This type of sexual behavior would never have been expected of Victorian women, nor accepted by Victorian society. .

             In the late nineteenth century, women were very much the victims of the Madonna-prostitute fantasy. If a woman was not a mother and/or wife, she was expected to be virtuous and pure, innocent of carnal knowledge and desires. And if she was neither, she was condemned by society as a fallen woman, or basically a whore, with little if any redeeming qualities to offer. Stoker allows Dracula to pit these characteristics against one another, good against evil, by using the cultural assumptions and beliefs of female sexuality. Lucy and Mina represent the epitome of virtue. They are everything they should be, innocent, pure, and ignorant of evil. .

             Stoker portrays the victims of the vampires as hypnotized and transfixed. They are not savagely raped or murdered, they are sexually seduced, and become willing participates, unable to resist their own sexual desires. Stoker uses the word, voluptuous several times throughout the novel to describe the vixens. When Lucy is transformed, her purity has turned to "voluptuous wantonness" (Stoker Ch.16 pp). Stoker even includes a passage of how her lips were crimson and the blood trickled down and "stained the purity" of her death robe (Stoker Ch.16 pp). Then again he writes an image that is extremely uncharacteristic of Victorian women and again uses the word voluptuous:.

             "She still advanced, however, and with a .

             languorous, voluptuous grace, said, 'Come .

             to me, Arthur. Leave these others and come .

             to me. My arms are hungry for you. Come, .

             and we can rest together. Come, my husband, .

             come!' There was something diabolically sweet .

             in her tones, something of the tinkling of glass .

             when struck, which rang through the brains even .

             of us who heard the words addressed to another".

             (Stoker Ch.16 pp). .

             Lucy had become sexual enticing and filled with "hunger" for her man, something he would only have experienced in his dreams or imagination, but hardly in Victorian reality.