A doppelgänger,
at least one, appears in Algernon Blackwood’s The Dance of Death (1907).
The word translates imperfectly from the German as “double”, “duplicate”,
or “look-alike”, often in the context of a ghost or apparition who closely resembles
someone living. But the word has additional
connotations. Depending on context, a doppelganger
can also be a counterpart, decoy, or alter ego—not merely a replica.
Doppelgängers
appear often in horror entertainment, especially in stories involving ghosts or
on a more material plane, “dissociative personality disorder”, (i.e. multiple
or split personalities). The concept is
inherently disturbing. On a supernatural
level, it is frightening to think of being erased by another who can take our
place in society, even among loved ones. Is our precious individuality that easy to
replace? On a more realistic and
psychological level, there is much anxiety in being ignorant of one’s true
nature in all its manifestations. Who am
I really? Am I the kind of person who
could have done this?
The Dance of Death is unfortunately titled since the
end of the story is suggested on the first page. It is made even more predictable by the very
first line: “Brown went to the dance feeling genuinely depressed, for the
doctor had just warned him that his heart was weak and that he must be
exceedingly careful in the matter of exertion.”
Blackwood was a sophisticated horror writer, so it seems that this
telegraphing of the story’s likely end is quite intentional.
With
the title and the first line the author seems to be telling the reader “Just so
you know, the lead character is going to die by the end of the story, so let’s
get that out of the way right now.” Readers expecting to be shocked or startled at
the end will criticize the story for its predictability. But the power of the story is not so much in
what happens as how it happens. The
Dance of Death is a story where the process is much more important than the
end result.
Browne
ignores his doctor’s advice and attends the dance, but the doctor’s words to
him are revealing:
“Well—in
moderation, perhaps,” hummed the doctor.
“Not wildly!” he added, with a
smile that betrayed something more than mere professional sympathy.”
As
Monty Python would say, “Nudge, nudge. Wink,
wink. Say no more.” Insightful readers will suspect that the
concern is more with sexuality than cardiac health. Almost immediately Browne is drawn to a
beautiful and mysterious woman at the dance, but she is already accompanied by
a gentleman who weirdly enough closely resembles him. At first, he watches her longingly from a
distance.
She somehow
embodies his highest dreams and ideals—especially regarding Nature with a
capital ‘N’. Though working as a dreary
and unsuccessful office clerk, Browne aspires to “a life close to Nature”,
perhaps as a shepherd, or a huntsman. The
woman is appropriately dressed in ivy green, but no one seems to know her, and
most of the other guests cannot even make her out in the crowd.
By
degrees, their eyes meet, his “double” conveniently disappears, and he learns that
her name is “Issidy”. It seems that such
an unusual name should have a special or symbolic meaning, but I could find no
referent to it, other than its appearance in this story. Interestingly, he can no longer remember his
own name when she tells him hers, and he experiences other subtle effects on
his consciousness of himself and surroundings.
He is delighted to be in such close proximity to her, and it is clear
the author intends their meeting to be a consummation not only physically but
spiritually as well. They begin dancing.
Browne’s
seamless acquiescence to his fate—a fate we all will share—is the most
interesting part of this story.
Blackwood seems to be saying that death is not so much a separation as a
union—with our dreams, with the masculine and feminine aspects of our
personality, with all those who have gone before. The approach to death is one of hope, even
sexual longing, without any fear, regret or despair.
The story’s
denouement is a clever jab at capitalism and office work. Hearing of Browne’s death, Blackwood has
Browne’s boss invoke another kind of doppelgänger, still very prevalent today
unfortunately: “He’s no loss to us,
anyhow…Smith will do his work much better—and for less money, too.” Our
economic replacement by a duplicate employee is a special horror all its
own.
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