Vampires and Sexuality

This trend became especially prevalent in the twentieth century and since then, it is almost impossible to come across a work of vampire fiction that does not have the sexuality theme. Works of vampire literature have evolved significantly over time, with there being notable changes in how vampires are portrayed, how sexuality is perceived in general and femininity as it relates to sexuality. Change in the Physical Depiction of Vampires in Vampire Fiction Among the major transformations that vampire fiction has undergone is on how vampires are depicted in the works. Presently, when vampires are mentioned the image that comes into our minds is youthful, vibrant, and overly sensual beings waking on two legs (Willms n. p. p. Stoker (287) describes them as having “high aquiline nose…parted red lips…sharp white teeth…and the red eyes”.

Their sexuality was associated with doom and most characters were shown to meet their death as a result of their sexual assertiveness. There existed a belief that whether people became vampires or not after their death depended on their activities while they were still alive. As such, evil people such as thieves, drunks, witches or murderers could become vampires after their death (Melton 66). Depiction of Sexuality in Vampire Fiction While the theme of sexuality is common in vampire fiction, different works have different views on sexuality. This difference may be attributed to such factors as difference in times when the works were made as well as the audience types that the works are made for. Taking Twilight as an example, the traditional view on sex that suggests that sex is off limits, sinful and bearing negative consequences and that it is a preserve for the married only (Gray n.

p. This is depicted through Bella Swan and Edward Cullen’s relationship. An illustration of this in the story is when Louis relates his experience of receiving a sex offering of a human who gets sexual pleasure from giving blood, in the presence of onlookers: “Never had I felt this, never had I experienced it, yielding of a conscious mortal. But before I could push him away for his own sake, I saw the bluish bruise on his tender neck. He was offering it to me now… wave after wave of his beating heart passed into me as I weightlessly rocked with him, devouring him, his ecstasy, his conscious pleasure” (Rice 230). The novel also portrays other forms of non-normative sex such as homosexuality as is suggested by the relationship between two male vampires; Lestat and Louis.

Lestat has preference for young male blood and this further point towards homosexuality. In Dracula, the arrival of Count Dracula to London gives the women a chance to break free of their sexual suppressions. However, this can only be achieved if they are converted to vampires (Schuck 5). An illustration of this is Lucy Westenra’s transformation from a sweet and innocent woman to a voluptuous wanton vampire when Dracula taints her blood: “The sweetness was turned into adamantine, heartless cruelty and the purity to voluptuous wantonness. as she looked, her eyes blazed with unholy light, and the face became wreathed with a voluptuous smile” (Stoker 324). Females are sometimes portrayed as temptresses in works of vampire fiction. They even have the audacity to laugh and challenge the Count when he exerts his authority over them, with a laugh of ribald coquetry” (Stoker 38).

The brides eventually meet their death through Van Helsing. He sees them as strange and sees the need to rid the world of their wicked ways. As such, he is without remorse as he kills them. Even in their death, the brides are not saved from their alleged predicament: “the whole body began to melt away and crumble, as if displaying the decay of their departed souls” (Stoker 271). She has her fiancé Arthur give her death thereby restoring her purity and sweetness and this allows for the salvation of her soul (Stoker 216). Another of the ways in which female vampires are portrayed in vampire fiction with regards to sexuality is as virtuous and sexually reserved or what Wyman and Dionisopoulos (209) refer to as the protected virgin.

Mina Murray Harker in Dracula is a representation of this kind of woman. Unlike her other female counterparts in the story, she is not too sensuous and therefore doesn’t attract as many male suitors. She is engaged when the story starts and eventually gets married. These differences are attributed to such factors as difference in times when the works were made and the intended audience. In spite of these differences, it is beyond doubt that sexuality is the main reason behind the appeal that works of vampire fiction have. Works Cited Ames, Melissa A. Vamping up Sex: Audience, Age and Portrayals of Sexuality in Vampire Narratives. Eastern Illinois University, The Keep, October 2010. Detroit: Visible Ink, 1994. Meyer, Stephenie. New Moon. Eclipse.