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This Electronic Thesis Or Dissertation Has Been Downloaded from the King’S Research Portal At This electronic thesis or dissertation has been downloaded from the King’s Research Portal at https://kclpure.kcl.ac.uk/portal/ An analysis of the treatment of the double in the work of Robert Louis Stevenson, Wilkie Collins, and Daphne du Maurier. Abi-Ezzi, Nathalie The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without proper acknowledgement. END USER LICENCE AGREEMENT Unless another licence is stated on the immediately following page this work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International licence. https://creativecommons.org/licenses/by-nc-nd/4.0/ You are free to copy, distribute and transmit the work Under the following conditions: Attribution: You must attribute the work in the manner specified by the author (but not in any way that suggests that they endorse you or your use of the work). Non Commercial: You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 10. Oct. 2021 An Analysis of the Treatment of the Double in the Work of Robert Louis Stevenson, Wilkie Collins and Daphne du Maurier. NATHALIE ABI-EZZI King's College, University of London Submitted for the degree of Ph.D., 2000. 2 ABSTRACT This thesis is an investigation of the representation of the double in the fiction of R. L. Stevenson, Wilkie Collins, and Daphne du Maurier, with particular reference to The Strange Case of Dr Jekyll and Mr Hyde', The Woman in White, and Rebecca. While these authors are of particular importance to the literature of the double, the significance of certain aspects of their lives cannot be overlooked in this respect, for all are united to some degree by a rejection of the prevailing social order. It is the basis of this rejection, different in each case, that determines the context in which each treats the double. The present study first locates the origins of the double's representation by these writers as rooted in the Gothic; the main purpose of this is not so much to account for the Gothic conception of the double, but to explore the relevance of the genre's externalisation of inner fears and the psychological life. For, while Stevenson, Collins, and du Maurier all clearly employ the double, it is the psychological symbolism enabled by a projection of the fictional inner life through heightened subjectivity that, the present study argues, defines the function of the motif in their work. This psychological symbolism manifests itself in several themes - namely the representation of landscape, animals, masquerade and writing - central to the main texts, and relating them clearly to one another. This study, then, while contributing on one level to the comparatively sparse literature on Collins and du Maurier, expands an understanding of the motif of the double by filling a gap in existing criticism, demonstrating that it is to no small degree through the relationship of the double to a given set of themes, defined through psychological symbolism, that the course and fulfilment of its function are explained. 3 Acknowledgements For my mother and for Matthew, without both of whose help and support this thesis could not have been completed. With thanks also to my supervisor for her patience, advice and kindness. 4 CONTENTS List of Abbreviations 5 Introduction 6 Chapter 1: Influential Literary Backgrounds 26 1.1. Religious: the Hero and Sibling 26 Relations in the Old Testament 1.2. Gothic 38 1.3. Conclusions 66 Chapter 2: Robert Louis Stevenson 70 2.1. Influences and Background 70 2.2. Narratives of Descent' 79 Chapter 3: Wilkie Collins 133 3.1. Introduction 133 3.2. Themes of Descent' 144 3.3. Themes of 'Ascent' 171 3.4. Conclusion 216 Chapter 4: Daphne du Maurier 221 4.1. Introduction 221 238 4.2. Themes of Descent' 4.3. Themes of 'Ascent' 265 4.4. Conclusion 301 Conclusion 311 Bibliography 318 5 LIST OF ABBREVIATIONS Works frequently quoted will be referred to parenthetically in the text as follows. For full details of editions, refer to the Bibliography: Works by Robert Louis Stevenson: DB Deacon Brodie, or The Double Lfe Essays The Essays of Robert Louis Stevenson JH The Strange Case of Dr Jekyll and Mr Hyde' K Kidnapped Lantern-Bearers The Lantern-Bearers and Other Essays Letters The Letters of Robert Louis Stevenson MB The Master of Ballantrae: A Winter's Tale SSE Robert Louis Stevenson: The Scottish Stories and Essays SST South Sea Tales TI Treasure Island WH Weir of Henniston, in Dr Jekyll and Mr Hyde and Weir of Hermiston Works by Wilkie Collins: A Armadale B Basil DS The Dead Secret NM The New Magdalen NN No Name M The Moonstone PMF Poor Miss Finch WW The Woman in White Works by Daphne du Maurier: BP The Breaking Point: Eight Stories by Daphne du Maurier FC Frenchman's Creek FF The Flight of the Falcon JI Jamaica Inn KG The King's General MCR My Cousin Rachel PJ The Progress of Julius R Rebecca S The Scapegoat 6 Introduction The present study is an exploration of the motif of the double as it is represented in the writing of three authors - Robert Louis Stevenson, Wilkie Collins, and Daphne du Maurier - whose work is of particular importance to the literature of the double, and furthermore, the thesis charts a development in the function of the motif. Before expanding and explaining this statement, a definition of the term 'double' must be reached. A number of critical studies of the double have deemed it necessary to define the term more closely, for there is little doubt that the expression is a vague one. This is perhaps a purposeful abstraction, for the theme is complex and wide-ranging. For the purposes of the present study, however, the term may be accepted as including both the concept of the doppelganger and that of the divided Self. The first term is generally understood to refer to a second Self taking a physical human form. In the most basic instance, this appears as a figure identical to the primary persona, as seen in Edgar Allan Poe's story William Wilson'. The two, however, are not necessarily physically alike, although the narrative leaves no doubt that they are closely connected on some profound level. The tension within this relationship is generated by the simultaneous existence of both connection and opposition. In the case of Stevenson, for example, this condition frequently derives from a sibling relationship that is coupled with both competitiveness and an antithesis of character and appearance. Where the sibling relationship is absent as a uniting element, the bond between the central identities may be alternately signalled through their relationship to someone (Rebecca is a good example of this, where the narrator succeeds Rebecca in her role as Maxim's wife and the mistress of Manderley) or something (as seen in Kidnapped, where Alan and David are largely defined through their "Scottishness" as Highlander and Lowlander). It is as a result of the tension which 7 emerges from this "sameness" and "difference" that the narrative role of the double is driven forward. The divided Self, on the other hand, expresses the presence of these conflicting elements conjoined within a single person. This cannot be considered as being altogether separate from the definition of the doppelganger, for the two are not necessarily mutually exclusive. Indeed, the doppelganger is often the extemalised form of this inner conflict, one that has already been in existence for an indeterminate period, and may continue to exist following the appearance of the doppelganger. A good instance is seen in The Woman in White, where Laura, while clearly coupled by Collins with her half-sister, also serves to externalise Marian's own inner struggle between Self and propriety. As will be seen, Walter Hartright also functions as Marian's doppelganger in both his shared affection for Laura and his undertaking of travel and adventure. The present study's definition of the double is thus one that will encompass both doppelganger and the single divided identity in expressing a strong common bond between two personas who are yet antithetical in some manner. It will become clear that, in talking of the representation of landscape in the chosen texts, there is also a parallel and opposition of qualities, one that constitutes a clear duality. This will be seen to operate as a means of reflecting the position of the central identity, and serves to underline and externalise his or her state of (self-) confinement. In itself, however, this duality neither operates as nor constitutes a double as it is defined within this study, and it will therefore be analysed in its relationship to the central identity, and not as part of it. In formulating its basis, the present study has drawn on Northrop Frye's theory of the romance narrative as structured around a basic concept of 'descent' and 'ascent' of the 8 hero or heroine, as explicated in chapters four and five of The Secular Scripture: A Study of the Structure of Romance [1976]. Frye describes four levels of existence - heaven, Eden, that inhabited by humans, and hell - and refers to the movement between these.
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