Bram Stoker’s Dracula: Lucy Westenra [ESFP]

Functional Order: Se-Fi-Te-Ni

Perceiving Functional Axis:

Extroverted Sensing (Se) / Introverted Intuition (Ni)

Lucy is not interested in standing on the sidelines of life, but wants to know and experience it all for herself. It is not enough to look at lewd drawings, she wants to sexually experiment and come to know it for herself. Both before and after she becomes a vampire, Lucy is a very present and sexual being — she takes every opportunity to flatter and charm the men around her, she rushes to comfort them after they trip, she asks for kisses and the taste of their lips, and talks about wanting to feel them between her legs. Once she feels the pull of Dracula, Lucy wanders alone, half-dressed, at night in the garden, attempts to seduce men, tries to rip garlic from her throat, becomes uncontrollable, and does not rest quiet in her grave. Her inferior Ni shows in her lack of any depth of choice in picking which man she intends to marry; she goes by a whim, nothing more.

Judging Functional Axis:

Introverted Feeling (Fi) / Extroverted Thinking (Te)

She is very in tune with the people around her, and interested in making a good impression on them. Lucy is also prone to giving in to her whims. She has a lively and flirtatious nature, which is very changeable and prone to flitting between men (she decides she loves one more than the rest, after a short period of thinking about it). She is a somewhat stereotypical ESFP, in that she falls in and out love easily and is coquettish. She enjoys pushing people to get their physical reaction, seeing if she can get them to fawn over her, and acting on her emotions. She shows no real Te, except in her direct assertion of her feelings on occasion.

Enneagram: 2w3 sexual

Lucy is playful and charismatic, charming and even sweet, and enjoys teasing and flattering and pitting her lovers against one another for her own amusement. She can be shallow and seeking of superficial satisfactions. She is aware of how she is coming across, and loves to influence her little group of intended lovers, but is also seeking a charge and a thrill out of being seductive and forward. She has an unabashed desire for sexual experiences in a Victorian society that frowns upon such things, and she sees no reason to hide it. She shows Mina lurid drawings in the books in the library and talks excitedly about experiencing it for herself. She becomes more alive under Dracula’s thrall, and embraces her sexuality without hesitation. She is a bold, domineering presence that loves to draw men after her, as a way of controlling them, but also does not have much interest in sensitive emotions.