Like A Virgin

The swift move of narrative voice from Harker to his friends back at home imminently allows room for detailed, yet subtle characterisation. The most prominent being the contrast between Lucy and Mina. Freud's dichotomy; the "Madonna/Whore complex, states that men view women as either non-sexual, sacred love objects, or a promiscuous whore. This theory may be applied to Lucy and Mina.

Lucy's innocence and naivety is portrayed through her "constant dread of wild bulls", introducing narrative irony as she is blissfully unaware of the true danger awaiting. She is the epitome of the Madonna, which is also illustrated through her desire to self improve, and her dedication to perfecting secretarial skills to assist her future husband; "if I can stenograph well enough I can take down what he wants to say". She is the dedicated, devoted sacred love object of a man, Harker, and her non-sexuality is highlighted by the contrasting flirtatious Lucy.

Lucy clearly enjoys the fact she is pursued by numerous wealthy and attractive young men. There is an ambivalence in her attitude that hints at self-indulgent, possibly even promiscuous nature; "horrid flirt", suggesting she symbolises Freud's "whore". This in reinforced at the incident by the castle in Chapter 8.

Stoker trickles in an undertone of sexuality immediately, as Lucy wonders out unaccompanied in the night in just her dressing gown. Mina expresses concern over "what might happen", "gone out as she was"; but her reluctance to distinguish what only highlights again her innocence. The promiscuous nature of Lucy is subtly implied by the suggestion of losing her virginity. Martial undertones are already presented by describing Lucy as a "white figure", conjuring the image of a white bride, and then the penetration by Dracula, and exchange of bodily fluids symbolises a sexual act. This is reinforced by Lucy's physical position at the time of penetration; "half reclining" with Dracula "bending over" her, arousing the image of a sexual position. Also, her "long heavy gasps" after resemble the state of a women after a sexual act. The final hint is the "drop of blood" on her nightdress; symbolising the drop of blood sought after on the bedsheets of a couple who have consummated their marriage. Lucy's symbolic loss of virginity here illustrates her resemblance to Freud's whore.