Van Helsing uses various Christian symbols to defeat Count Dracula.
Given that Van Helsing and his posse are able to use the Christian imagery to drive Dracula back to Castle Dracula and eventually defeat him, Stoker might be suggesting that the power of the Christianity and the Christian God will always prevail in a match against evil and the devil.
Although Dracula will not be found toting around a pitchfork, the other attributes can be likened to his character.
One will find that the novel states “The mouth, so far as I could see it, was fixed and rather cruel-looking, with peculiarly sharp white teeth…
Simone de Beauvoir's The Second Sex (1949), Betty Friedan's The Feminine Mystique (1963), Ms.
Magazine's first issue in 1972 in which Gloria Steinem famously put Wonder Woman on the cover, Susan Faludi's Backlash (1991), and more recent debates about Sarah Palm's footwear choices and Hillary Clintons pantsuits and political ambitions, indicates that the Woman Question is still with us and shows no sign of disappearing any time soon.
So, in Dracula’s appearance, one will find further affirmation that Dracula may serve to represent the devil.
Dracula’s actions are also significant in explaining how he might represent the evil of the devil in that Dracula’s actions are perversions of Christian ideals or beliefs, just as the devil.
Good Girls Gone Bad: The Perils of Feminine Sexuality In Fictions of Modesty: Women and Courtship in the English Novel, Ruth Bernard Yeazell writes that early English conduct books construct a parallel between immodesty and insanity, for as one manual intoned, "an Impudent woman is looked on as a kind of Monster; a thing diverted and distorted from its proper form" (5).
Dracula's brazen--and therefore monstrous--women do not adhere to standards of middle class morality, and Stoker gives us three very different portraits of womanhood, all of which play into Victorian anxieties about female sexuality and gender roles.