"So you see, my dear Lucy, this man here is bitchless, no bitch in sight, in fact, I reckon he never felt a woman's touch in his life"
- Abraham Van Helsing, September 3rd.
I found a soft quietude come over me. Here I am, sitting at a little oak table where in old times possibly some fair lady sat to pen, with much thought and many blushes, her ill-spelt love-letter, and writing in my diary in shorthand all that has happened since I closed it last.
This segment gives me so much joy, but is a great example of what makes Jonathan incredibly unique among similar types of horror victims in Victorian literature.
A lot of academic analysis notes Jonathan’s traditionally feminine role in the early chapters of Dracula, but chalk it up to “the horror of emasculation”—that Dracula imposing femininity on Jonathan expresses the gender role anxiety of the time and is part of how Dracula terrorizes him.
But that’s just straight-up not how the book is written. Jonathan is comforting himself with his connection to the sweet, soft ladies of old, wishing he were writing love letters to his own love far away. He soothes himself with the image as a way to escape the horrors surrounding him. He encourages himself with the comparison to Shezerade and her cleverness earlier.
It’s the difference between “Jonathan is facing horrors traditionally imposed on female characters” and “the horrors INCLUDE the connection to female characters.” That distinction is enforced by how he, on his own, finds comfort and encouragement by thinking of himself among their number.
It’s a distinction that wouldn’t be obvious from just reading a summary of the story, which in all honesty seems to be what some academic analysis is working from.
Artist: roytheart_
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