in Dracula there is the concept of Christian salvation. This theme begins at the beginning when Harker is on his way to Castle Dracula. Locals cross themselves, cross themselves and one places a rosary around Jonathan Harker's neck. We see Stoker use the theme that if a person will follow Christ, salvation will be found in heaven and evil will be kept at bay. Another example where Stoker uses the theme of Christian salvation is when Van Helsing is brought in to save Lucy Westenra from the vampires' hold. After the Count arrives in London, his relationship with Lucy begins, but not in the usual sense. The Count chooses beautiful women, then seduces and converts her while she sleeps. While Mina and Doctor Seward struggle to keep Lucy alive, Professor Van Helsing arrives to help Seward save Lucy. After realizing that Lucy is a vampire, a cross is kept around at all times. Even though Lucy became a vampire, it was through Christian salvation that Van Helsing tried to save her. Stoker presents a particularly liberal view of salvation by implying that the saved need not be believers. In Dracula, all the dead are granted the unparalleled peace of salvation: only the “Undead” are excluded. In the novel we see several characters following roles and actions usually reserved for the opposite sex, these situations allow the Victorian reader to understand that this is a special situation and that something is wrong. In clearer terms, the changing and confusing gender roles allow for a greater sense of strangeness and injustice for the novel to continue successfully as horror fiction. Jonathan Harker is the first character we see allow himself to be feminized, firstly when he is captured by the Brides of Dracula and his reactions are entirely passive and feminine: "I remain quiet, looking under my eyelashes in an agony of delicious anticipation" ( Stoker, 32). Ultimately, he manages to escape them, only to end up in a bed, sick, not only physically due to the blood he drank from the brides, but also mentally as his reality is altered and he believes he has gone mad. : “. . . In delirium his delusions were terrible; of wolves, poison and blood; of ghosts and demons." Jonathan's hallucinations and symptoms correspond to what doctors would attribute to hysteria, which is generally a female disorder. His six weeks in bed allow him to reconquer himself and thus bring him back within the normal confines of manhood, this rehabilitation is fully realized and sealed by his marriage to Mina. However, the character who challenges traditional gender roles the most is Mina. She uses a typewriter and is financially stable on her own. He is also able to act as one of the men, helping to plan situations and make sense of the chaos that Dracula brings to London. It is his notes and his work that ultimately lead to Dracula's death. Her actions reflect a modern woman, compared to a traditional Victorian woman; however, she is still tied to her culture: “Ah, how wonderful Madama Mina! She has the brain of a man, a brain that a man should have if he were very gifted, and the heart of a woman. The good Lord fashioned her for a purpose, believe me, when he made such a good combination” (Stoker, 201). In this case, Mina's masculinity is acceptable because she is still a woman who plays by the rules she is supposed to follow, that is, she gets married and is, unlike Lucy, controllable by her husband. Dracula, on the other hand, cannot be controlled by anyone, and his sexuality and gender roles are even more questionable than those of Jonathan or Minae. When Jonathan finds himself a victim of the brides, it is the Count, a man, who comes to his rescue, but his intentions are not to save a.

Topic > in Dracula there is the concept of Christian salvation. This theme begins at the beginning when Harker is on his way to Castle Dracula. Locals cross themselves, cross themselves and one places a rosary around Jonathan Harker's neck. We see Stoker use the theme that if a person will follow Christ, salvation will be found in heaven and evil will be kept at bay. Another example where Stoker uses the theme of Christian salvation is when Van Helsing is brought in to save Lucy Westenra from the vampires' hold. After the Count arrives in London, his relationship with Lucy begins, but not in the usual sense. The Count chooses beautiful women, then seduces and converts her while she sleeps. While Mina and Doctor Seward struggle to keep Lucy alive, Professor Van Helsing arrives to help Seward save Lucy. After realizing that Lucy is a vampire, a cross is kept around at all times. Even though Lucy became a vampire, it was through Christian salvation that Van Helsing tried to save her. Stoker presents a particularly liberal view of salvation by implying that the saved need not be believers. In Dracula, all the dead are granted the unparalleled peace of salvation: only the “Undead” are excluded. In the novel we see several characters following roles and actions usually reserved for the opposite sex, these situations allow the Victorian reader to understand that this is a special situation and that something is wrong. In clearer terms, the changing and confusing gender roles allow for a greater sense of strangeness and injustice for the novel to continue successfully as horror fiction. Jonathan Harker is the first character we see allow himself to be feminized, firstly when he is captured by the Brides of Dracula and his reactions are entirely passive and feminine: "I remain quiet, looking under my eyelashes in an agony of delicious anticipation" ( Stoker, 32). Ultimately, he manages to escape them, only to end up in a bed, sick, not only physically due to the blood he drank from the brides, but also mentally as his reality is altered and he believes he has gone mad. : “. . . In delirium his delusions were terrible; of wolves, poison and blood; of ghosts and demons." Jonathan's hallucinations and symptoms correspond to what doctors would attribute to hysteria, which is generally a female disorder. His six weeks in bed allow him to reconquer himself and thus bring him back within the normal confines of manhood, this rehabilitation is fully realized and sealed by his marriage to Mina. However, the character who challenges traditional gender roles the most is Mina. She uses a typewriter and is financially stable on her own. He is also able to act as one of the men, helping to plan situations and make sense of the chaos that Dracula brings to London. It is his notes and his work that ultimately lead to Dracula's death. Her actions reflect a modern woman, compared to a traditional Victorian woman; however, she is still tied to her culture: “Ah, how wonderful Madama Mina! She has the brain of a man, a brain that a man should have if he were very gifted, and the heart of a woman. The good Lord fashioned her for a purpose, believe me, when he made such a good combination” (Stoker, 201). In this case, Mina's masculinity is acceptable because she is still a woman who plays by the rules she is supposed to follow, that is, she gets married and is, unlike Lucy, controllable by her husband. Dracula, on the other hand, cannot be controlled by anyone, and his sexuality and gender roles are even more questionable than those of Jonathan or Minae. When Jonathan finds himself a victim of the brides, it is the Count, a man, who comes to his rescue, but his intentions are not to save a.