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Inside his Literary Theory: The fundamentals, H. Bertens classifies stereotypes of women in literature right into a number of categories; hazardous seductress, self-sacrificing angel, and frustrated shrew, and defenseless lamb, entirely incapable of self-sufficiency, or self-control, and dependent on male intervention. Bertens concludes that the primary aim of the girls -- or "structures" -- would be to serve a "not-so-hidden purpose: the cultural and societal domination of males". 1 such publication that came beneath feminist scrutiny for these particular reasons was Bram Stoker's Dracula, though this perlustration did not occur until 70 years after Stoker initially penned his masterpiece. However, throughout the mid-1960s, the growth of the feminist movement prompted lots to re-analyze classic literature in fresh viewpoints. Obviously, some have disputed these claims, denying the women in Dracula, however few and far between, stray much from the stereotypes and purposes that Bertens so clearly summarizes. Count Dracula's wives would be the very first women to be correctly explained in the narrative, and they seem to fall straightforwardly enough into Bertens' "dangerous seductress" group, for Jonathan defines them almost solely on their sexuality. Everything out of their "voluptuous lips" to their "honey-sweet breath" appears devoted to depicting Jonathan's "burning desire" towards them, and Stoker's selection of speech from Jonathan's narrative clearly depicts the fiery salaciousness with which Jonathan interrupts them. This objectification of all Dracula's wives continues throughout the book right up until their deaths, in which they continue to be described as "exquisitely beautiful". The deaths themselves appear to be quite systematic and mechanica...