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Beeton told women how to manage their homes, and Hannah Mores improving tomes were forced upon young female readers.Toward the end of the nineteenth-century, Victorian fears about women's behavior evolved into a national debate known as "The Woman Question," which encompassed issues such as property ownership, marriage contracts, inheritance law, and female sexuality, among others.
So, in Dracula’s appearance, one will find further affirmation that Dracula may serve to represent the devil.
Dracula’s actions are also significant in explaining how he might represent the evil of the devil in that Dracula’s actions are perversions of Christian ideals or beliefs, just as the devil.
Van Helsing uses various Christian symbols to defeat Count Dracula.
Given that Van Helsing and his posse are able to use the Christian imagery to drive Dracula back to Castle Dracula and eventually defeat him, Stoker might be suggesting that the power of the Christianity and the Christian God will always prevail in a match against evil and the devil.
Interpretations of a similar term in the Hebrew Bible, translated in the King James Version as "Lucifer", led to a Christian tradition of applying the name Lucifer and its associated stories of a fall from heaven to Satan.
Most modern scholarship regards these interpretations as questionable, and translates the term in the relevant Bible passage (Isaiah ) as "morning star" or "shining one" rather than as a proper name, "Lucifer".his ears were pale and at the tops extremely pointed” (Stoker).One will also find that Dracula could also take the form of a bat, which presumably fulfills the winged aspect of the devil. Seward’s diary, Seward asks Van Helsing “Do you mean to tell me that Lucy was bitten by such a bat; and that such a thing is here in London in the nineteenth century? To which Van Helsing replies, in an extended way, that this is true.Victorian Sex and the (Mostly) Single Girl The concept of the Angel in the House--the pure, virtuous, non-sexualized female--is one of the most monolithic and immobile depictions of Victorian womanhood.First labeled as such by Coventry Patmore in his 1854 poem, The Angel in the House (later expanded in 1862), Victorian women, so it would appear, were either genteel young ladies or bad little children, either supportive helpmates or destructive slatterns, either chaste paragons of morality or lost and loose women.Moreover, we see depictions of vampires and femininity in our current culture, as well, in places such as Buffy the Vampire Slayer (both the television show, which ran from 1997-2002 and the comic book series, which launched in 2007) and The Twilight Saga films (2008-2012).Vampire stories might have predated Dracula, but it was Bram Stokers novel that thrust the genre into the pop culture spotlight in both the late nineteenth-century and ensured its enduring popularity today.As Bowena Mohr writes, "whatever is at stake in Stoker's novel--Englishness, class stability, gender and sexual identifications--it is a text that anxiously defends the social, political and sexual ideals of a conservative, middle-class, masculinist ideology" (80).Constructs of feminine behavior, overlapping with the burgeoning field of psychology (marked by Breuer and Freud's 1895 Studies on Hysteria), created a fertile ground on which Dracula was created and can be interpreted. While Patmore might have created the label, he was not the only one who gave direction to England's women.Sarah Stickney Ellis wrote a series of conduct manuals, Mrs.