A Vampire in the Mirror: The Sexuality of Dracula Author(s): John Allen Stevenson Reviewed work(s): Source: PMLA, Vol.

103, No. 2 (Mar., 1988), pp. 139-149 Published by: Modern Language Association Stable URL: http://www.jstor.org/stable/462430 . Accessed: 15/11/2012 12:58
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JOHN ALLEN STEVENSON

A Vampire theMirror: in The Sexuality Dracula of

EAR THE END of Dracula, as theband of vampire hunters tracking countto is the hisCarpathian lair,Mina Harker implores herhusband killherifherpartial to transformation intoa vampireshould become complete. Her demand for this "euthanasia" (the phrase is Dr. Seward's[340]) is itself but extraordinary, equally interesting thewayshe defines positionand is her theduty themenaroundher:"Think,dear, of that there havebeentimeswhenbravemenhavekilled their wives and womenkind, keepthem to from falldutytowards thosewhomthey love,in suchtimes of soretrial!"(336). Whyis this"duty"incumbent on "brave men"?Why "wives are and womenkind" a treasure better destroyedthan lost to the "enemy"?In thecontext BramStoker's of it novel, is evident thatthemercy implied sucheuthanaby sia is notsalvation from loathsome the embraces of a lewdforeigner. is too late forthat.Mina, after It all, has alreadybeentheobjectof Dracula's attention. The problem one of loyalty: dangeris is the not thatshe willbe capturedbut thatshe willgo willingly. makesthisclear: "thistime, itever She if
come, may come quickly . . . and . . . you must ing into the hands of the enemy. .
.

. It is men's

ThatDraculaconcerns competition between men for women hardly questioned-passages can be like these can be multiplied almost indefinitely. But whatis thenature thatcompetition? of Certainly, a number readers of haveagreedon one interpretation.As they wouldhaveit,thehorror feelin we contemplating Dracula is that his actions,when strippedof displacement and disguise,are fundamentally incestuous thatStoker's and novelis finallya rather transparent versionof the "primal horde"theory Freudadvanced-onlyaboutfifteen years after publication thenovel-in Totem of and Taboo.' According this interpretation one to (as adherent it,"almosta donneeofDracula critihas cism"[Twitchell, LivingDead 135]),thecount,undeniably longinthetooth, to attempts hoardall the availablewomen, leavingtheyounger generation,

you.

lose no timein usingyouropportunity. such a At time,I myself mightbe-nay! if the time ever comes,shall be-leagued with yourenemy against you" (337). Kill me, she says,beforeI can betray

his "sons," no recourse to riseup and killthe but for wicked "father," thusfreeing women themthe selves.The noveldoes concernhow one old man withfour he ("centuries-old," tellsus) struggles youngmen(and another old, but good, man,Dr. VanHelsing)for bodiesand soulsoftwoyoung the (Twitchwomen. to callthatstrife But intrafamilial ell, DreadfulPleasures 139) or to say thatall the "as characters, including Dracula,arelinked membersof one family" 428) seemsto be (Richardson moreof a tribute theauthority to psychoanalysis critics thanitis an illuminatenjoys amongliterary of narrative. ingdescription Stoker's I wouldliketo rethink waysexualcompetithe in the tionworks Dracula from perspective that of anthropolfrequent antagonist psychoanalysis, of is these universalizogy.Nowhere thegulfbetween ing disciplines greater, perhaps,than it is on the A subjectthatobsessesthemboth,incest.2 good deal ofrecent work argues that, as anthropological one prominent scholar putsit,"humanbeings[do] to notwant commit incest thatmuch"(Fox,Red all in Lamp 7). My intention thisessayis to applythis modelof humandesire Dracula to anti-incestuous intheplaceofthemore Freudian model. customary As Mina's remarksabove indicate, the novel the insistently-indeed, obsessively-defines vamas pirenotas a monstrous father as a foreigner, but and besomeonewho threatens terrifies precisely In it cause he is an outsider. otherwords, maybe fruitful reconsider to Stoker's compelling freand in of retoldstory terms interracial sexual quently strife. competitionratherthan as intrafamilial Dracula's pursuit Lucyand Mina is motivated, of notbytheincestuous greedat theheartof Freud's for but appetite differscenario, byan omnivorous of His ence,fornovelty. crimeis notthehoarding incest a sexualtheft, sinwecan term but excessive a the of exogamy. Although old counthas women his in interested thewomenwho own,he is exclusively can belongto someoneelse. This reconsideration of yielda fresh appreciation theappeal of Stoker's and can suggest story waysin whichthenovelemof bodiesa quitepowerful of imagining thenature cultural and racialdifference. this Beforeexplaining how Dracula represents kindof exogamous I briefly threat, wantto review

139

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140

A Vampire the Mirror:The Sexualityof Dracula in

if nothing itis notto turn good Englishwomen like their ownkindand cusLucyand Mina awayfrom toms.Mina's fear, recall,is thatshe "shall be we . . . leaguedwithyourenemy againstyou." Whatsortof enemy, foreigner, stranger Count is Dracula?I haveclaimed thatinterracial sexualcompetition fundamental theenergies is to thatmotivate this novel, but in what way are vampires another"race"? As a rigorous scientific concept, raceenjoyslittle credence today, despite many the as attempts-particularly partof the nineteenthzeal forclassification-to elevateit to a century scienceinvolving criteria jaws, cheeklike physical and so on. It is,however, bones,cranialcapacities, a convenient to the metaphor describe undeniable human to tendency separate "us" from An "them." idea like race helps us grapple with human otherness-the fact thatwedo notall look alikeor believealike or act alike. Dracula is, above all, in strangeto those he encounters-strange his in habits,strange his appearance,strange his in physiology. one point,Van Helsingcalls him At "theother"(297), and thecompetition women for inthenovelreflects conflict a between that groups define themselves foreign each other. use as to My of theterminterracial, then,is a wayto speak of whathappenswhenanytwogroupssetthemselves at odds on thebasis of whatthey as differences see intheir fundamental identity, that"racial,"ethbe nic,tribal, religious, national,or whatever.4 The problemof interracial competition would haveprobably in had an especialresonance 1897, the yearDracula appeared. For severaldecades, Great Britain had been engaged in an unprecedented of program colonial expansion:four and one quarter million addedto squaremileswere the empirein the last thirty yearsof the century alone(Seaman332).British of imperialism, course, was notnew, was suspicion foreignersnovnor of a as eltyin a country where, one eighteenth-century witput it, "Beforethey learnthere a God to be is learnthere Frenchmen be are to worshipped, they detested" (qtd.inPorter Yetthelatenineteenth 21). saw of century theriseof thatgreat vulgarization evolution racist so(and powerful rationalization), cial Darwinism, heardDisraelisay,"Allis race; and there no other is truth" (qtd.inFaber59). Dracula's insistence theterror necessity racialstrugon and of gleinan imperialist context count, (the after has all, invaded Englandand plansto takeitover)must reflect thathistorical frame. emphasis thisesin My is novel a representation as say, however, on Stoker's

ideas about marriage somebasic anthropological tarelate theincest to as customs, particularly they an as was once imagined, absoboo.3While not, the of luteuniversal humanbehavior, taboo is very diversity, and variousbenefits-genetic common, of theexistence socifamily peace, social stability, ascribedto it. More relevant etyitself-havebeen is of to Dracula thantheorigin thetaboo,however, Sex thatis one result. theso-calledruleof exogamy but are of and marriage, course, notthesamething, relation, a is typically partof themarital sincesex the againstsexwithin famthetaboo's injunction out." Anthroilymeansthatpeople must"marry pology has devoted considerable energy to rules and arbitrary the discovering remarkable often to governjust which has established humanity and henceforbidwomenare "inside" thefamily availden and whichare "outside" and therefore But the word exogamyis also somewhat able. place significant becausemostcultures misleading, how farout a matemaybe sought. limitations on had As RobinFox says,"Of course,[exogamy] to the . . . Groupsspeaking havesomeboundaries. waysmight samelanguageand beingalikein other well exchangewivesamong themselves-butthe connubium stoppedat theboundariesof thelanmarked 'us' or or territory,colour, whatever guage, of offfrom'them"' (Kinship78). The exchange of has theessence exogamy itslimits. women thatis the within marriage haveforbidden Ifmostcultures the havealso wantedto maintain infamily, they a of tegrity thegroup.Groupis,admittedly,vague cultural construct encompassan term, inherently caste,class, tribe, of ingall manner classifications: on. But itsvagueness nation,and so race,religion, of the does notdiminish importance thedistinction Fox speaks of, thatboundarybetween"us" and that line mightbe "them," howeverartificially or And according theselights, to marriage, drawn. thatcrossesthatboundary evena sexualrelation, denies ceasesto be a social actthatsimultaneously and becomesinstead the and affirms group incest what I earliercalled excessive exogamy. a threat, the worrying Deuteronomist Thiswas theproblem when he cautioned the Jewsthat intermarriage mayserve they would"turn awaythy sons . . . that thiswasthekindofexogamy other gods" (7.3),and of of thegreat pioneer theanthropology marriage, aboutwhenhe was EdwardWestermarck, thinking coinedthememorable (2: phrase"social adultery" of is 51).Here,then, therealhorror Dracula,forhe whose purposeis is the ultimate social adulterer,

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JohnAllen Stevenson
thana specific foof fears thatare moreuniversal cus on the Victorianbackgroundwould allow. as comment about exogamy social Westermarck's with is adultery indeedcontemporary Dracula (his in published History Human Marriagewas first of nothwas 1891), theanthropologist expressing but milleningnoton themindof theDeuteronomist the facing menwho nia before. And thedifficulty by fight vampireis not unlikethatexpressed the spokenat a Roderigoto Brabantio,in lines first much earlier time in Britishimperial history: / revolt, Tyhas Desdemona,he says, made "a gross / beauty, wit,and fortunes In an exingherduty, and stranger . . " (1.1.131-33). . travagant wheeling at then, thisstranger, Letus look morespecifically, Count Dracula. repeatFirst, appearances.Dracula is described withthesame pecuedly, alwaysin thesame way, of TakeMina's first sight emphasized. liarfeatures him:
I knewhimat once from description theothers. the of the aquiline nose,on which light The waxenface;thehigh in red the fell a thin, white line;theparted lips,with sharp and between; theredeyesthatI had white teeth showing on of seemedto see inthesunset thewindows St. Mary's I Churchat Whitby. knew, too,theredscar on his forehim. (292-93) head whereJonathan had struck

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lookingforhisnose,forthe Dracula is remarkable colorof hislipsand eyesand skin,fortheshapeof for elsewhere, histeeth, themarkon his forehead; we learn also that he has a strangesmell (257). which commonly is usedinattempts Color,in fact, in is at racialclassification, a keyelement Stoker's creation of Dracula's foreignness.Here, and the throughout novel,theemphasisis on redness each coloris In and whiteness. a brief description, mentioned three times count"waxen"as white), (I and thecombination thetwocolorsis one ofthe of That it racialfeatures. count'smostdistinguishing becomesclearwhenwe is racial,and notpersonal, of uses consistently a combination notehowStoker or to redand white indicateeither incipient comThe pletedvampirism. womenHarkerencounters at Castle Dracula, whileone is blond and twoare red had ("Allthree dark,areall primarily and white white teeth thatshonelikepearlsagainst brilliant of theruby their voluptuous lips" [46]). More sigas nificant, Lucyand Mina takeon thiscoloration his Thereis first all of Dracula works willon them. thereiterated nightimageof redblood on a white

that gown(103,288),a signature Draculaleavesbehind afterone of his visits (and a traditional is Evenmorestriking the of emblem defloration). in at attempt inwhenVanHelsing, a futile scarleft to thehostintoMina'sforehead presses oculation, attack.Harkercalls againstrenewed Mina protect it the "red scar on mypoor darling'swhiteforeof head" (321). The scar,a concentration redand the resembles markon Dracula's thatclosely white (cf. ownforehead esp.312),thusbecomesa kindof in a signof membership a homogecaste mark, to neous group-and a groupthatis foreign the belongs. to whomMina supposedly men by The scarshared Draculaand Mina,one ofthe even in thenovel,has a significance details richest all, as a castemark.After the its beyond function by but woundsarenotself-inflicted given members hunters (Dracula'sbyHarofthegroupofvampire represent Mina'sbyVan Helsing),so thatthey ker, to an attempt thenonvampires "markoff"the by vampires-muchas God putsa markon Cain, the typeof an alienbreed.Butthecastemark original scar,not onlybecause it is also a kindof venereal of from count'sseduction Mina butalso the results because the echo of Hamlet's accusationagainst to is Gertrude fartoo strong be accidental:"Such the an act / Thatblurs graceand blushofmodesty, takesofftherose/ From / Calls virtue hypocrite, of love,/ And setsa thefairforehead an innocent " (3.4.41-45).5 The scaris thusa there. . . blister (seeingit,Mina criesout, "Unsignof defilement by clean!Unclean!" [302]),of sexualpossession the of it outsider. Finally, is curiousto think a scaron able to Dracula at all. He is remarkably protean, at (he changehisform leavestheshipwreck Whitby in mist. involve himself rising Why as a dog) or even to John shouldhe allowthisdisfigurementremain? on the discussing scarDantedescribes the Freccero, thata mark of insists form Manfred, purgatorial beingmustbe seen,not likethison a supernatural but as and physical, as a text, something as literal the to meantespecially be read.In thatsense, scars servea dense semioticfunction, on the vampires Dracula and Mina (potentially, anyway) marking as simultaneouslyuntouchable, defiled, and damned-above all, different. Red and whiteare,of course,thecolorswe associate withthetypically "English" complexion, is coloration thatvampire and I wantto emphasize the at however, different; thesametime, something of is On coincidence coloration meaningful. theone is by complexion created the hand,a "rosy"English

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A Vampire the Mirror:The Sexualityof Dracula in

of perception redthrough white-blood coursing manactivities signal that groupidentity. Draculais beneath pale skin.The vampire inverts order. this to strange Harker-and to us-because of what He or shedisplays on white, with scarsor red as the foodhe eatsand howhe obtains prepares beand it, theeffect ruby of lips againstwaxenskin.The recause of where and whenhe sleeps,because of his sultis rather a mortician's like makeup-a parody burialcustoms.To Harkeras to so many, whatis of whatwe expectand, as witha corpse,an effect foreign monstrous, is evenifit is onlya matter of that finally signalsdifference not similarity. tablemanners. and That is,thevampire no rosyglowbutpresents has In thestructure groupidentity, regulation of the whatlooks likedead fleshstainedwithblood (or of sexuality an especially has privileged place,and drainedfleshindicating food it requires)-a the Dracula is most fundamentally concernedwith inversion good health.On theother grotesque of bothdistinguishing differences the between way the hand,thevampire hisEnglish and competitors may vampire and "monsters" "good,brave men"reprohavemorein commonthanthey wishto acknowlduce and identifying threat the thosedifferences edge.As we explore we vampire pose to Van Helsingand the othermen. Our insexuality, willencounter a series of traits that initiallyassert troductionto Dracula in the novel's firstsix themselves foreign strange or as but that are rechapters-what Craft callsthe"admisChristopher vealedas inversions inthecoloration (as example), sion" to monstrosity (108)-establishesthecount's or parodies, exaggerations, even literalizations. foreignness; that, novel after the shows us primarily Thus, the perception otherness of can be an acDracula'sattempts reproduce thestruggle to and of curate to response difference at thesametime, theband of young and, menunderVan Helsingto stop an act that conceals or repressesdeeper conhim.The talehorrifies becausethevampire's mannections. nerof reproduction appearsradically different and The alliesagainstthecountarenotdescribed in because itrequires womenwhoalready the belong comparable and detail, their tend descriptions to be to thesemen. moralrather thanphysical. Threeoftheir qualities Although vampire the reproduces the differently, recur almost formulaically-good, brave, and ironic thing aboutvampire is sexuality that,forall strong. God for "Oh, thank itsovert men!"says good,brave peculiarity, is inmany it ways very hulike Mina, and Van Helsinginsists "You menare man sexuality, humansexuality whichthe but in later, brave and strong" or (316,332). Good is also often atbecomesphysical psychological metaphoric or tachedto thewomen their in unvamped condition: literal.It initially looks strangebut quite often "there good women still makelife are left to a happy" presents distorted imageofhuman tendencies and (190).The distinction between moralexcellence behavior. the Whatis frightening aboutDracula,then, of theinsiders and thephysical of peculiarity the is thathissexuality simultaneously is and different the foreigner underlines outsider's inherent a parodicmirror. This seeming danger. paradoxprobably As Mina putsit, "[T]he worldseemsfullof good reflects fullcomplexity the wayone group the of men-even ifthere monsters it" (230). The are in to responds thesexualcustomsof another. familiar theimageof thegood,whileforeignness is We note first the remarkable economyat the withmonstrosity. merges heart thevampire's of survival instinct. human Like Butlooks areonlyone wayto construct imour beings, Dracula has theneedforself-preservation, ages of theforeign, and, as wemight Dracwhich expect, asserts itself thedrive preserve in to boththe ula's habitsare as bizarreas his appearance.The lifeoftheindividual thelifeofthespecies. and The introductory sectionof thenovel-Harker's diary of difference, course, thatthevampire satisfy is can accountof hisjourneyto Transylvania of his and the two needs simultaneously-the same action, at stay CastleDracula-graduallyreveals Dracula's vamping, answersthe need fornourishment and distinctive from merely to customs, moving the odd procreation. thatequationof eatingand sexBut theunequivocally horrifying. welearnearly ual intercourse So, that literalized thevampire a conby is Draculalacksservants, he is nocturnal, he that that nectionwe all makemetaphorically one that, and likesto eat alone,and thathe despises mirrors, and as Levi-Strauss fondof pointing is out, a number onlylaterdo we watchhimcrawldownwallshead of primitive tribesacknowledgeby makingthe feed first, smallchildren hiswomen, sleepin to and same verbdo serviceforboth actions(Raw and hiscoffin. Dracula'speculiarities, All however, reCooked 269, Savage Mind 105). Dracula sayshe flect fundamental in differences themostbasic huneedsnewwomenso thathe can "feed" (312),but

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JohnAllen Stevenson
we knowthatis not all he means. Whilethephysiology vampire of sexuality literalizesa connection between and eating sex for that, humanbeings, operates metaphorically, expresthe sion of thatsexuality the grotesquely exaggerates humanpattern incestavoidanceand exof typical The ogamy. vampire's lawsarefirst "marriage" suggestedwhenHarkeris almostseducedbythethree vampire womenhe encounters Castle Dracula. at Critical opinionaboutthesewomen differs considhow erably, betraying badlyvampire has sexuality beenmisunderstood. problem The in arises partbecausethetext does notexplicitly define women's the relation Dracula-who arethey? to BothCraft and MauriceRichardson call themDracula's "daughters"(110, terms them "wives"(21); 427); CarolFrye LeonardWolf count's"beautiful the brides"(249); and C. F. Bentley Dracsaysthat"theyare either ula'sdaughters hissisters" insists an "inor but that in cestuous"relation existed between them thepast (29). The difficulty is a falseeither/or: here these womenmusteither kinor be wives.Whatthese be readers ignore thepossibility Dracula'srelais that tion to these womenhas, quite simply, changed, thattheyhave occupiedboth roles-not simultaas but neously, inincest, sequentially, becauseofthe wayvampire reproduction works. A speechDraculamakes Mina lateinthenovel to clarifies relationto the womenat the castle: his "And you,their bestbelovedone, are now to me, flesh myflesh; of bloodof myblood; kinofmykin; for mybountiful wine-press a while;and shall be lateron mycompanion and helper"(293). Accordingto thecount'sdescription, and Mina arelike he husbandand wife(he uses the"fleshof myflesh" fromGenesis and the marriageceremony), but the are through veryfactof their union,they also "kin."Thus,becauseofthevampire's inbecoming cesttaboo, she can be his "wine-press" onlyfora "while," and in time,when her transformation from"good" Englishwoman vampireis comto plete,she will become a daughterly "companion and helper." The vampire women thecastlehave at a undergone similarchange.When one of them Draculawith accusation, reproaches the "Youyourselfneverloved; you neverlove!" he can answer, can "Yes,I too can love;youyourselves tellitfrom thepast. Is it not so?" (47). Dracula's relation his womenchangesin this to in waybecause of another economy vampire sexuNot onlydo vampires combinefeeding ality. with reproduction, collapsethedistinction they between

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"Wives,"thatis,besexualpartners offspring. and condensed in come daughters an extraordinarily conintercourse, procedure whichpenetration, in and parturition not represent, ception,gestation, action.6 discrete stages,but one undifferentiated in Dracula re-creates hisownimagethebeingthat But ravishing. thetransformahe is simultaneously makes is tion,oncecomplete, irreversible-Dracula his it clearthatonce Mina becomeshis daughter, and againbe his she "companion helper," can never We hereone largeinade"wine-press."7 confront In and Taboo reading. thepriquacyof theTotem mature, theyfall mal horde,as femaleoffspring fathers-daughters underthesexualswayof their In becomewives. Dracula,thisroletransformation by and is accompanied,moreover, a is reversed taboo thatseemsto preclude Dracincest powerful in ula's further sexualinterest hisonetime partners. In fact,unlikethegreedy patriarch the horde, of to men. his Dracula encourages women seekother when vampires hiscastlethat, at He tells female the to theycan have Harker'susefulness himis over, their with Englishman: the "Well,nowI promway himyoushallkiss iseyouthatwhenI am donewith himat yourwill" (47). as questionarises forvampires The inevitable tais an wellas forhumanbeings:why there incest boo? The answer, is avoidhowever, notthatincest in ancehas beeningrained thevampire's conscience, ifsucha thing vampires apshouldexist;instead, this crime, pearincapableofcommitting particular to not sincethey facea physical barrier incest, just of a psychological one-another dramatic instance Sucha barrier an example is vampire literalization. of themanyphysical changesthatmarkthetransintoa vampire, we learnon theday as formation as thatLucydiesto herold identity Englishwoman and is reborn one of Dracula'sownkind.(Vamas it die Van always inchildbirth.) pirevictims, seems, her and Seward examine neckand discover, Helsing in that the punctures her throat to theirhorror, "had absolutely disappeared" (167).Draculacould not commit incest evenifhe wanted he has no to; to orifice penetrate. With the exaggeration human tendencies of inof the characteristic vampire sexuality, vampire's Just its cesttaboo creates ownironruleofexogamy. so as there a physical is obstacleto vampire incest, of out thevampire's needto marry is nota matter benefit but customor of a long-term evolutionary an immediateand urgentbiological necessity. Westermarck approvingly quotes another

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A Vampire theMirror:The Sexualityof Dracula in

whatthecounthas removed, so they replacing are that she will not perishfromloss of blood. But nor Dracula'sactionis notfeeding, is itonlya combinationof feeding and copulation.The menare desperate transfuse bloodintoLucybecause to their that with understand sexualintercourse a vamthey Dracula'sthreat notmiscegenais pirederacinates. tion, the mixingof blood; instead,he gives his And he can do this a partners newracialidentity. original identity, their because thesourceof their In of blood,has beentaken away. onlyone more the that this mythic remarkable literalizations give novel the to power, answer thekindof genocidethatthe Lucy with the vampirethreatens to reinfuse is "right"blood, "young and strong. . . and so pure" (131),as Van Helsingsays. of Such deracination one effect theeconomy is we observedabove, that of the vampire'ssexual But his partners becoming offspring. whatI have needsemphasis beencalling racialelement the here; who but notonlydo wives becomedaughters brides wereoriginally foreign Dracula become pure to undervampires. This is whattheDeuteronomist is stood: the problemwithmixedmarriages that not ones. As they producenewloyalties, confused Mina says,"I . . . shall . . . leaguedwith your be enemy againstyou." And why?Because,withher own blood removed, willbe likeDracula, and she lossofwomen's loyalty thegood,brave that itis that men cannot abide. As Van Helsingexplainsit to Mina: "He haveinfect insucha wise, that. you intime, death. . . shallmakeyouliketo him.This mustnotbe! We havesworn together thatit must of not.Thus areweministers God's ownwish:that theworld. . . willnotbe givenoverto monsters . " (325). The desperation menfeel about these from thethreat Dracula is suggested, perhaps, by themultiple transfusions giveLucy.VanHelsthey that transfusions sexualand are ingrecognizes these in thatthey a imply kindofpromiscuity Lucy;as he incompetent English: puts it in his distinctively "Ho, ho! thenthisso sweetmaid is a polyandrist, dead to me,butaliveby and me,with poor wife my Church's though wits, gone-even I, who no all law, am faithful husbandto thisnow-no-wife, bigaam mist"(182). Lucy'spromiscuity-her "polyandry," of as thepropriety theDutchmanwouldhaveither to is forgivable, becausefinally loyalty herown kind is more vital than her absolute chastity. it that Clearly, is moreimportant thegroupmaintainitsholdoverherthanthatanyone manhas exIn clusive too, rights. thefaceof suchanxiety, there

who anthropologist, speaksof nineteenth-century hankeringafter foreign "mankind's instinctive the women"(2: 165).ForDracula,though, needfor behankering. Rather, women"is no mere "foreign is cause his sexualpartner also his food,thevampire must marryout or die.8 A world without not womenwould represent onlysterility foreign but famine. as The vampire a sexualbeingis thusstrangely and familiar-heavoidsincest he seekssexualpartis But nersoutsidehis family. thatsexuality also a that a parody of human sexuality, literalization commit incest, himseemvery odd: hecannot makes in creout. he mustmarry And thatnecessity, turn, are Sinceall vampires kin, danger. ateshisprimary (i.e., seek they cannotsimultaneously likeness marry of the within confines thegroup)and avoidincest, as humanbeingsdo. Dracula thuscannotrespect to groupor racialboundarieswithregard women; demandsinsteadthathe hisparticular physiology althe women"awayfrom menthey take"foreign his that belong a theft continues ownkind. to, ready insistent need to steal his Moreover, physically of threatens existence thegroupon whichhe the As preys. he tellsVanHelsingand hisallies,"Your and girls thatyouall loveareminealready; through shallyet mine"(312).Dracbe them youand others is ula is thusdoublyfrightening-he theforeigner renders him monstrous, whose verystrangeness whoseinhe and,moredangerous, is an imperialist sexualconquest;he is a vasionseeksa specifically man who willtakeothermen'swomenawayand makethemhis own.9 women" own his And Draculawillmake"foreign kidnapor alin a radicalway.He does notsimply ter cultural allegiances; his sexual union with deracinates womenlikeLucyand Mina physically of themas members his own themand re-creates This point will be clearerif we look at kind.10 of central image, Stoker's manipulation thenovel's in thatof blood. Blood meansmanythings Dracghastly ula; it is food, it is semen,it is a rather that the parodyof theEucharist, blood of Christ life guarantees eternal.But its meaningalso dehas pendson thewayhumanity madeblood a cruof cialmetaphor whatitthinks as racialidentity. for all Blood is theessencethatsomehowdetermines and thoseotherfeatures-physical cultural-that Andthis connecone another. distinguish racefrom thatfasmostfully tionof blood and raceexplains cinatingsequence wheneach of the good, brave Ostensibly, menin turngivesLucya transfusion.

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JohnA llen Stevenson

is always optionwebeganwith, the euthanasia, the killing brave by menof their women, keepthem to from falling intothehands of theenemy. In thelight all this, is very of it hardto see as "incestuous"thecompetition womenthatconstifor tutes primary the actionof thenovel. Dracula does touchon primalfearsand urges, they not but are thehorror allureof incest.Stoker's or perdurable myth reflects ancient the fearthat"they"willtake away"our" women, Draculais at hismosthorand not rifying whenhe drinks blood or travels the in form a bat butwhenhe,a manof palpable forof can eignness, say,"Your girlsthatyou all loveare mine."An old black ram,he says,is tupping your whiteewe.Richardson right findthecounta is to figure "hugepotency" of (427),butDracula'spower is notthatofthefather, Richardson as but suggests, thatof the"extravagant stranger," in VanHelsor, ing'swords,"the other."But such powerraisesa newset of questions.The menare anxiousabout losingtheir women, whatof thewomenthembut selves?How do they to respond Dracula'sfrightful glamour? What is this novel's attitudetoward women? Stoker's of description thefirst women see in we Dracula,thevampire at women thecastle, strongly their overt emphasizes The sexuality. wordvoluptuousis repeated-they have"voluptuous lips"and a "deliberate in voluptuousness" their approachto Harker(46). And he,inturn, quickly is arousedby their seductive appeal,as he feels"a wicked, burning desirethatthey would kiss me withthosered lips"(46). Theyproject themselves sexualized as beingsand havepower inspire sexualresponse to a in others. The pattern exactly is whenLucy's repeated transformation a vampire complete. into is Shortly after Van Helsingand Sewardnotethedisappearance of thewoundsin herneck,theyoungdoctor reports shespeaksina "soft, that voluptuous voice, suchas I had never heardfrom lips" (167); and her whenthewhole band confronts undead Lucy the outsidehertomb,"we recognised features the of Lucy Westenra. Lucy Westenra,but yet how The sweetness turned . . . cruelty, changed. was to and the purity voluptuouswantonness" to (217). Within next the three we paragraphs, hearthatshe has a "voluptuoussmile" and a "wantonsmile" and thatshe speaks with"a languorous, voluptuous grace."As is typical whenStoker discusses the characteristics a group, vocabulary of his shrinks, and he resorts formulas-good, brave,and, for to vampire And whentheposse females, voluptuous.

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of racialpurity hammers stakethrough the Lucy's thatmerciful whichundoesthe heart, penetration undead, the transformation a returnto her is the former stateof desexualization: "foulThing" withits "voluptuousmouth"and its "carnaland with unspiritual appearance"disappears, replaced withherface "Lucy as we had seenherin herlife, and of unequalledsweetness purity" (220-22). Thereareseveral ways interpret novel'satto the titudetoward sexuality the thesefemale vampires project. The first-developedby a numberof what have critics-is that Stoker is expressing as Victorian attitudes usually beenregarded typical to about female sexuality. According thesereaders, the violence against women in Dracula, most in rendered the staking Lucy,reflects of a vividly hostility toward female felt sexuality bytheculture at large. Women should not be "wanton" or "voluptuous"; they should be "pure" and Rothcontends that"much "spiritual."So, Phyllis of thenovel'sgreatappeal derives from hostilits ityto femalesexuality" ("SuddenlySexual" 113), Judith Weissman insists Dracula "is an extreme that versionof the stereotypically Victorianattitudes toward sexualroles"(392),and Gail Griffin argues "a Dracula represents that,among otherthings, subliminal voice in our heros,whispering that,at that thesegirls. . . arepotential heart, vampires, theirangels are, in fact,whores"(463). VeryrecallBramDijkstrahas renewed charge, the cently, ing the book a "centraldocumentin the late nineteenth-century on woman" (341)." war Dracula exhibits Undoubtedly, toward hostility femalesexuality. Womenwho are "pure" are not are onlygood,they recognizable members the as of group-after staking, the Lucyagainlookslike"we had seenherinherlife." contrast, By "voluptuous" womenaremonsters, loathsome creatures only fit fordestruction. Whatinterests however, not is me, thepossibility Dracula is yetanother that misogynist butthewayinwhich novel text the incorporates itsportrayal women of intoitsconsideration forof A look at thewomenin Dracula eignness. careful reveals thattheprimary is a fear theforeign fear of and thatwomenbecometerrifying insofar they as areassociated with kindofstrangeness the vampires represent. Lucyand thosewomenat Castle Dracula are,as VanHelsing putsit,"likehim,"members ofthat"neworder beings"thatthecountwishes of to "father" in (308). Twoissuesareimportant this there thebisexuality female is of vamregard. First, pires (and males,too),a consideration complithat

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146

A Vampire the Mirror:The Sexualityof Dracula in

LikeTiresias, vampire lookedat sexfrom the has both sides,and thatfactis significant several for reasons.First,it makesit difficult say,simply, to that novel hostile female the is to when sexuality, the nature of the "female" has itself been made problematic; is moreaccurate saythatthepriit to fear ofvampire mary is a in sexuality,phenomenon which"our" gender rolesinterpenetrate a comin plicated way. Femalevampires notangels are turned intowhores humanwomenwho havebecome but something strange, very in beings whomtraditional distinctions between maleand female havebeenlost and traditional rolesconfusingly mixed. Moreover, we encounter again herethe centralparadox of Dracula's representation theforeign. thebiof For sexuality the vampire not onlymonstrously of is it strange, is also a veryhumanimpulse-an impulse that, once more, the vampirehas made literal. we have seenthroughout astonishingly As this essay,the sexuality vampires-heretheir of bisexuality-isbothstrange and familiar, bothan overtpeculiarity be seen and dreaded and a to reflection be repressed. to If female vampires powerfully are bisexual, they are also creatureswho have been profoundly changed.The pureand spiritual becomevoluptuous, thepassivebecomeaggressive, so on. As and Van Helsingsays,"Madame Mina, our poor dear Madame Mina, is changing" (328). The novel makesitclearthatthese do changes notcomefrom within-Draculabrings them aboutas partofthat complexprocessof deracinative reproduction discussedabove. In otherwords, erotic the of energy thefemalevampires somehowthecount'screais tion. And that,in turn,suggests anotherwayin whichhe is terrifying the band of good, brave to men. What if theproblem not thatwomenlike is Lucyand Mina havebecomesexualbutthattheir has sexuality beenreleasedin thewrong way, a by a who has achievedwhatthe foreigner, foreigner men fear theymay be unable to accomplish?'3 That is, the anxiety Van Helsingand his band of a maybe partly fearof aggressive demanding or women,but it mayalso be a fearof superior sexual potency thecompetition. boynext in The door maybe no matchforan extravagant stranger. The fear excessive of so exogamy, mucha partof theterror thatDracula inspires, thusbotha rais cial and a sexualproblem. I suggested As earlier, Draculais a sexualimperialist, wholongsto be one "thefather furtherer a neworderof beings" or of (308). And he can begetthisraceonlyon thebod-

catesanyattempt generalize to about theplace of in gender thisnovel. here not do Second,thewomen The transform themselves. countis theindispensfor able catalyst their alteration sexualbeings, into a catalytic rolethatexposesagain Dracula's deep I anxieties about excessive exogamy. wouldliketo look briefly boththese at issuesbefore concluding. A famous psychoanalytic commenton vampirism occursin ErnestJones's theNightmare: On
The explanation thesefantasies surely hard.A of is not nightly from beautiful frightful visit a or being, who first exhausts sleeper the withpassionateembraces and then withdraws from hima vitalfluid;all thiscan pointonly to a natural and commonprocess, namely nocturnal to emissions.. . . In theunconscious mindblood is commonlyan equivalent semen. for (119)

Dracula does indeedmakeblood and semeninterand changeable fluids,'2 thisequivalence mayoffer another cluewhy combination redand white the of is thevampire's distinct coloration.But thestriking omissionfromJones'srather condescending in comment that, Stoker's is the"vitalfluid" novel, from is beingwithdrawn women,thatthenightly to visitor a man.Vampirism havesomething is may it do with nocturnal but emissions, surely is importhatinDraculawomen tant haveall thewetdreams. sexual Clearly,in the vampireworld traditional rolesareterribly confused. Draculapenetrates, but he receives "vitalfluid";after the becomesa Lucy vampire, acts as a "penetrator" she (and becomes fluid butshenowreceives from sexually aggressive), thosesheattacks. Nowhere thisconfusion is greater thanat themoment brave the bandinterrupts Dracula's attackon Mina:
With. . . hisright hand [he]gripped bytheback of her theneck,forcing facedownon hisbosom.Herwhite her was nightdress smearedwithblood, and a thinstream trickled downtheman'sbarebreast which was shown by historn-open dress.The attitude thetwohad a terriof a ble resemblance a childforcing kitten's to nose intoa saucerof milkto compelit to drink. (288)

As many haveremarked, there a powerful is image of fellatiohere(and thereis also an exchange of fluids-a pointnotmadeclearinthedescription of Dracula's attackon Lucy);but in thissceneDracula, in a breathtaking transformation,a mother is as well, in engaged an actthathas a "terrible resemblance" to breast-feeding. What is goingon? Fellatio? Lactation? It seems that the vampireis sexually capable of everything.

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JohnAllen Stevenson
ies of other men'swomen, imperiling racialinthe of tegrity theWest.The fearhe inspires, however, is also personal,forhis is not merely imperialan ismthattakeswomen, is especially imperialit an ismof seduction-if he initially approachesthese in womenthrough violence, theend they conare verts,"leagued with your enemyagainst you." to Draculathreatens destroy boththe"good" men's race and theirmasculinity, destroy to themas a groupand emasculate them individuals. wonas No der theyare so desperate stophim. to Dracula emerges, as then, a remarkable meditain tionon foreignness, at leasttwoways.The surof faceof thetaleis a memorable myth interracial sexual competition, struggle a menwho between wishto retain their control overwomendefined as members their of and groupand a powerful attractiveforeigner, wishesto makethewomenhis who own.Thisbattle, is two of finally, between kinds deThe sire. desire thegood,brave of menis a force that mustbe calledconservative, itis an urgeto profor tectpossessions, insist theintegrity racial to on of to unmixed blood oftheir the boundaries, maintain group.Hence, we see their xenophobicinsistence that"the world"-meaning their worldand their women- "not be givenoverto monsters." Dracula's desireis theantithesis suchconservatism: of whatthecounthas oncepossessedis uselessto him in his continuing struggle survival.His confor for renewed desire difference be "monstantly may strous"in terms themarriage of of practices most but the of cultures, itis hardly monstrosity incest. The threat of Dracularepresentsnotthedesire the is father hoardhisownwomen; is an urgent to it need into take, violateboundaries, desire to a thatmust blood forthevery survival his of corporate foreign kind.Forthevampire, blood he needs,bothfor the sexand forfood,always to else. belongs somebody for Dracula thusuncovers us thekindof mind thatseesexcessive as exogamy a particularly terrifyingthreat. Such thinking commonin humanexis we intogroups perience: tendto divideourselves and to fret about sexualcontact acrossgrouplines. At thesametime, suchfears musthavebeenacute

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in latenineteenth-century Britain, plumpwith imperial gain,butgiven perhaps thebad dream to that Draculaembodies: whatif"they" shouldtry colto as onize us?'4 Dracula is interesting, however, of somethingmore than a representation the xenophobicmind, in eitherits Victorianor its as aboriginal avatar-fascinating thatrepresentationis. Forxenophobia first requires, of all, a conand ceptof whatis foreign, theremarkable thing about Stoker's novelis thewayit is able to undermine that veryconceptionof the "foreign"on whichso much of its narrative energy depends. That is, Dracula both exemplifies what Hannah Arendt terms "race-thinking" (158) and calls such intoquestion.Again and again thinking radically as douStoker depicts vampire sexuality a curiously bledphenomenon-always but overtly bizarre, also 15 somehowfamiliar. Such a paradoxpossibly inis in herent theenterprise whichforeignness, that by ancient needto separate "us" from is "them," conin structed the human imagination. Dracula As that it moverepresents process, is a simultaneous in differences perceived reified, are and ment, which are and whilelikenesses repressed denied.The refusalof somerecognition thusalways a part be may of of theperception foreignness-even maybe (or the of especially) extreme foreignness monstrosity. Vampires, all know, we castno reflection. Virtuallythefirst frightening oddity thatHarker notices at CastleDraculais that"there no reflection was of [thecount]in themirror" of (34). In thelight this discussion, thatmissing imagepresents striking a metaphor. The vampire, "the other," "the monster" that -everything Dracularepresents, and represents powerfully-depends our refusal so on to see thewaysin whichhe is also a mirror. After in all, it is Harkerwho can see nothing theglass. Whenwe say thatthevampire absentfrom is the mirror, perhapswhatwe are saying thatwe are is afraid to see a reflection-however uneasy and strange-of ourselves. University Colorado of Boulder

Notes
The first critic insist a parallelbetween to on Dracula and Totem and Taboo was Maurice Richardson.In his wakehave come JamesTwitchell's The LivingDead (134-35), Dreadful Pleasures(99-104, 137),and Forbidden Partners (69-70), and

(115)and BramStoker SexualWomen" Roth's "Suddenly Phyllis that there but up Astlealso brings thetheory notes (114).Richard in novel,Dracula and Van Helsing, are two "fathers" Stoker's thatenablesthe"sons" simultasituation a "wish-fulfillment"

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148

in A Vampire theMirror:The Sexualityof Dracula

here. According Farson,who is Stoker's to great-nephew, familygossipmaintains thatStoker's wife ceased to havesexualrelations with husband her after birth their childin 1879 the of one (214). Of course,itis impossible knowhow farto trust to such evidence, theparallelis worth but noting. 8 Herewe see an exaggerated and literalized version thesoof ciobiological that argument outbreeding genetically is useful for humanity. Arens22. See 9 It is Dracula'sstatus an invader as thatsetshimapartfrom othersupernatural beings.Most of theterror ghostscreateis boundup with belief the thatdead peoplehaunttheplacesthey knewin life:housesare normally haunted former by residents, or at leastbysomeone whohada significant relation theplace. to Dracula, however, mustleave his old hometo do his dreadful work. Thissupernatural imperialism suggests againthat fear the Draculacreates linked hisstrangeness, hisremote is to to origins. In a sense,Dracula is a demonic version Abraham, of whoalso must leavehisold homeand go toanother placetobeginhisnew race. 10A powerful expression thismentality of dominatesJohn Ford'sgreatwestern Searchers The (1956). At one point,John Wayne an army and doctorarelooking overa groupof women, all of them very blond,recently rescued from longcaptivity (the chief whohasbeenholding them named, is interestingly, "Scar"). The women behaving are and strangely, thedoctor remarks, "It's hardto believethey're white." Wayne's reply tersely reveals his character's beliefin sexualderacination: "They'renotwhiteanymore. Comanche." They're 11 Thereis, however, another schoolof thought thatfinds at least glimmers real sympathy womenin Dracula. Nina of for Auerbachsees in Lucy and Mina a "self-transforming power beneath surging apparent victimization," that observing "weare struck thekinds power by of that[Stoker] to grant(s]" hiswomen (34, 17).Stephanie Demetrakapoulous insists thatthenovelexin presses hidden desires Victorian culture, women's particularly desire be sexually to alive,and Alan Johnson thatthecount says "symbolizes" thesewomen's "innerrebelliousness," which the novel portrays "justified" (21). Carol Senf suggeststhat as Stoker's of "treatment women. . . does notstem from hahis tred women general . . . from ambivalent of in but his reaction to a topicalphenomenon-theNew Woman" (34). 12 It seemsinevitable at that, somepointsoon,thephenomenon of AIDS and thevampire will myth converge. fact,we In mayalready seeing "vampirization" high-risk be a of for groups thedisease.One heterosexual quotedintheNew York was Times sex Magazine as saying, members high-risk of "[Avoiding with groups] ina way, tyranny,partof theinexorable is, a a return to conservatism. so antithetical intermingling. . People It's to . aresaying shouldsleeponlywith you ownkind"(Davis35). your 13 Some important recent historical worksuggests thatthe standard viewof Victorian attitudes toward female is sexuality flawed. BothPeter seriously Gayand CarlDegler that there argue was no monolithic suppression denial of women'serotic or in potential theeraand thata notorious like figure Dr. William Acton(who thought "normal" womenhad no sexualfeelings) shouldnot be viewedas a spokesperson theage. for 14 Jerome in Buckley'scommentis interesting thisregard: "All through nineties the there behindthecultof empire lay a half-hushed a uneasiness, senseof social decline, foreboding a of death . . . " (228). 15 Such doubleness calls to mindFreud'sanalysis the"unof in the canny," which heimlich theunheimlich and For converge.

neously killand obeythe father to (98-99). 2 Fora valuablediscussion thedifferences of between anthrosee pologyand psychoanalysis, W. Arens(40-43 esp.). In The Red Lamp ofIncest,RobinFox attempts reconcile to recent anthropological biologicalwork incest and on withTotem and Taboo. The result beencontroversial, inanyevent am not has and I in sureFreud would recognize theories theirrehabilitated his form. The approachI use in thisessaydoes notimply thatI believeanthropology be "right," to psychoanalysis "wrong.". do I wantto substitute model of humanbehaviorforanother one are bothapproaches and seewhat (and models whatI believe are) happens. 3 The discussion thatfollows muchindebted Arensand is to to thetwovolumes Fox,all three which of by provide good summariesof thevastanthropological on literature thesesubjects. Also, whileI am awarethatLevi-Strauss's theories havebeen muchdebatedin theanthropological and community thatthey I are not,perhaps, thatI entirely original, mustacknowledge in could nothavearrived theideas developed thisessaywithat out hispowerfully expressed notionof theinterrelation between an incest taboo and theexchange womenamongalliedmen. of The existence an incest of taboo does notcontradict idea the thathumanshavean instinctive aversion committing to incest. See Arens14. 4 PierreVan den Bergheprovides usefulsummary the a of and status attempts racialclassifications of history current at (ch. of 1). A dictionary (American definition racesuggests Heritage) the rangeof essentially attachedto the metaphoric meanings word.Those definitions include"a distinct group[defined by] "a geneticallytransmitted physical characteristics"; group united"on thebasis of history, or and geography, nationality; "a genealogical line."As a "race,"vampires of partake all these meanings. 5 Stoker wouldhaveknownHamlet intimately, been having associatedformany with actorHenry the and years Irving havinglongserved manager theLyceum as of Theatrein London. In fact, review a Stoker wrote Irving's of as performance Hamletfirst the brought twotogether, Stoker's and of management theLyceum a run beganwith ninety-eight-nightof Hamlet.See Daniel Farson 17,56. Thereis a further biographical consideration ifitis true, here as Farsonargues, thatStoker diedof syphilis. Farsonclaimsthat inview thetypical of of progression thediseaseStoker have might the at he Dracula(233-35). caught infection aboutthetime wrote 6 For thisreason,there no such thing birth is as controlfor vampires, except coitusinterruptus, whoseefficacy seemsuncertain.The good mencertainly Dracula'slastattackon interrupt Mina, but hersalvationfrom rebirth a vampire as seemsmore of a function Dracula'sdeaththantheresult theinterruption. of The impossibility separating of from in sexuality reproduction Dracula inverts pattern theother the in great nineteenth-century monster novel, whichinsists thatseparation. on Frankenstein, In a sense,thesenovelsanticipate contemporary the debatebetween Catholicconservatives technological and interventionists on theissueof reproduction. its its Dracula,with crucifixes, use of thehostas a kindof disinfectant, especially literaliand its zationof certain Catholicpreoccupations aboutsex,emerges as an oddlyCatholicnovel,withvampires a representingfantasy of sexualorthodoxy. Neither thebiographies consulted of I had to of but anything sayon thesubject thenovelist's religion, Stoker was Irish. is 7Again, there a deliciously gossipy biographical sidelight

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JohnAllen Stevenson
Freud,however, "uncannyis thatclass of the frightening the whichleads back to whatis knownof old and long familiar" of depends (" 'Uncanny"'220). Myunderstanding Draculahere simultaremaining on the poles of the strangeand familiar the neouslypresent. Freud's "leads back to" suggests priority romance evenintherealm thelitof Freudassignsto thefamily

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on In of erature fright. insisting concealedpointsof similarity I and vampires humanbeings, havenotbeenled "back between I reading thenovel.Rather, meanto show of to" an incestuous percompromised is how foreignness perhapsan inevitably ception.

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