…I promise you that when I am done with him you shall kiss him at your will" (Stoker 46).
Van Helsing's Feminine SIde
There are also other men in the story taking on feminine qualities. Laycock describes one of women's main faults in Mind and Brain: “[woman] is quick in perception...when her judgment is not affected by her feelings... [she is] of a nervous temperament...and more liable to all diseases of excitement [than men]" (Appendix 477-478).
This feminine feature is seen in Dr. Van Helsing after Lucy's (first) death while in the carriage with Dr. Seward. Van Helsing went into hysterics, laughing and crying, "just as a woman does" (Stoker 186). Here, Stoker is once again giving a man feminine characteristics.
Although directly stating a viewpoint that would coincide with the norms of the period, he seems interested in blurring the boundaries of gender. It is unclear exactly why he does this, but it could be reasonable to conclude that in an age of repression, people desire to explore the things restricted to them, and Stoker was no exception.
Stoker's View
These contradictions in Stoker's own work makes it seem that not only was Stoker a great student of human sexuality, but also that he was unsure of his exact views on the subject. It can also be seen as a reflection of the entire culture. The fact that Dracula was such a success could lend itself to the fact that people were intrigued by their sexuality, although it was "wrong." Stoker is in line with Victorian beliefs when his novel is taken at face value. But Stoker also seems to share the underlying curiosity of the age, giving alternative views on sexuality right under the radar, while maintaining the accepted view on the surface.
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