During the fin de siècle, the concept of the New Woman challenged traditional Victorian ideals of femininity. This movement celebrated women’s intellectual capabilities and independence, often in stark contrast to the prevailing notion that women were physically and intellectually inferior. In Bram Stoker’s Dracula, we find a fascinating exploration of these ideas, particularly in the character of Mina Harker. The Longman Anthology of British Literature introduces us to the prevailing Victorian notion of femininity, which placed women on a pedestal as nurturing and selfless beings that were primarily dedicated to serving others. This idealized woman was expected to be domestic, pure, and devoid of ambitions beyond her role as a wife and mother (Henderson & Sharpe 1061). Mina Harker, a central character in Dracula, challenges these traditional ideals. In a passage from the novel, Professor Van Helsing remarks, “Mina! She has man’s brain—a brain that a man should have were he much gifted—and a woman’s heart. …We men are determined—nay, are we not pledged?—to destroy this monster; but it is no part for a woman” (Stoker 250). This quote highlights the tension between Mina’s intelligence and her perceived role as a woman. The notion of Mina having “a man’s brain” is significant. It suggests that she possesses intellectual capabilities traditionally reserved for men. This aligns with the New Woman’s assertion of their right to intellectual pursuits and ambitions that extended beyond the domestic sphere. Van Helsing’s comment encapsulates the societal conflict of the time. Despite recognizing Mina’s exceptional intelligence, he questions her involvement in the quest to destroy Dracula, implying that her gender should limit her role. This reflects the prevailing belief that women were unsuited for activities demanding strength, rationality, and determination. The juxtaposition of “a woman’s heart” with “a man’s brain” emphasizes Mina’s dual nature.
It is also notable that Mina’s intelligence and independence are not portrayed as negative qualities. Instead, her intellect and resourcefulness are celebrated and valued by the other characters. This is in contrast to other literary works of the time, where intellectually capable women were sometimes portrayed as evil or dangerous. Mina’s character provides a positive example of a woman who is both intelligent and virtuous. In contrast to Mina, the character of Lucy can be seen as a more traditional representation of femininity. Lucy is described as beautiful, pure, and submissive, embodying the ideal Victorian woman. However, her portrayal changes drastically after she becomes a victim of Dracula’s vampiric blood-sucking. Her vampire form becomes sexually aggressive and behaves in a manner that is deemed inappropriate for a Victorian woman. The men of the novel feel that she must be spiritually saved at all costs because of her change in character. I was really interested in the idea presented in class about the men’s feelings on Lucy’s transformation being interpreted as a punishment for her deviating from the conventional expectations of femininity. It suggests that while women are starting to evolve for the better, the society of the time was not ready to accept such drastic changes in gender roles and sexuality. While Lucy adheres to the traditional ideals of femininity, Mina represents the emergence of a new kind of woman who is independent, intelligent, and capable.
Mina is in a constant debacle of who she is and who the people around her want her to be. I think what is so interesting is that Mina’s knowledge is used like a pawn – the men use it when they find it useful (e.g., when she wants to be hypnotized and gives them information about the Count) but suppress her when they find it dangerous. An example of the latter is when Van Helsing says that they “must keep her ignorant of [their] intent” because she might tell the Count what they are doing (344). The men seem to fear her knowledge, which is perhaps makes a broader societal statement.
Yes! I find the exploration of Mina’s femininity fascinating throughout the book. I did, though, strongly feel throughout the book that Mina’s intelligence and capability was permitted on the condition that she was otherwise traditionally feminine. Twice in her letters and diary, she mocks the concept of the New Woman, which sufficiently distances her from that kind of radicalism, and throughout the book her role as a motherly woman is emphasized as inherently different from the men. Even the quote from Van Helsing specifies that she has a “woman’s heart.” If Mina hadn’t been applying her intelligence in a traditionally domestic Victorian setting, to care for and support her husband and the other men in the group, her intelligence probably would not have been perceived as positively.
I think that your exploration of Mina is fascinating, and draws on excellent points from the time and our discussions so far in class. I found it especially interesting the idea of Mina’s duality with her having “a man’s brain and a woman’s heart” but still being respected for her intelligence from the men in the novel. The final paragraph explaining the differences between Mina and Lucy. I also think it is really fascinating that Mina is never described for her beauty whereas Lucy is only characterized and classified by hers. It changes the images of the two women and their usages for the plot. Both have some form of “respect” from the men, however the way they come upon that respect is greatly different.