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Markheim by Robert Louis Stevenson

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Set on Christmas Day, this Gothic moral thriller follows a man who murders his way into an antique shop, only to be visited by a mysterious figure—perhaps a devil, perhaps a savior—who challenges his soul’s darkest impulses.

Markheim by Robert Louis Stevenson


“Yes,” said the dealer, “our windfalls are of various kinds. Some customers are ignorant, and then I touch a dividend on my superior knowledge. Some are dishonest,” and here he held up the candle, so that the light fell strongly on his visitor, “and in that case,” he continued, “I profit by my virtue.”

Markheim had but just entered from the daylight streets, and his eyes had not yet grown familiar with the mingled shine and darkness in the shop. At these pointed words, and before the near presence of the flame, he blinked painfully and looked aside.

The dealer chuckled. “You come to me on Christmas Day,” he resumed, “when you know that I am alone in my house, put up my shutters, and make a point of refusing business. Well, you will have to pay for that; you will have to pay for my loss of time, when I should be balancing my books; you will have to pay, besides, for a kind of manner that I remark in you to-day very strongly. I am the essence of discretion, and ask no awkward questions; but when a customer cannot look me in the eye, he has to pay for it.” The dealer once more chuckled; and then, changing to his usual business voice, though still with a note of irony, “You can give, as usual, a clear account of how you came into the possession of the object?” he continued. “Still your uncle’s cabinet? A remarkable collector, sir!”

And the little pale, round-shouldered dealer stood almost on tip-toe, looking over the top of his gold spectacles, and nodding his head with every mark of disbelief. Markheim returned his gaze with one of infinite pity, and a touch of horror.

“This time,” said he, “you are in error. I have not come to sell, but to buy. I have no curios to dispose of; my uncle’s cabinet is bare to the wainscot; even were it still intact, I have done well on the Stock Exchange, and should more likely add to it than otherwise, and my errand to-day is simplicity itself. I seek a Christmas present for a lady,” he continued, waxing more fluent as he struck into the speech he had prepared;” and certainly I owe you every excuse for thus disturbing you upon so small a matter. But the thing was neglected yesterday; I must produce my little compliment at dinner; and, as you very well know, a rich marriage is not a thing to be neglected.”

There followed a pause, during which the dealer seemed to weigh this statement incredulously. The ticking of many clocks among the curious lumber of the shop, and the faint rushing of the cabs in a near thoroughfare, filled up the interval of silence.

“Well, sir,” said the dealer, “be it so. You are an old customer after all; and if, as you say, you have the chance of a good marriage, far be it from me to be an obstacle. Here is a nice thing for a lady now,” he went on, “this hand glass—fifteenth century, warranted; comes from a good collection, too; but I reserve the name, in the interests of my customer, who was just like yourself, my dear sir, the nephew and sole heir of a remarkable collector.”

The dealer, while he thus ran on in his dry and biting voice, had stooped to take the object from its place; and, as he had done so, a shock had passed through Markheim, a start both of hand and foot, a sudden leap of many tumultuous passions to the face. It passed as swiftly as it came, and left no trace beyond a certain trembling of the hand that now received the glass.

“A glass,” he said hoarsely, and then paused, and repeated it more clearly. “A glass? For Christmas? Surely not?”

“And why not?” cried the dealer. “Why not a glass?”

Markheim was looking upon him with an indefinable expression. “You ask me why not?” he said. “Why, look here—look in it—look at yourself! Do you like to see it? No! nor I—nor any man.”

The little man had jumped back when Markheim had so suddenly confronted him with the mirror; but now, perceiving there was nothing worse on hand, he chuckled. “Your future lady, sir, must be pretty hard favoured,” said he.

“I ask you,” said Markheim, “for a Christmas present, and you give me this—this damned reminder of years, and sins and follies—this hand-conscience! Did you mean it ? Had you a thought in your mind? Tell me. It will be better for you if you do. Come, tell me about yourself. I hazard a guess now, that you are in secret a very charitable man?”

The dealer looked closely at his companion. It was very odd, Markheim did not appear to be laughing; there was something in his face like an eager sparkle of hope, but nothing of mirth.

“What are you driving at?” the dealer asked.

“Not charitable?” returned the other gloomily. “Not charitable; not pious; not scrupulous; unloving, unbeloved; a hand to get money, a safe to keep it. Is that all? Dear God, man, is that all?”

“I will tell you what it is,” began the dealer, with some sharpness, and then broke off again into a chuckle. “But I see this is a love match of yours, and you have been drinking the lady’s health.”

“Ah!” cried Markheim, with a strange curiosity. “Ah, have you been in love? Tell me about that.”

“I,” cried the dealer. “I in love! I never had the time, nor have I the time to-day for all this nonsense. Will you take the glass?”

“Where is the hurry?” returned Markheim. “It is very pleasant to stand here talking; and life is so short and insecure that I would not hurry away from any pleasure—no, not even from so mild a one as this. We should rather cling, cling to what little we can get, like a man at a cliff’s edge. Every second is a cliff, if you think upon it—a cliff a mile high—high enough, if we fall, to dash us out of every feature of humanity. Hence it is best to talk pleasantly. Let us talk of each other: why should we wear this mask? Let us be confidential. Who knows, we might become friends?”

“I have just one word to say to you.” said the dealer. “Either make your purchase, or walk out of my shop!”

“True, true,” said Markheim. “Enough fooling. To business. Show me something else.”

The dealer stooped once more, this time to replace the glass upon the shelf, his thin blond hair falling over his eyes as he did so. Markheim moved a little nearer, with one hand in the pocket of his greatcoat; he drew himself up and filled his lungs; at the same time many different emotions were depicted together on his face—terror, horror, and resolve, fascination and a physical repulsion; and through a haggard lift of his upper lip, his teeth looked out.

“This, perhaps, may suit,” observed the dealer: and then, as he began to re-arise, Markheim bounded from behind upon his victim. The long, skewerlike dagger flashed and fell. The dealer struggled like a hen, striking his temple on the shelf, and then tumbled on the floor in a heap.

Time had some score of small voices in that shop, some stately and slow as was becoming to their great age; others garrulous and hurried. All these told out the seconds in an intricate chorus of tickings. Then the passage of a lad’s feet, heavily running on the pavement, broke in upon these smaller voices and startled Markheim into the consciousness of his surroundings. He looked about him awfully. The candle stood on the counter, its flame solemnly wagging in a draught; and by that inconsiderable movement, the whole room was filled with noiseless bustle and kept heaving like a sea: the tall shadows nodding, the gross blots of darkness swelling and dwindling as with respiration, the faces of the portraits and the china gods changing and wavering like images in water. The inner door stood ajar, and peered into that leaguer of shadows with a long slit of daylight like a pointing finger.

From these fear-stricken rovings, Markheim’s eyes returned to the body of his victim, where it lay both humped and sprawling, incredibly small and strangely meaner than in life. In these poor, miserly clothes, in that ungainly attitude, the dealer lay like so much sawdust. Markheim had feared to see it, and, lo! it was nothing. And yet, as he gazed, this bundle of old clothes and pool of blood began to find eloquent voices. There it must lie; there was none to work the cunning hinges or direct the miracle of locomotion—there it must lie till it was found. Found! ay, and then? Then would this dead flesh lift up a cry that would ring over England, and fill the world with the echoes of pursuit. Ay, dead or not, this was still the enemy. “Time was that when the brains were out,” he thought; and the first word struck into his mind. Time, now that the deed was accomplished—time, which had closed for the victim, had become instant and momentous for the slayer.

The thought was yet in his mind, when, first one and then another, with every variety of pace and voice—one deep as the bell from a cathedral turret, another ringing on its treble notes the prelude of a waltz—the clocks began to strike the hour of three in the afternoon.

The sudden outbreak of so many tongues in that dumb chamber staggered him. He began to bestir himself, going to and fro with the candle, beleaguered by moving shadows, and startled to the soul by chance reflections. In many rich mirrors, some of home design, some from Venice or Amsterdam, he saw his face repeated and repeated, as it were an army of spies; his own eyes met and detected him; and the sound of his own steps, lightly as they fell, vexed the surrounding quiet. And still, as he continued to fill his pockets, his mind accused him with a sickening iteration, of the thousand faults of his design. He should have chosen a more quiet hour; he should have prepared an alibi; he should not have used a knife; he should have been more cautious, and only bound and gagged the dealer, and not killed him; he should have been more bold, and killed the servant also; he should have done all things otherwise: poignant regrets, weary, incessant toiling of the mind to change what was unchangeable, to plan what was now useless, to be the architect of the irrevocable past. Meanwhile, and behind all this activity, brute terrors, like the scurrying of rats in a deserted attic, filled the more remote chambers of his brain with riot; the hand of the constable would fall heavy on his shoulder, and his nerves would jerk like a hooked fish; or he beheld, in galloping defile, the dock, the prison, the gallows, and the black coffin.

Terror of the people in the street sat down before his mind like a besieging army. It was impossible, he thought, but that some rumour of the struggle must have reached their ears and set on edge their curiosity; and now, in all the neighbouring houses, he divined them sitting motionless and with uplifted ear—solitary people, condemned to spend Christmas dwelling alone on memories of the past, and now startingly recalled from that tender exercise; happy family parties, struck into silence round the table, the mother still with raised finger: every degree and age and humour, but all, by their own hearths, prying and hearkening and weaving the rope that was to hang him. Sometimes it seemed to him he could not move too softly; the clink of the tall Bohemian goblets rang out loudly like a bell; and alarmed by the bigness of the ticking, he was tempted to stop the clocks. And then, again, with a swift transition of his terrors, the very silence of the place appeared a source of peril, and a thing to strike and freeze the passer-by; and he would step more boldly, and bustle aloud among the contents of the shop, and imitate, with elaborate bravado, the movements of a busy man at ease in his own house.

But he was now so pulled about by different alarms that, while one portion of his mind was still alert and cunning, another trembled on the brink of lunacy. One hallucination in particular took a strong hold on his credulity. The neighbour hearkening with white face beside his window, the passer-by arrested by a horrible surmise on the pavement—these could at worst suspect, they could not know; through the brick walls and shuttered windows only sounds could penetrate. But here, within the house, was he alone? He knew he was; he had watched the servant set forth sweet-hearting, in her poor best, “out for the day” written in every ribbon and smile. Yes, he was alone, of course; and yet, in the bulk of empty house above him, he could surely hear a stir of delicate footing—he was surely conscious, inexplicably conscious of some presence. Ay, surely; to every room and corner of the house his imagination followed it; and now it was a faceless thing, and yet had eyes to see with; and again it was a shadow of himself; and yet again behold the image of the dead dealer, reinspired with cunning and hatred.

At times, with a strong effort, he would glance at the open door which still seemed to repel his eyes. The house was tall, the skylight small and dirty, the day blind with fog; and the light that filtered down to the ground story was exceedingly faint, and showed dimly on the threshold of the shop. And yet, in that strip of doubtful brightness, did there not hang wavering a shadow?

Suddenly, from the street outside, a very jovial gentleman began to beat with a staff on the shop-door, accompanying his blows with shouts and railleries in which the dealer was continually called upon by name. Markheim, smitten into ice, glanced at the dead man. But no! he lay quite still; he was fled away far beyond earshot of these blows and shoutings; he was sunk beneath seas of silence; and his name, which would once have caught his notice above the howling of a storm, had become an empty sound. And presently the jovial gentleman desisted from his knocking and departed.

Here was a broad hint to hurry what remained to be done, to get forth from this accusing neighbourhood, to plunge into a bath of London multitudes, and to reach, on the other side of day, that haven of safety and apparent innocence—his bed. One visitor had come: at any moment another might follow and be more obstinate. To have done the deed, and yet not to reap the profit, would be too abhorrent a failure. The money, that was now Markheim’s concern; and as a means to that, the keys.

He glanced over his shoulder at the open door, where the shadow was still lingering and shivering; and with no conscious repugnance of the mind, yet with a tremor of the belly, he drew near the body of his victim. The human character had quite departed. Like a suit half-stuffed with bran, the limbs lay scattered, the trunk doubled, on the floor; and yet the thing repelled him. Although so dingy and inconsiderable to the eye, he feared it might have more significance to the touch. He took the body by the shoulders, and turned it on its back. It was strangely light and supple, and the limbs, as if they had been broken, fell into the oddest postures. The face was robbed of all expression; but it was as pale as wax, and shockingly smeared with blood about one temple. That was, for Markheim, the one displeasing circumstance. It carried him back, upon the instant, to a certain fair-day in a fishers’ village: a gray day, a piping wind, a crowd upon the street, the blare of brasses, the booming of drums, the nasal voice of a ballad singer; and a boy going to and fro, buried over head in the crowd and divided between interest and fear, until, coming out upon the chief place of concourse, he beheld a booth and a great screen with pictures, dismally designed, garishly coloured: Brownrigg with her apprentice; the Mannings with their murdered guest; Weare in the death-grip of Thurtell; and a score besides of famous crimes. The thing was as clear as an illusion; he was once again that little boy; he was looking once again, and with the same sense of physical revolt, at these vile pictures; he was still stunned by the thumping of the drums. A bar of that day’s music returned upon his memory; and at that, for the first time, a qualm came over him, a breath of nausea, a sudden weakness of the joints, which he must instantly resist and conquer.

He judged it more prudent to confront than to flee from these considerations; looking the more hardily in the dead face, bending his mind to realise the nature and greatness of his crime. So little a while ago that face had moved with every change of sentiment, that pale mouth had spoken, that body had been all on fire with governable energies; and now, and by his act, that piece of life had been arrested, as the horologist, with interjected finger, arrests the beating of the clock. So he reasoned in vain; he could rise to no more remorseful consciousness; the same heart which had shuddered before the painted effigies of crime, looked on its reality unmoved. At best, he felt a gleam of pity for one who had been endowed in vain with all those faculties that can make the world a garden of enchantment, one who had never lived and who was now dead. But of penitence, no, not a tremor.

With that, shaking himself clear of these considerations, he found the keys and advanced towards the open door of the shop. Outside, it had begun to rain smartly; and the sound of the shower upon the roof had banished silence. Like some dripping cavern, the chambers of the house were haunted by an incessant echoing, which filled the ear and mingled with the ticking of the clocks. And, as Markheim approached the door, he seemed to hear, in answer to his own cautious tread, the steps of another foot withdrawing up the stair. The shadow still palpitated loosely on the threshold. He threw a ton’s weight of resolve upon his muscles, and drew back the door.

The faint, foggy daylight glimmered dimly on the bare floor and stairs; on the bright suit of armour posted, halbert in hand, upon the landing; and on the dark wood-carvings, and framed pictures that hung against the yellow panels of the wainscot. So loud was the beating of the rain through all the house that, in Markheim’s ears, it began to be distinguished into many different sounds. Footsteps and sighs, the tread of regiments marching in the distance, the chink of money in the counting, and the creaking of doors held stealthily ajar, appeared to mingle with the patter of the drops upon the cupola and the gushing of the water in the pipes. The sense that he was not alone grew upon him to the verge of madness. On every side he was haunted and begirt by presences. He heard them moving in the upper chambers; from the shop, he heard the dead man getting to his legs; and as he began with a great effort to mount the stairs, feet fled quietly before him and followed stealthily behind. If he were but deaf, he thought, how tranquilly he would possess his soul! And then again, and hearkening with ever fresh attention, he blessed himself for that unresting sense which held the outposts and stood a trusty sentinel upon his life. His head turned continually on his neck; his eyes, which seemed starting from their orbits, scouted on every side, and on every side were half-rewarded as with the tail of something nameless vanishing. The four-and-twenty steps to the first floor were four-and-twenty agonies.

On that first storey, the doors stood ajar, three of them like three ambushes, shaking his nerves like the throats of cannon. He could never again, he felt, be sufficiently immured and fortified from men’s observing eyes; he longed to be home, girt in by walls, buried among bedclothes, and invisible to all but God. And at that thought he wondered a little, recollecting tales of other murderers and the fear they were said to entertain of heavenly avengers. It was not so, at least, with him. He feared the laws of nature, lest, in their callous and immutable procedure, they should preserve some damning evidence of his crime. He feared tenfold more, with a slavish, superstitious terror, some scission in the continuity of man’s experience, some wilful illegality of nature. He played a game of skill, depending on the rules, calculating consequence from cause; and what if nature, as the defeated tyrant overthrew the chess-board, should break the mould of their succession? The like had befallen Napoleon (so writers said) when the winter changed the time of its appearance. The like might befall Markheim: the solid walls might become transparent and reveal his doings like those of bees in a glass hive; the stout planks might yield under his foot like quicksands and detain him in their clutch; ay, and there were soberer accidents that might destroy him: if, for instance, the house should fall and imprison him beside the body of his victim; or the house next door should fly on fire, and the firemen invade him from all sides. These things he feared; and, in a sense, these things might be called the hands of God reached forth against sin. But about God Himself he was at ease; his act was doubtless exceptional, but so were his excuses, which God knew; it was there, and not among men, that he felt sure of justice.

When he had got safe into the drawing-room, and shut the door behind him, he was aware of a respite from alarms. The room was quite dismantled, uncarpeted besides, and strewn with packing cases and incongruous furniture; several great pier-glasses, in which he beheld himself at various angles, like an actor on a stage; many pictures, framed and unframed, standing, with their faces to the wall; a fine Sheraton sideboard, a cabinet of marquetry, and a great old bed, with tapestry hangings. The windows opened to the floor; but by great good fortune the lower part of the shutters had been closed, and this concealed him from the neighbours. Here, then, Markheim drew in a packing case before the cabinet, and began to search among the keys. It was a long business, for there were many; and it was irksome, besides; for, after all, there might be nothing in the cabinet, and time was on the wing. But the closeness of the occupation sobered him. With the tail of his eye he saw the door—even glanced at it from time to time directly, like a besieged commander pleased to verify the good estate of his defences. But in truth he was at peace. The rain falling in the street sounded natural and pleasant. Presently, on the other side, the notes of a piano were wakened to the music of a hymn, and the voices of many children took up the air and words. How stately, how comfortable was the melody! How fresh the youthful voices! Markheim gave ear to it smilingly, as he sorted out the keys; and his mind was thronged with answerable ideas and images; church-going children and the pealing of the high organ; children afield, bathers by the brookside, ramblers on the brambly common, kite-flyers in the windy and cloud-navigated sky; and then, at another cadence of the hymn, back again to church, and the somnolence of summer Sundays, and the high genteel voice of the parson (which he smiled a little to recall) and the painted Jacobean tombs, and the dim lettering of the Ten Commandments in the chancel.

And as he sat thus, at once busy and absent, he was startled to his feet. A flash of ice, a flash of fire, a bursting gush of blood, went over him, and then he stood transfixed and thrilling. A step mounted the stair slowly and steadily, and presently a hand was laid upon the knob, and the lock clicked, and the door opened.

Fear held Markheim in a vice. What to expect he knew not, whether the dead man walking, or the official ministers of human justice, or some chance witness blindly stumbling in to consign him to the gallows. But when a face was thrust into the aperture, glanced round the room, looked at him, nodded and smiled as if in friendly recognition, and then withdrew again, and the door closed behind it, his fear broke loose from his control in a hoarse cry. At the sound of this the visitant returned.

“Did you call me?” he asked pleasantly, and with that he entered the room and closed the door behind him.

Markheim stood and gazed at him with all his eyes. Perhaps there was a film upon his sight, but the outlines of the new-comer seemed to change and waver like those of the idols in the wavering candlelight of the shop; and at times he thought he knew him; and at times he thought he bore a likeness to himself; and always, like a lump of living terror, there lay in his bosom the conviction that this thing was not of the earth and not of God.

And yet the creature had a strange air of the commonplace, as he stood looking on Markheim with a smile; and when he added: “You are looking for the money, I believe?” it was in the tones of everyday politeness.

Markheim made no answer.

“I should warn you,” resumed the other, “that the maid has left her sweetheart earlier than usual and will soon be here. If Mr. Markheim be found in this house, I need not describe to him the consequences.”

“You know me?” cried the murderer.

The visitor smiled. “You have long been a favourite of mine,” he said; “and I have long observed and often sought to help you.”

“What are you?” cried Markheim: “the devil?”

“What I may be,” returned the other, “cannot affect the service I propose to render you.”

“It can,” cried Markheim; “it does! Be helped by you? No, never; not by you! You do not know me yet; thank God, you do not know me!”

“I know you,” replied the visitant, with a sort of kind severity or rather firmness. “I know you to the soul.”

“Know me!” cried Markheim. “Who can do so? My life is but a travesty and slander on myself. I have lived to belie my nature. All men do; all men are better than this disguise that grows about and stifles them. You see each dragged away by life, like one whom bravos have seized and muffled in a cloak. If they had their own control—if you could see their faces, they would be altogether different, they would shine out for heroes and saints! I am worse than most; myself is more overlaid; my excuse is known to me and God. But, had I the time, I could disclose myself.”

“To me?” inquired the visitant.

“To you before all,” returned the murderer. “I supposed you were intelligent. I thought—since you exist—you would prove a reader of the heart. And yet you would propose to judge me by my acts! Think of it; my acts! I was born and I have lived in a land of giants; giants have dragged me by the wrists since I was born out of my mother—the giants of circumstance. And you would judge me by my acts! But can you not look within? Can you not understand that evil is hateful to me? Can you not see within me the clear writing of conscience, never blurred by any wilful sophistry, although too often disregarded? Can you not read me for a thing that surely must be common as humanity—the unwilling sinner?”

“All this is very feelingly expressed,” was the reply, “but it regards me not. These points of consistency are beyond my province, and I care not in the least by what compulsion you may have been dragged away, so as you are but carried in the right direction. But time flies; the servant delays, looking in the faces of the crowd and at the pictures on the hoardings, but still she keeps moving nearer; and remember, it is as if the gallows itself was striding towards you through the Christmas streets! Shall I help you; I, who know all? Shall I tell you where to find the money?”

“For what price?” asked Markheim.

“I offer you the service for a Christmas gift,” returned the other.

Markheim could not refrain from smiling with a kind of bitter triumph. “No,” said he, “I will take nothing at your hands; if I were dying of thirst, and it was your hand that put the pitcher to my lips, I should find the courage to refuse. It may be credulous, but I will do nothing to commit myself to evil.”

“I have no objection to a deathbed repentance,” observed the visitant.

“Because you disbelieve their efficacy!” Markheim cried.

“I do not say so,” returned the other; “but I look on these things from a different side, and when the life is done my interest falls. The man has lived to serve me, to spread black looks under colour of religion, or to sow tares in the wheat-field, as you do, in a course of weak compliance with desire. Now that he draws so near to his deliverance, he can add but one act of service—to repent, to die smiling, and thus to build up in confidence and hope the more timorous of my surviving followers. I am not so hard a master. Try me. Accept my help. Please yourself in life as you have done hitherto; please yourself more amply, spread your elbows at the board; and when the night begins to fall and the curtains to be drawn, I tell you, for your greater comfort, that you will find it even easy to compound your quarrel with your conscience, and to make a truckling peace with God. I came but now from such a deathbed, and the room was full of sincere mourners, listening to the man’s last words: and when I looked into that face, which had been set as a flint against mercy, I found it smiling with hope.”

“And do you, then, suppose me such a creature?” asked Markheim. “Do you think I have no more generous aspirations than to sin, and sin, and sin, and, at the last, sneak into heaven? My heart rises at the thought. Is this, then, your experience of mankind? or is it because you find me with red hands that you presume such baseness? and is this crime of murder indeed so impious as to dry up the very springs of good?”

“Murder is to me no special category,” replied the other. “All sins are murder, even as all life is war. I behold your race, like starving mariners on a raft, plucking crusts out of the hands of famine and feeding on each other’s lives. I follow sins beyond the moment of their acting; I find in all that the last consequence is death; and to my eyes, the pretty maid who thwarts her mother with such taking graces on a question of a ball, drips no less visibly with human gore than such a murderer as yourself. Do I say that I follow sins? I follow virtues also; they differ not by the thickness of a nail, they are both scythes for the reaping angel of Death. Evil, for which I live, consists not in action but in character. The bad man is dear to me; not the bad act, whose fruits, if we could follow them far enough down the hurtling cataract of the ages, might yet be found more blessed than those of the rarest virtues. And it is not because you have killed a dealer, but because you are Markheim, that I offer to forward your escape.”

“I will lay my heart open to you,” answered Markheim. “This crime on which you find me is my last. On my way to it I have learned many lessons; itself is a lesson, a momentous lesson. Hitherto I have been driven with revolt to what I would not; I was a bond-slave to poverty, driven and scourged. There are robust virtues that can stand in these temptations; mine was not so: I had a thirst of pleasure. But to-day, and out of this deed, I pluck both warning and riches—both the power and a fresh resolve to be myself. I become in all things a free actor in the world; I begin to see myself all changed, these hands the agents of good, this heart at peace. Something comes over me out of the past; something of what I have dreamed on Sabbath evenings to the sound of the church organ, of what I forecast when I shed tears over noble books, or talked, an innocent child, with my mother. There lies my life; I have wandered a few years, but now I see once more my city of destination.”

“You are to use this money on the Stock Exchange, I think?” remarked the visitor;” and there, if I mistake not, you have already lost some thousands?”

“Ah,” said Markheim, “but this time I have a sure thing.”

“This time, again, you will lose,” replied the visitor quietly.

“Ah, but I keep back the half!” cried Markheim.

“That also you will lose,” said the other.

The sweat started upon Markheim’s brow. “Well, then, what matter?” he exclaimed. “Say it be lost, say I am plunged again in poverty, shall one part of me, and that the worse, continue until the end to override the better? Evil and good run strong in me, haling me both ways. I do not love the one thing, I love all. I can conceive great deeds, renunciations, martyrdoms; and though I be fallen to such a crime as murder, pity is no stranger to my thoughts. I pity the poor; who knows their trials better than myself? I pity and help them; I prize love, I love honest laughter; there is no good thing nor true thing on earth but I love it from my heart. And are my vices only to direct my life, and my virtues to lie without effect, like some passive lumber of the mind? Not so; good, also, is a spring of acts.”

But the visitant raised his finger. “For six-and-thirty years that you have been in this world,” said he, “through many changes of fortune and varieties of humour, I have watched you steadily fall. Fifteen years ago you would have started at a theft. Three years back you would have blenched at the name of murder. Is there any crime, is there any cruelty or meanness, from which you still recoil?—five years from now I shall detect you in the fact! Downward, downward, lies your way; nor can anything but death avail to stop you.”

“It is true,” Markheim said huskily, “I have in some degree complied with evil. But it is so with all: the very saints, in the mere exercise of living, grow less dainty, and take on the tone of their surroundings.”

“I will propound to you one simple question,” said the other; “and as you answer, I shall read to you your moral horoscope. You have grown in many things more lax; possibly you do right to be so; and at any account, it is the same with all men. But granting that, are you in any one particular, however trifling, more difficult to please with your own conduct, or do you go in all things with a looser rein?”

“In any one?” repeated Markheim, with an anguish of consideration. “No,” he added, with despair, “in none! I have gone down in all.”

“Then,” said the visitor, “content yourself with what you are, for you will never change; and the words of your part on this stage are irrevocably written down.”

Markheim stood for a long while silent, and indeed it was the visitor who first broke the silence. “That being so,” he said, “shall I show you the money?”

“And grace? “cried Markheim.

“Have you not tried it?” returned the other. “Two or three years ago, did I not see you on the platform of revival meetings, and was not your voice the loudest in the hymn?”

“It is true,” said Markheim; “and I see clearly what remains for me by way of duty. I thank you for these lessons from my soul; my eyes are opened, and I behold myself at last for what I am.”

At this moment, the sharp note of the door-bell rang through the house; and the visitant, as though this were some concerted signal for which he had been waiting, changed at once in his demeanour.

“The maid!” he cried. “She has returned, as I forewarned you, and there is now before you one more difficult passage. Her master, you must say, is ill; you must let her in, with an assured but rather serious countenance—no smiles, no overacting, and I promise you success! Once the girl within, and the door closed, the same dexterity that has already rid you of the dealer will relieve you of this last danger in your path. Thenceforward you have the whole evening—the whole night, if needful—to ransack the treasures of the house and to make good your safety. This is help that comes to you with the mask of danger. Up!” he cried; “up, friend; your life hangs trembling in the scales: up, and act!”

Markheim steadily regarded his counsellor. “If I be condemned to evil acts,” he said, “there is still one door of freedom open—I can cease from action. If my life be an ill thing, I can lay it down. Though I be, as you say truly, at the beck of every small temptation, I can yet, by one decisive gesture, place myself beyond the reach of all. My love of good is damned to barrenness; it may, and let it be! But I have still my hatred of evil; and from that, to your galling disappointment, you shall see that I can draw both energy and courage.”

The features of the visitor began to undergo a wonderful and lovely change: they brightened and softened with a tender triumph, and, even as they brightened, faded and dislimned. But Markheim did not pause to watch or understand the transformation. He opened the door and went downstairs very slowly, thinking to himself. His past went soberly before him; he beheld it as it was, ugly and strenuous like a dream, random as chance-medley—a scene of defeat. Life, as he thus reviewed it, tempted him no longer; but on the farther side he perceived a quiet haven for his bark. He paused in the passage, and looked into the shop, where the candle still burned by the dead body. It was strangely silent. Thoughts of the dealer swarmed into his mind, as he stood gazing. And then the bell once more broke out into impatient clamour.

He confronted the maid upon the threshold with something like a smile.

“You had better go for the police,” said he: “I have killed your master.”

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An Introduction to the Horror Classics

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And before you ask – no, I don’t look at Stephen King as a classic. Not yet. What I am talking about are these major players that started it all before they even knew what they were doing. They are not only scary fiction, but an examination of the human darkness before it was OK to talk about it in the open. They are sort of at a junction between classical literature and folklore. They helped to build the bridges of the mythology from our cultures and to the modern horror and scares in daily life. I only wish they could have seen how it impacted the culture, even for those not loving the horror genre. So this a small deep dive into the classics and why they are important.

Disclaimer – Oh look, it’s the affiliate ghost at out side. Yes, these links will take you to the works I’ve written about. If one chooses to purchase anything through these links, we will earn a small commission from it. The opinions are as always, our own. No let’s go!

Dracula

Let’s get the more obvious out of the picture first. But let me ask you; have you ever heard about Dracula? Do you know a lot about the work? But have you actually read it? Surprisingly many haven’t even if they have an extensive knowledge of the tale. That is how important Dracula has been for later literature and movies. And even, I would say, fashion, culture, language, and interest in the country of Romania. But all good, it is all good, we thank our Lord, Dracula for it. Although it wasn’t really the first modern vampire tale, not even the one that got the vampire genre popular, it was however the one that iconified it for future generation.

The importance of the Other – vampires are often depicted as foreigners, they are of a different race. Stoker himself was writing stuff about the invasion and threat to the British Empire. On a small funny not, he was Irish himself, as Sheridan LaFenu that wrote Carmilla. Was this perhaps something about not feeling as the rest, perhaps they themselves were feeling like an outsider? Surely we can see this is a thing that are still relevant, still as delicate and must sometimes be treated through these codes, the codes of vampires, and vampires as our self. We are them, they are us.

The Modern Version

Stoker spent seven years researching European folklore and drew from this when he wrote. It was not an instant bestseller and has meant more to the modern reader than those of Victorian times. Something that is very evident our culture.

Richard Matheson gave us a continuation of vampires as dangerous and the reason why mankind falls

Ann Rice with her books gave the vampires a heart that are very in now. And every time we think the vampire genre is played out, it continues to reinvent itself (read Let the Right one in)

Even what we consider the most silly spins on the vampire tropes (read Twilight), we can sense the important of it when looking at it as a metaphore for teenage angst for their own sexual drives and desires they feel will consume them.

Preface

Dracula comprises journal entries, letters, and telegrams written by the main characters. It begins with Jonathan Harker, a young English lawyer, as he travels to Transylvania. Harker plans to meet with Count Dracula, a client of his firm, in order to finalize a property transaction. When he arrives in Transylvania, the locals react with terror after he discloses his destination: Castle Dracula. Though this unsettles him slightly, he continues onward. The ominous howling of wolves rings through the air as he arrives at the castle.

Where to find it

Books

Luckily, this classic has been in circulation since it came out (me thinks) and it is translated into so many languages, formats and the likes. It is really to pick and choose what you like best. So for this, I have looked at the two things that decides what to go for. Price and cover.

If you care for the cheaper option, go for the Wordsworth Classic. Don’t worry. If you don’t collect the Wordsworth ones, Collins Classics also have one pretty cheap.

Buy here

If you are more of a collector you got to get to Barnes and Nobles Collectible Classics, Omnibus Edition. Its leather bound cover is just everyone’s dream for a grand library, filled with thick books that you just want to put on display. It also have a couple of other stories, including The Jewel of Seven Stars and The Lair of the White Worm. In also includes a dozen of Stoker’s short tales of the macabre, including “Dracula’s Guest,” a sidebar to his famous novel.

Buy here

Audio Books

There are a lot of Dracula audio books to listen to, and I mean, a lot. First, start off with two things, do you want to hear the full version or the short one. Because the long one is long, but then again, in an abridged version you will miss out on some details.

For the full version, I recommend the version were Alan Cumming is one of the narrators of several (there are a lot of character so be warned).

The abridged version is a bit altered, a bit cut, but I think overall they managed to keep it in the same feeling. Also, bonus point, In the abridged version, Tom Hiddelston is on of the narrators.

Listen to the full version here

Listen to the abridged version here

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Frankenstein

Sort of like Dracula, this has spun its own franchise it has no control over and a people knows a lot about it without ever having read a page of it. At least they think they know the story. I don’t know at how many accounts I’ve corrected when they call the monster for Frankenstein. Yes, I know, I’m that person, and I regret having open my mouth every time, but alas, it has become a reflex – sorry in advance.

What is it about monsters? What made a 19 year old girl write something so profoundly harrowing and deep beyond her years? We love reading about the underdog, but the underdog in fiction we always need to see evolve as a hero and come out on top. This is the way, but not the horror way. This is the only genre that can deal with the failing monster that tries to come out as a hero, but will ever remain as the villain. It is deeply uncomfortable reading the same tales if the monsters, vampires and ghosts were actual living human beings, the stories wouldn’t work because that meant we have to acknowledge something about ourselves, not everyone comes out as the hero, not all underdogs will win. The only way we accept this in horror is that is a thinly veil between us and them that makes us able to leave the moral high ground and preconceived notions at the door.

The Modern Version

Frankenstein is like made for modern area. Every bit of human enhancement, every bit of artificial intelligence, everything that makes us question what is a human, and who has the right to live and in that, what does that entail. That is a pretty powerful question I personally only think will take Frankenstein with its creature on a long journey.

Preface

Frankenstein is written in the form of a frame story that starts with Captain Robert Walton writing letters to his sister. It takes place at an unspecified time in the 18th century, as the letters’ dates are given as “17—”. In the story following the letters by Walton, the readers find that Victor Frankenstein creates a monster that brings tragedy to his life.

Where to find it

Books

If you are looking for a cheap paperback, they got it all over. Collins, Penguin, everyone. I personally collect the Collins ones because I like the size of them. Choose your favorite. If you look for a paperback, but want a more exiting cover, Barnes and Nobles got you covered with their slick Flexibound Collection. Check them out!

Buy it here

If however, you are after a hardcover to look nice in your bookshelve, there are also a bunch of them. I personally like the one from Penguin Classic Hardcover Collection. If you are starting to collect minimalism hardcover books, this is the series you want. Look how cute and creepy it is!

Buy it here

Audio Books

My personal favorite it the edition narrated by Derek Jacobi. Just listen to the sample of the audio and you will see exactly what I mean.

The abridged version is also pretty cool. The director and star of the movie Mary Shelley’s Frankenstein, Kenneth Branagh is the one doing the narration, and knows the story in and out, and it shows, or hears… whatever. That guy must really like Frankenstein.

Listen to the full version here

Listen to the abridged version here

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The Strange Case of Dr. Jekyll and Mr. Hyde

What happens when complex human beings have to hide their true selves, their other side so to speak, the one not necessarily fun one to bring to dinner parties. This is what Robert Louis Stevenson explored when he wrote the Strange Case of Dr. Jekyll and Mr. Hyde, or at least, that is what we were faced with when reading it.

The Modern Version

All psychological an character driven piece of fiction has certain elements to what makes a whole human, and how does it look if it’s split and let loose. What happens to a person too constrained, what happens to a person too careless.

Perhaps the on the nose and direct character from modern fiction must be the character of Hulk, constantly battling the darker side of himself, in a perhaps self inflicted happening because of his quest of perfection.

Preface

Gabriel John Utterson and his cousin Richard Enfield reach the door of a large house on their weekly walk. Enfield tells Utterson that months ago he saw a sinister-looking man named Edward Hyde trample a young girl after accidentally bumping into her. Enfield forced Hyde to pay £100 to avoid a scandal. Hyde brought them to this door and provided a cheque signed by a reputable gentleman (later revealed to be Doctor Henry Jekyll, a friend and client of Utterson). Utterson is disturbed because Jekyll recently changed his will to make Hyde the sole beneficiary. Utterson fears that Hyde is blackmailing Jekyll. When Utterson tries to discuss Hyde with Jekyll, Jekyll tells Utterson he can be rid of Hyde when he wants and for Utterson to drop the matter. And then the investigation starts.

Where to find it

Book

This is a pretty slim book, and easy to carry around. Me personally like when the classics use old photographs, even if it isn’t hundred percent accurate. Therefore I like this Penguin Classic paperback more than the others. It also includes some bonus stories like: The other stories in this volume also testify to Stevenson’s inventiveness within the Gothic tradition: ‘Olalla’, a tale of vampirism and tainted family blood, and ‘The Body Snatcher’, a gruesome fictionalisation of the exploits of the notorious Burke and Hare.

Buy it here

For the hardcover, I came upon this one right here. Have you ever seen something so beautiful! This edition only have like 100 copies, is cloth-bound book includes a Victorian inspired dust-jacket, and is my librarian wet dream.

Buy it here

Audio Book

The novella is not so long that it needs it’s own abridged version. This one her is narrated by Martin Jarvis. He started out in a career in film and television, but I think he has become particularly noted for his voice acting for radio and audio books. Or perhaps I listen too much, either way:

Listen to it here

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The Turn of the Screw

The story is a masterpiece for those interested in the unreliable narrator. Or is she? I- I don’t really know, but i gets me guessing. What do we know, and what is made up in our minds. How long can we only rely on our own mind when other tell us we’re crazy. It is a question about who we can trust and how far we can go for a job. Jesus, the life of a governess was a tough one.

It is also something about the children. They are cute, innocent and one wants to look after them. But still. There is something there… an eeriness that doesn’t go away. We can’t trust them, and at times, those kids scare us profoundly.

The Modern Version

In the century following its publication, The Turn of the Screw became a cornerstone text of academics who subscribed to New Criticism. The novella has had differing interpretations, often mutually exclusive. Many critics have tried to determine the exact nature of the evil hinted at by the story. However, others have argued that the brilliance of the novella results from its ability to create an intimate sense of confusion and suspense within the reader.

No a days it lives on in the little details. The creepy children, the big house in the dark. Television embraced it for instance with shows like Dark Shadows, the second season of Haunting of Hill House and a constant source for BBC dramas. Keep them coming.

Preface

On Christmas Eve, an unnamed narrator, along with some other unnamed characters, listens to Douglas, a friend, read a manuscript written by a former governess whom Douglas claims to have known and who is now dead. The manuscript tells the story of how the young governess is hired by a man who has become responsible for his young nephew and niece after the deaths of their parents. He lives mainly in London but also has a country house, Bly. He is uninterested in raising the children and she takes on the job. And creepiness ensues.

Where to find it

Book

So, one of the lesser known collection of classics are from Arcturus Publishing. Of some of the more gothic and horror genre classics, they have these cool graphic covers that i enjoy. Other titles they do are from Edgar Allan Poe, Lovefract, The Yellow Wallpaper and many others.

Buy it here

But the beauty of hardcover is back at it again. I mean, the color, the font, the cover and the idea of a limited edition is just the thing I wish dearly for in my heart. And you know it’s legit when the publisher calls themselves Royal Classics

Buy it here

Audio Book

I Personally like this performance with Emma Thomson and Richard Armitage in the introduction. Emma Thomson is such a well read in British literature and it really shows in her work that deals with the written word of a time long forgotten.

Listen to it here

The King in Yellow

I brought this on the list here, because I know of several becoming aware of the concept of The King in Yellow through True Detective’s first season, and I just saw it. So many years behind, but in my defense, I thought is was just a boring cop-show. But then everyone was like: what the fuck is the King in Yellow? And why is so many talking about it?

The King in Yellow is a book of short stories by the American writer Robert W. Chambers, first published by F. Tennyson Neely in 1895. It contains several weird stories easily categorized as supernatural

The Modern version

This is sort of an elusive one, that many doesn’t take the reference to. It is reference by many authors in books, movies, tv-series, but it is never really explained were it is from. Stephen King used it in Thinner, Edgar Allan Poe referenced it in The Masque of the Red Death and Lovecraft referenced it so much it became a part of the Cthulhu mythos and people often mistake Lovecraft as the sole creator.

List of Stories

The stories in the book are:

  1. “The Repairer of Reputations” – A weird story of egotism and paranoia which carries the imagery of the book’s title.
  2. “The Mask” – A dream story of art, love, and uncanny science.
  3. “In the Court of the Dragon” – A man is pursued by a sinister church organist who is after his soul.
  4. “The Yellow Sign” – An artist is troubled by a sinister churchyard watchman who resembles a coffin worm.
  5. “The Demoiselle d’Ys” – A ghost story
  6. “The Prophets’ Paradise” – A sequence of eerie prose poems that develop the style and theme of a quote from the fictional play The King in Yellow which introduces “The Mask”.
  7. “The Street of the Four Winds” – An atmospheric tale of an artist in Paris who is drawn to a neighbor’s room by a cat; the story ends with a macabre touch.
  8. “The Street of the First Shell” – A war story set in the Paris Siege of 1870.
  9. “The Street of Our Lady of the Fields” – Romantic American bohemians in Paris.
  10. “Rue Barrée” – Romantic American bohemians in Paris, with a discordant ending that playfully reflects some of the tone of the first story.

Where to find it

Book

There are many to choose from. For the paperback, Wordsworth Classics have one that is cheap, yellow and totally adequate. But my personal favorite is the graphic novel adaption, with really cool illustration by  I. N. J. Culbard it really brings new life into the old story.

Buy it here

For the Hardcover you also must chose between some cool content or a cool cover. For the best cover I think the edition from The Pushkin Press have a nice cover on it. Contains: ‘The Repairer of Reputations’, ‘The Mask’, ‘In the Court of the Dragon’, ‘The Yellow Sign’

Buy it here.

But there is also this one edition that have Lovecraft as the introduction piece from the Wildside Press that also includes some illustrations.

Buy it here

Audio Book

Horrorbabble have this great thing were they narrate lesser known horror stories. It is not often a thing that is prioritized so that little fact makes me happy. This is only one of the stories they have at audible, they have a bunch, check them out!

Listen to this and other here

Any of this seem interesting for you? How about getting into the listening train of audio books. Now, get 50% off for the next 3 months. I’ve checked and I am now firmly sure these are the one that can offer most horror titles of the audio book platforms.

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How the TV-series Penny Dreadful is Influenced by Old Literature

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In honor of the new spin-off series, Penny Dreadful: City of Angels (2020), we took a nostalgic look back to the awesome Showtime series that started it all. RIP Original series, you were cancelled all too soon.


Penny Dreadful is a British-American horror drama television series created for Showtime and Sky by John Logan. It ran for three seasons from 2014-2016.

Penny Dreadful is an old term used during the nineteenth century to refer to cheap popular serial literature. Sort of like pulp fiction. It was also called penny blood, penny awful, or penny horrible. It means a story published in weekly parts, with the cost of one (old) penny. The main plot of these stories were typically sensational, focusing on the adventures of detectives, criminals, or supernatural entities.

This is exactly what Penny Dreadful was, and what it payed homage to. So we found some old stuff the series borrowed or was inspired by. And there is A LOT. So get your cigarette on a stick and let’s go on some vampiric monster hunt with out pals.

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Frankenstein

Frankenstein; or, The Modern Prometheus is a novel written by English author Mary Shelley (1797–1851) that tells the story of Victor Frankenstein, a young scientist who creates a hideous sapient creature in an unorthodox scientific experiment. 

Harry Treadaway played Victor Frankenstein, an arrogant, reclusive young doctor whose ambition and research involve transcending the barrier between life and death. In this show, Dr. Victor Frankenstein likes to quote the romantic poet Percy Bysshe Shelley. Shelley’s second wife was Mary Shelley.

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Dorian Gray

The Picture of Dorian Gray is a Gothic and philosophical novel by Oscar Wilde, first published complete in the July 1890 issue of Lippincott’s Monthly Magazine. Fearing the story was indecent, the magazine’s editor deleted roughly five hundred words before publication without Wilde’s knowledge. It is Wilde’s only novel.

In the series he was played by Reeve Carney. A charismatic man who is ageless and immortal. And this Dorian Gray had a great, but utterly confusing story line. Where his purpose in the show was to throw great balls and parties and have sex with absolutely every character.

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Frankenstein’s bride

In Mary Shelley’s Frankenstein or the Modern Prometheus, Victor Frankenstein is tempted by his monster’s proposal to create a female creature so that the monster can have a wife: “Shall each man,” cried he, “find a wife for his bosom, and each beast have his mate, and I be alone?”

In Penny Dreadful, the bride of Frankenstein is Brona Croft (portrayed by Billie Piper), an Irish immigrant with a dark past who dies of tuberculosis at the end of Season 1. In season 2, she is brought back to life with no memory after Frankenstein’s monster demands a bride and given the new name “Lily Frankenstein” by Victor. That last scene of her speech will haunt television forever.

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The creature

Often called John Clare. He was a labour poet in the mid 1800’s England. But if it is a reference to the creature is unclear. What is clear though is that the creature often is called Caliban as well, a character from Shakespear’s The tempes. Half human, half monster. In some traditions he is depicted as a wild man, or a deformed man, or a beast man, or sometimes a mix of fish and man, a dwarf or even a tortoise. Another connection from the creature to penny dreadful is Dorian Gray. In the preface of The Picture of Dorian GrayOscar Wilde muses: “The nineteenth century dislike of Realism is the rage of Caliban seeing his own face in a glass. The nineteenth century dislike of Romanticism is the rage of Caliban not seeing his own face in a glass.”

In the series he was played with Rory Kinnear, and had long storylines without many of the characters, alone.

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Dracula

Dracula is an 1897 Gothic horror novel by Irish author Bram Stoker. Dracula was a big influence from the start. From Mina being taken by him, the chase after Dracula and several character that appears in the series. Van Helsing included. But the series managed to make a twist of it all, and the influence of Dracula is almost as if just a eerily familiar setting and feeling of the series. He did however show up in series three in the flesh. Christian Camargo as Dracula, the brother of Lucifer who fell to Earth to feed on the blood of the living as the first vampire. In London, he takes the guise of kindly zoologist Alexander Sweet to captivate Vanessa.

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John Seward

In season 3 of TV series Penny DreadfulPatti LuPone portrays Dr. Florence Seward, a female version of the character. It is originally a character from Dracula, a doctor in the insane asylum, He calls in his mentor, Abraham Van Helsing, to help him with her illness, and he helps Seward to realize that Lucy has been bitten by a vampire and is doomed to become one herself. He was in love with her and proposed to her, but was rejected. After she is officially destroyed and her soul can go to heaven, Seward is determined to destroy Dracula.

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Dr. Jekyll and Mr. Hyde

Strange Case of Dr Jekyll and Mr Hyde is a gothic novella by Scottish author Robert Louis Stevenson, first published in 1886. It is about a London legal practitioner named Gabriel John Utterson who investigates strange occurrences between his old friend, Dr Henry Jekyll, and the evil Edward Hyde.

Dr. Jekyll (Shazad Latif) as a former classmate of Dr. Frankenstein’s.

Varney the vampire

Abraham Van Helsing gives a copy of Varney the Vampire to Victor Frankenstein, explaining that the story is more truth than fiction and that the mysterious creature the series’ characters are pursuing is a vampire.

Justine

Justine, or The Misfortunes of Virtue is a 1791 novel by Donatien Alphonse François de Sade, better known as the Marquis de SadeJustine is set just before the French Revolution in France and tells the story of a young girl who goes under the name of Thérèse. Her story is recounted to Madame de Lorsagne while defending herself for her crimes, en route to punishment and death.

In Penny Dreadful she is the a homeless, brutalized young prostitute who becomes an acolyte to Lily played by Jessica Barden. In an interview with John Logan from the show, he also said the relationship between Justine and Lily was inspired by th Novella Carmilla by Joseph Sheridan LeFanu

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Wolfman

Larry Talbot was the main character in the movie series the Wolfman from 1941 and onward. There are sequels, reboots and several other medias tied into this franchise. He has his own interaction with all the Penny Dreadful characters from Dracula, Frankenstein and so on in his own franchise as well.

In the TV series Penny Dreadful, Ethan Chandler’s real name is revealed to be Ethan Lawrence Talbot, and he suffers from the curse of lycanthropy. This version of the character is played by Josh Hartnett.

Hecate

Hecate Poole is the witch played by Sarah Greene and is Evelyn Pool’s eldest daughter. She is the witch who pursues Ethan Chandler in seasons two and three. She shares her name with the ancient Greek goddess of witchcraft and the moon. Like Ethan’s relationship with the moon and her witchcraft ability as a Nightcomer witch.

The unquiet grave

The Unquiet Grave” is an English folk song in which a young man mourns his dead love too hard and prevents her from obtaining peace. It is thought to date from 1400. It is heard in the mansion of the Nightcomer witches.

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