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Dracula, and, the legendary Sherlock Holmes versus his doppelgnger nemesis John Stapleton
complementarity, and likeness to their alter egos (ivkovi 122). Additionally, monstrous
uncivilised world (Bourgault du Coudray 5). Dracula and Stapleton both resemble and reflect their
alter egos as if perceived through a glass darkly. Furthermore, these two characters pose a threat to
social and domestic stability in aristocratic and bourgeois society and could therefore be considered
The doppelgnger in Dracula performs a significant social function in exemplifying the other in
Victorian society. Count Dracula is an expatriate, whose foreign demeanour poses a threat to British
society, in that evil is a foreign danger introduced by foreign agents in disguise (Spencer 207). He is
a native of Transylvania, a locale described in Dracula as both sublime and backward. Jonathan Harker
notes in his journal that the Carpathian Mountains stretch across one of the wildest and least known
land full of forests and woods, with here and there steep hills (13), where pine forests ran down the
hillside like tongues of flame (Ibid.). Castle Dracula itself was perched a thousand feet on the summit
of a sheer precipice ((395) rearing high above a waste of desolation (402). Hereby, Count Draculas
and social underdevelopment is also noted in Harkers journal, in that there are no Ordnance Survey
maps of Transylvania as yet to compare with those of Great Britain (8). Transylvanian people are
described as quaint (383) and very picturesque (9), with a predilection for every known
superstition in the world (8). Hereby, Count Draculas environment is described as an atavistic milieu,
in that civilisation and modernity have exerted little influence over this area. In doing so, the text
suggests that Dracula, as a product of his environment, may likewise be savage and atavistic. Indeed,
the Count could be considered an atavistic type writ large as he is the supreme leader (Cottom
539) of the Roma, the anti-thesis of middle class decency for their licentious ways, improvident
display and refusal to become dutiful subjects . . . of the modern nation (538). In sum, Draculas
migration to Britain constitutes a threat to society, in that he could influence, perhaps pervert, British
society with his alien, atavistic mindset. This fear of a changed, converted and perverted society is
symbolised in the vampires act of penetrating women, who, consequently, have no choice but to
become other like Dracula. As such, London is deemed was no place for him (Stoker 334). The
foreigner as scapegoat had become a ubiquitous character in English literature as the British Empire
had fallen into decline partially due to competition from abroad (Hindle XX). Consequently, British
society harboured increasing anxieties that their nation was in irrevocable decline as a political,
economic and cultural power (Arata 622). In sum, the Dracula character validates, defines and
mediates societal fears regarding racial mingling, crossbreeding, and intermarriage (Bourgault de
Chaudray 3), whereby his ultimate demise potentially pacifies these anxieties in turn.
western European from a nation socially and geographically close to Great Britain, his immigration
and assimilation would not seem as threatening . . . as that of an Eastern European like Dracula
(Viragh 240). Accordingly, Van Helsings country of origin is described favourably. Britain and the
Dr Seward in London and Van Helsing in Amsterdam, which illustrates that the Netherlands, like
Britain, is a modern, technologically-advanced nation. Throughout the hunt for Dracula, Van Helsing
commutes to Amsterdam to gather books and supplies. Additionally, Dr Seward used to study in the
Dutch capital, with Van Helsing as his lecturer, which further characterises this location as a
scientifically-advanced place and as such constitutes a binary opposition to Transylvania. These details
demonstrate that Britain and the Netherlands exchange knowledge and information, reiterating that
Dutch nationals exert a welcome foreign influence. Hereby, Van Helsing constitutes a likeness as well
as contrast to his doppelgnger Dracula, in that both characters are foreigners, but the Professor
originates from an equivalent, scientific, matter-of-fact (Stoker 254) country, whereas his double
originates from an awe-inspiring, atavistic country whose people may spread uncivilised ideas and
notions among Britains citizenry. In doing so, the doubles function to validate as well as mediate
Similarly, the doppelgnger in The Hound of the Baskervilles, John Stapleton, performs a function
comparable to Dracula in that he is likewise an atavistic outsider. However, in this text the doubles
demonstrate a dichotomy characterised by a contrast between capital city and countryside rather
than Western and Eastern Europe. Sherlock Holmes resides in London, this great city (Doyle, The
Hound 32) considered the most advanced metropolitan center of modern civilization (Cottom 539).
Holmes is thus a sophisticated, urbane man, who plays the violin and enjoys going to the opera, which
is evidenced in his statement that he has a box for Les Huguenots (Doyle, The Hound 115).
Contrarily, his doppelgnger John Stapleton is an outsider from beyond the British pale, in that he
is described as a desolate plain (41), melancholy downs (73) and a barren scene characterised
by a sense of loneliness (83). The only signs of humanity comprise the long-abandoned prehistoric
(73) stone huts (54). Stapletons residence, Merripit House, is enclosed by the Grimpen Mire, a
huge morass (108) with little green patches everywhere into which one may sink (53). Crossing it
is so dangerous that a false step yonder means death to man or beast (48). Nonetheless, Stapleton
feels quite at ease in this swamp as he states I can find my way to the very heart of it and return
alive (Ibid.). This statement evidences that he is familiar with dangerous and even murderous places
and suggests he may likewise be familiar with chthonic, atavistic impulses. Stapletons atavism is also
remarked upon by Sherlock Holmes, when he states that he constitutes an interesting instance of a
throwback, which appears to be both physical and spiritual (96) when inspecting a portrait of
Stapletons ancestor Hugo Baskerville. In sum, the doppelgnger Stapleton constitutes a binary
opposite of his alter ego Sherlock Holmes, in that the former represents nature and savagery, whereas
the latter culture and sophistication. Stapletons chthonic, savage impulses consist of greed and
cunning, resulting in murderous plots to usurp Stapleton Hall. As such, the cultural significance of this
double is to embody atavistic forces threating the stability of social institutions, namely aristocratic
In addition to providing a contrast, the doppelgngers in both texts share a significant commonality
with their alter egos, namely a thirst for knowledge and learning. Count Dracula owns an extensive
library containing a vast number of English books concerned with a wide range of topics, including
history, geography, politics, political economy, botany, geology, law (Stoker 26). However, he
acquires knowledge for practical, self-serving purposes. These texts all relate to England and English
life and customs and manners (26), which will facilitate his migration to Britain, where he intends to
be a master still (27) and become the father or furtherer of a new order of beings (322). His
counterpart, Van Helsing, has likewise a love of learning, in that he has a doctorate in literature and
(134) even though previously he has studied, over and over again (321) texts related to vampirism.
Consequently, he has amassed extensive knowledge ranging from historical vampire tales from old
Greece, old Rome and China (254), to anthropological data about vampires habits,
requirements, strengths and weaknesses. Additionally, Van Helsing is conversant with the latest
medical advances, which is demonstrated in his familiarity with blood transfusions. Contrary to
Dracula, who acquires knowledge for egoistic reasons, Van Helsing applies his knowledge to save
rather than usurp mankind. Van Helsing considers defeating him an altruistic as well as Christian duty
as he is blot on the face of Gods sunshine and arrow in the side of Him who died for man (253).
In sum, both characters could be considered intellectuals, although Van Helsing is an academic but
Dracula an autodidact. The doubles differ most significantly in their purposes for learning: Dracula
represents an evil character who intends to change, perhaps revolutionise, British society, whereas
Van Helsing represents Christian morality and Church authority, and so appears supportive of
Likewise, Sherlock Holmes and Stapleton share a passion for scientific knowledge. The hero-detective
acts as the champion of empirical science in the face of seemingly supernatural forces (Kissane and
Kissane 356). Holmes convincingly determines the earthly, everyday nature of the crimes, in that the
mysterious hell-hound is proved to be a cross between a bloodhound and mastiff (Doyle, The Hound
104), resulting in a giant specimen, whose mouth has been coated with a cunning preparation of
phosphorous (105), which causes the blue-tinged exhalations. Furthermore, Holmes establishes that
the agent of the crimes is no supernatural being but rather a flesh-and-blood criminal, namely
Stapleton. Hereby, Holmes establishes the sufficiency of scientific reasoning (Kissane and Kissane 356).
he refers to his guesswork as the scientific use of the imagination (Doyle, The Hound 25), alluding to
an essay by eminent Victorian physicist and geologist John Tyndall (Clausson 67). In doing so, Holmes
sciences. Lastly, he refers to Dr Mortimer, a member of the Royal College of Surgeons (MRCS) (Doyle,
The Hound 5), as a colleague . . . after our own hearts (17; italics added). However, Watson states in
A Study in Scarlet that Holmes was not studying medicine but possesses a zeal for certain studies
[which] was remarkable, and within eccentric limits his knowledge was . . . extraordinarily ample and
minute (Doyle, A Study 13). Holmess use of the word colleague in The Hound of the Baskervilles is
ambiguous, in that it could demonstrate either presumptuousness, in that Holmes considers self-study
equal to recognised scholarship and professional membership, or, self-awareness, in that his
knowledge is indeed considerably extensive and profound. Nonetheless, the use of the word
colleague suggests that Holmes is a learned man. In turn, Holmess doppelgnger, Stapleton,
considers himself Holmess equal in cunning and deceit, as he identifies himself as Sherlock Holmes
(Doyle, The Hound 36) to an unwitting London cabman. The doppelgngers scientific knowledge is
prior alias Vandeleur has been given to a previously unknown moth he had been the first to describe
(110). As a naturalist and lepidopterist, he has dedicated himself to studying rare plants and
Lastly, the doppelgnger in Dracula provides a stark contrast to his alter ego in regards to sexuality.
Count Dracula is a transgressive sexual being, in that he is promiscuous, polygynous and bisexual and
awakens forbidden and latent sexual desires in others. He cohabitates with three women in Castle
demonstrates homo-erotic desires, in that he states I too can love after looking at Jonathan Harkers
faces attentively (Stoker 46). So the women troika is forbidden to approach him, as Dracula explicitly
states: This man belongs to me! (Ibid.). Although Harker sank down unconscious overcome by the
horror (47), it is unclear whether he is horrified by either the womens cannibalistic appetite for a
Dracula awakens any forbidden desires in Harker and in doing so corrupt his socially-acceptable
sphere, in that he beguiles married women only. For instance, he seduces Lucy, whose transgressive
promiscuity is under very imperfect control (Spencer 210) in that she wishes a girl [could] marry
three men, or as many as want her (Stoker 67). The two jilted suitors, Quincy Morris and John Seward,
both of hegemonic British ancestry, respectfully retreat and hereby protect Lucys virtue. Contrarily,
Dracula, the outsider from Eastern Europe, readily seduces Lucy and so cuckolds Lord Godalming. In
doing so, he transgresses moral standards and disrupts domestic stability. However, this is no isolated
incident, in that he further threatens Harker, Morris, Seward and Godalming, and by extension all
respectful middle class men, by stating that your girls that you all love are mine already; and through
them you and others shall be mine yet (326). In sum, Dracula illustrates the seductive, transgressive
other, who poses a threat to British male pride and the virtue of the angel in the house, an already
beleaguered social stereotype (Spencer 206). By contrast, Van Helsing represents the paragon of
morality, in that he coordinates the demise of Dracula and his seraglio, including Lucy. In doing so, he
eradicates an unwanted alien species as well as infectious social phenomenon, in that Draculas
hedonistic sexuality will readily spread to the wider community. As Spencer (218) states, sexuality
defines the individual but simultaneously threatens the collective. By eradicating vampirism from
British soil, Van Helsing re-establishes social stability and so constitutes a binary opposite to his
doppelgnger Dracula.
Similarly, the doubles in The Hound of the Baskervilles provide a comparable contrast, in that Sherlock
Holmes defends patriarchal social institutions whereas John Stapleton poses a threat. Sherlock Holmes
constitutes the epitome of Victorian masculinity: the cold scientific rationalist but also the dedicated
artist; the accomplished professional but also the gifted tyro; a respectful conservative but also a
bohemian other (Bragg 4). His super-hero masculinity is symbolised in the image of Holmes standing
arms folded, his head bowed (69) looking down upon the enormous wilderness (69) like a monarch
surveying his dominions. His superior masculinity is further established by demonstrations of superior
reasoning powers which surpass even those of Dr Watson. For instance, Holmes determines Dr
Mortimers identity from obscure clues on his walking stick left behind in Baker Street. Contrarily, his
double is described as relatively effeminate as a small, slim, clean-shaven, prim-faced man (46).
Nonetheless, this effeminised man constitutes a threat to the domestic sphere, in that he forces his
wife Beryl Garcia to pose as his sister so as to deceive Sir Henry Stapleton and usurp Baskerville Hall.
Stapleton further abuses his power as the family patriarch through violence, in that he imprisons
Garcia both in Londons Mexborough Private Hotel as well as at home in Merripit House. He uses
violence as he distrusted her and feared losing his malicious influence over her (112). In sum, the
Stapleton doppelgnger provides a tripartite function. Firstly, he embodies the male losing control
(qtd. in Kestner 81) in that he uses violence to maintain power. Secondly, he represents Victorian
aristocratic anxieties of being supplanted (Ibid.), in that he applies his wit and wiles to displace the
rightful inheritor Sir Henry Baskerville. Thirdly, he provides a contrast to Sherlock Holmes, in that he
applies his intellect to subvert rather than support social institutions and in doing so critiques own
In conclusion, Dracula and The Hound of the Baskervilles support ivkovis (122) notion that the
ego. Count Dracula and John Stapleton demonstrate remarkable similarities to their alter egos Van
Helsing and Sherlock Holmes. All four characters represent formidable men, in that they are intelligent
and well-educated. However, the contrasts between the doppelgngers and their alter egos appear
most revealing about Victorian socio-cultural standards. Dracula demonstrates that Victorian society
feared foreign, atavistic influences that unleash latent transgressive sexual desires in both men and
women and hereby destabilise the domestic and social sphere. The Hound of the Baskervilles
patriarchal power, in that both social institutions are threatened by criminal, atavistic impulses. In
sum, the cultural significance of the doppelgnger is to unveil what society fears most.
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