In many ways, Lucy is much like her dear friend Mina. She is a paragon of virtue and innocence, qualities that draw not one but three suitors to her. Lucy differs from her friend in one crucial aspect, however—she is sexualized. Lucy’s physical beauty captivates each of her suitors, and she displays a comfort or playfulness about her desirability that Mina never feels. In an early letter to Mina, Lucy laments, “Why can’t they let a girl marry three men, or as many as want her, and save all this trouble?”
Although she chastises herself for this “heresy,” her statement indicates that she has desires that cannot be met. Stoker amplifies this faint whisper of Lucy’s insatiability to a monstrous volume when he describes the undead Lucy as a wanton creature of ravenous sexual appetite. In this demonic state, Lucy stands as a dangerous threat to men and their tenuous self-control, and therefore, she must be destroyed. Lucy’s death returns her to a more harmless state, fixing a look of purity on her face that assures men that the world and its women are exactly as they should be.