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Stoker's Doppelgänger: Day and Night - Two Novels: Seven Golden Buttons and Miss Betty. by Bram Stoker. 0 ratings 0 reviews.
Table of contents

In the midst of her sense of pain and desperation at the prospect of eternal exclusion from the New Jerusalem, however, arises a hope for forgiveness. The narrator continues: Claribel saw the jasper walls before her towering up and up, and she knew that they were an eternal barrier to her, and that she must ever stand without the Beautiful City; and in the anguish and horror she felt how deep was her sin, and longed to confess it. Skooro saw that she was repenting, for he, too, could see into her thoughts, and with the darkness of his presence he tried to blot out the whole dream of the Beautiful City.

But the Child-Angel crept into her heart and made it light, and the seed of repentance grew and blossomed. UTS Skooro, like Milton's Satan, is granted access to man by the Deity, only to find the proposed victim ironically redeemed through her contact with evil. The Jasper City of the New Jerusalem, however, may be entered only by those whose names 'are written in the Lamb's book of life' Rev.

Mere repentance, good works or the living of 'holier' lives UTS When Zaphir and Zaya trust to Divine protection in the face of their respective giants, and when Claribel overcomes the lifelong temptation latent in her first act of untruthfulness, an old, sinful life is seemingly forsaken and a new beginning signalled. The power behind Skooro is rejected; that which supports Chiaro is embraced. The broad Augustinian tenets of the Doctrine of Free Grace have thus been retained, though their theological ramifications have not been extracted to the full in Under the Sunset.

Indeed, the volume advances a simplified version of Christian doctrine, if not one made theologically more hopeful, and thus more attractive to the child reader. Stoker's doctrinal vagueness arguably represents his participation in a lay rather than clerical appreciation of Christian theology. This position produces in the volume a broad replication of the Faith as received and transmitted publicly rather than in the privileged space of theological debate. The horror of Under the Sunset, in this respect, is the servant of its piety and didacticism. The experience of the horrific, for the fictional characters and, by example, for the child reader also, leads to the inculcation of a moral lesson and the purging of impiety - an outcome seemingly not acknowledged by contemporary criticism.

Notably, the author made no alterations to the 'lurid passages' and retained all of the 'terribly grim' illustrations highlighted in the critical response to the first edition when revising the work for its second edition.

The consequences of Queen Tera's successful resurrection are predicted alternately by those involved in terms of metaphysical speculation and in the anticipation of concrete technological benefits. The second edition, however, differs from the first through the removal of the sixteenth chapter, 'Powers - Old and New', and in the substitution of a new, happier, ending to the final chapter, 'The Great Experiment'. These changes have been traditionally dismissed in both criticism and biography as being nothing more than an authorial or editorial response to a request by Rider that the novel conclude with a more conventional ending.

This suggestion was first advanced - without further substantiation - in Harry Ludlam's biography of Stoker and, at first sight, appears quite plausible. Ross recalls: I found them all where they had stood. They had sunk down on the floor, and were gazing upward with fixed eyes of unspeakable terror.

Margaret had put her hands before her face, but the glassy stare of her eyes through her fingers was more terrible than an open glare I did what I could for my companions; but there was nothing that could avail. There, in that lonely house, far away from aid of man, naught could avail. It was merciful that I was spared the pain of hoping.

JSS There is no suggestion here, for example, of the symbolic marriage in death by which Sailor Willy and Maggie MacWhirter are united at the end of The Waiter's Mou', where the narrator concludes, romantically, 'The requiem of the twain was the roar of the breaking waves and the screams of the white birds that circled round the Watter's Mou'.

Death, in the first edition of The Jewel of Seven Stars, is horrible because it is not romanticised, and because it fails to signify an acceptable message in literary or religious terms. This is not to say that death is not meaningful here. Rather, its message is 'unspeakable terror': fear either at the prospect of physical pain or annihilation, or the Graphic descriptions such as those in the original conclusion, however, form no part of 'Powers - Old and New', a chapter in which Ross speculates on the metaphysical and ontological implications of the Experiment in which he is to participate.

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When, however, The Jewel of Seven Stars is read as the narrative of a scientific enquiry which culminates in the working of 'The Great Experiment' the cancelled sixteenth chapter falls into place as an introduction to the epistemological - and, indeed, theological - rubric by which the resurrection of Tera will be governed. If 'The Great Experiment' and 'Powers - Old and New' are read as intimate, therefore, what is removed in the second edition of the novel is arguably not merely the scene of narrative horror but also the ontological horror that precedes and supports it, and which the experiment itself arguably verifies through its evidential process.

An untenable position constructed through the rhetoric of the first edition is systematically elided in the evidential process of the second: the narrative of horror in the revised novel is, in both senses, made to yield to the pious. The breakdown in signification which characterises the first edition is largely a consequence of the novel's conjunction of what may be superficially regarded as a series of cultural opposites.

In Trelawny's house, and later in the experiment chamber, the foreign and exotic occupy the same space as the domestic, the past is juxtaposed with the present, and pagan beliefs claim a validity customarily reserved for the Christian and the scientific. The construction of a largely accurate backdrop of Egyptology in The Jewel of Seven Stars reflects Stoker's reading across the subject over a period of years. Though David Glover argues that Stoker drew primarily on the writings of W.

Flinders Petrie and Amelia Edwards, the major technical influence on the novel would appear to be that of E. Wallis Budge, author of many scholarly, though frequently popular, works on Egypt. In Stoker's novel, the fictional explorer Van Huyn notes how the door of Tera's tomb 'was fixed in place with such incredible exactness that no stone chisel or cutting implement which I had with me could find a lodgement in the interstices' JSS Van Huyn's account recalls Budge's description Egypt in the novel is typified by the spectacle of death rather than the drudgery of life, its focal points being the tomb and the mummy rather than the potsherd.

The detailed characterisation of Queen Tera, however, places her in high relief against this background, and allows her to function as a problematic figure in the sexual and religious politics of both archaic Egypt and twentieth-century England. Budge lists no Tera amongst the monarchs of Egypt, although The Mummy confirms the novel's location of the Eleventh Dynasty at Thebes, and supports Stoker's choice of Antef as a suitable name for her Theban father. The figure of Tera is almost certainly modelled on Budge's account of the Eighteenth Dynasty queen, Hatshepset. Corbeck, Trelawny's assistant, observes of the inscriptions in Tera's tomb: In one place she was pictured in man's dress, and wearing the White and Red Crowns.


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In the following picture she was in female dress, but still wearing the Crowns of Upper and Lower Egypt, while the discarded male raiment lay at her feet. During her lifetime she wore male attire, and put on the robes and ornaments which belonged to kings only After her death her brother Thothmes III. In this respect, the characterisation may be read as another expression of the ambivalence towards strong-willed women which arguably punctuates Stoker's writings.

Tera and Hatshepset are, in a sense, condemned for their rebellion against the closely aligned secular and spiritual power of a male priesthood. Egyptology, however, is underpinned by the broader culture of Orientalism, a mode of discourse by which Eastern civilisations and peoples are made available to Western material culture.


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    • Trelawny's assistant, Corbeck, is the novel's primary medium for the expression of the frequently negative connotations of acquisitive archaeology. These arise out of the ambivalent relationship between the quest of the explorer and the ethics of the Occident. Corbeck - the name suggests an onomatopoeic representation of some grotesque carrion bird makes 'a living of a sort' by 'tomb hunting' on behalf of Trelawny, rather than through the academic use of his many qualifications JSS He attaches much importance to the discretion with which he preserves Trelawny's confidences JSS 72, This is an intimate part of a personal and very Western sense of honour.

    But Corbeck is at times visibly less sure of the methods by which he has prosecuted missions for his employer.

    He confides to Margaret and Ross: I have been several times out on expeditions in Egypt for your father Many of his treasures - and he has some rare ones, I tell you - he has procured through me, either by my exploration or by purchase - or - or - otherwise. Your Father JSS 69 This hesitation is echoed later in his account of the finding of the tomb: 'when the treasures which we had - ah!

    Trelawny arranged their disposition himself JSS Both evasions are ultimately to no avail. The presence of the hyphen, and the interjected 'ah! Though this may be an expression of Stoker's possible distaste for such private collections, it is as likely a reflection of contemporary ambivalence towards the violation of the repose of the dead, even in the cause of knowledge. The fictional Van Huyn had no such qualms. People, like artefacts, become objects for display, study and experiment.

    Tera's hand is as much a traveller's curio as the sarcophagi, tables and coffers which lie scattered about Trelawny's private museum.

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    Significantly, Ross dwells only momentarily on the hand's status as a detached human member before moving to an abstract consideration of its texture and 'rich creamy or old ivory colour' JSS For Margaret Trelawny, 'A woman is a woman, if she had been dead five thousand centuries! As such, she may have the sanctity of her sex as well as of her repose violated by the presence of men and bright lights. Her status as artefact overwrites the customary respect accorded to her as woman. The presence of the physician, Dr Winchester, at the unrolling of Tera's mummy recalls that the living, too, may be exposed to similar indignities within the permitted spaces of medicine or science.

    This objectification is a point of access for the macabre, in that the unrolling of Tera's mummy represents a crisis at which the discourses of knowledge and scholarship meet head on with more popular misgivings surrounding death and decay. Where Dr Winchester is able 'to hold himself in a business-like attitude, as if before the operating table' JSS , Ross struggles to stay within a discourse appropriate to the experimental environment.

    Before the unrolling begins, Ross is consistent in treating Tera as an object: 'the mummy'. He recalls: The mummy was both long and broad and high; and was of such weight that it was no easy task, even for the four of us, to lift it out. Under Mr.

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    Trelawny's direction we laid it out on the table prepared for it. JSS , my emphases This intimacy with the dead, however, prompts a momentary lapse in his detachment. Ross recalls: Then, and then only, did the full horror of the whole thing burst upon me! There, in the full glare of the light, the whole material and sordid side of death seemed staringly real.

    The outer wrappings, torn and loosened by rude touch, and with the colour either darkened by The coverings were evidently many, for the bulk was great. But through all, showed that unhidable human figure, which seems to look more horrible when partially concealed than at any other time. What was before us was Death, and nothing else. All the romance and sentiment of fancy had disappeared. JSS Reader attention is thus directed towards the realisation that what is perceived is only the surface and not the totality of the object, and that the human form lies beneath it, as yet partially revealed.

    An ambiguous sense of expectation is thus generated for the reader. A well-preserved body is required for the successful completion of the Experiment.

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    But anticipation is valorised further by the repeated descriptions of the decay of the outer coverings. Speculation arises, therefore, not as to what lies beneath the wrappings, but as to the condition of that which will be revealed, where sight gives a greater immediacy through not recognising the 'romance' of words and glossaries. Ross continues: Then the work began.

    The unrolling of the mummy cat had prepared me somewhat for it; but this was so much larger, and so infinitely more elaborate, that it seemed a different thing There were an enormous number of these, and their bulk when opened was great. JSS Anticipation is maintained, the sense of moving towards a conclusion conveyed in the reduction in the size of the mummy, and the corresponding growth of the pile of discarded bandages. The account begins to take on a more optimistic tone: As the unrolling went on, the wrappings became finer, and the smell less laden with bitumen, but more pungent At last we knew that the wrappings were coming to an end.

    Already the proportions were reduced to those of a normal figure of the manifest height of the Queen, who was more than average tall. JSS The use of it has been eclipsed by a consistent the which refers to both process and wrappings.

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    Ross has, in a sense, successfully moved back into the type of detachment that characterises the discursive positions occupied by Trelawny, Corbeck and Winchester. This detachment persists, albeit momentarily, even when the perfectly preserved body of the Queen is revealed. Ross recalls: There was nothing of that horrible shrinkage which death seems to effect in a moment. There was none of the wrinkled toughness which seems to be a leading characteristic of most mummies.

    There was not the shrunken attenuation of a body dried in the sand, as I had seen before in museums. JSS The rhythmic repetition of 'There was nothing A possible expectation on the part of the perceiver is acknowledged the moment after it is violated. The apparently life-like condition of the corpse forces a question as to which discourses are appropriate to its handling.

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    Discursive boundaries are thus broken down by the sudden intrusion of the human into the archaeological. Hence, the detached position previously occupied by Trelawny, Corbeck, Winchester and Ross collapses as the artefact - Margaret's physical double - is perceived as human: as Ross phrases it, 'This woman - I could not think of her as a mummy or a corpse' JSS If the experiment succeeds, science will, in theory, expand in order to accommodate the 'new' knowledge.

    Should the experiment fail, however, science as an empirical discipline will remain unaffected. Tera's humanity, though, confers upon her body an element of spirituality not enjoyed by the pigeons, monkeys and dogs conventionally employed in scientific or medical experimentation. As the vivisectionist Nathan Benjulia, in Wilkie Collins's Heart and Science , notes: 'a man is a creature with a soul, and a dog is a creature without a soul.

    The failure of the Great Its success, however, will effectively cast doubt on the validity of Christian doctrine in its application to the connections between death, bodily resurrection and the final Judgement foretold in the biblical Revelation.