![]() The narrative continues in the fourth chapter “The Carew Murder Case” as a report by a maid. This allows the reader to follow the story from Utterson’s perspective and in fact to even play the role of the invisible observer. Utterson’s perspective remains in the following chapter, but the heterodiegetic narration remains limited, as Utterson’s thoughts and the dialogue between him and Lanyon, one of Jekyll’s closest friends, are presented. Thus through the dialogue and story-telling, Mr Hyde is indirectly introduced to the reader, described as an angst-inducing, hateful man whose ugliness was beyond description (cf Stevenson:13). Enfield, the narrative immediately switches to the first person narrative as soon as he starts telling Mr. Utterson, a lawyer in London and Jekyll’s friend, through a figural narration or rather third-person narrator. The novel begins with the detailed description of Mr. Stevenson uses multiple narrations in order to create a tense atmosphere of suspense and ambiguity through the juxtaposition of the different of Utterson, Enfield, Lanyon and Jekyll. Significance of Narrative Situation in The Strange Case of Dr. In order to investigate these physical characteristics of the text, the amplification of the uncanny effect and the gothic novel will be analysed. This term paper shows the effects of the Fantastic through the linguistic features as the narrative situation, his applied word choices and broad imagery. Stevenson’s usage of allegories, narration and the point of view does both manipulate and influence the reader. Schmidt does also involve Stevenson’s novel The Strange Case of Dr Jekyll and Mr Hyde (2013) in her work among the selections, which illustrates the motif of the double and self-destructiveness of Dr Jekyll, a Victorian reputable gentleman in London and Mr Hyde, his alter ego, a “displeasing (…) detestable (man who) gives a strong feeling of deformity” (cf Stevenson The Strange Case of Dr. These features demonstrate the “Second Self” as a diabolical alter ego, who always appears as a self-divided villain, marked by the uncanny and the evil. While split personality was a feature of the prototype of a double-ganger in the Gothic genre, “the Second Self mostly contains aspects of the demonic, (…), the monstrous, (…) and is bound into a context of moral ambiguity” (44). As social and personal identity crises were augmentative during the Romantic epoch, the literary double “serves to express an epoch’s fear of the collapse of social values”, therefore authors used the double motif in literature in order to “illustrate the issue of the fragmentability of the human soul” (36). These aforementioned double-ganger motifs are literary represented in a plethora of English narrations in both English Romanticism and in early 20th Century literature in the Gothic tradition. While describing the divided self and explaining the relationship between good and evil of the double-ganger, Schmidt rather focuses on the ‘Second Self” and its multiple denotation, as “the Second Selves make their appearances either as instinct shadowlike figures, coming alive in the form of pictures or reversed as mirror images” (Schmid The Fear of the Other: 28). Schmidt utilises the expressions such as ‘First Self’ for demonstrating the protagonist and ‘Second Self’ which designates the definition of the dark half or rather the alter ego. The quotation above expresses the definition of the double-ganger, also described as the wrong self, which is connected with antithetic values opposed to the prototype. In her work The Fear of the Other, Schmidt analyses, inter alia, the motif of the Double as well as its appearance in 19th Century literature in the Gothic tradition. He is a conglomerate of the bad, the dark, the uneven aspects of the self, which have become manifest and which now appear to threaten the prototype existentially by virtue of their mere presence. The double-ganger is the ‘other’, the false, the wrong self. ![]() ![]() The Uncanny Effect of the Fantastic in The Strange Case of Dr.
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