The theme of the living double or strange twin is not uncommon in literature. In Fyodor Dostoyevsky's, The Double (1846) Mr. Golyadkin believes he sees himself on a train, haunted by this manifestation. He becomes obsessed with meeting himself, chasing this figure endlessly through the streets of St Petersburg. Many have commented that this nightmarish story is ultimately about the fear of confronting one's darker nature, the terrible "other", and if viewed in totality, could well lead to death.
In
The Scapegoat, du Maurier explores a similar theme, where the
protagonist, John, a very English and staid history lecturer of
French culture, one evening meets his exact double in the train
station at Le Mans. John is bored, searching for some connection to
life, a meaning to his empty existence. Jean de Gue, however, has a
full life, a member of an aristocratic family, a wife, child and a
century's old business and the many problems that come with so many
connections and responsibilities. He's not happy with this life and
wants only to escape. Both men have dinner, drink too much, and John
wakes up the next morning to find his cloths and belongings vanished,
and Gaston, the driver and head servant, ready to drive him (John)
back to the Chateau, St Giles. John decides to play the role of Jean
de Gue's scapegoat, though in a few days, finds himself inextricably
involved, emotionally and otherwise, in de Gue's affairs and
family.
Du
Maurier is an excellent writer. John's journey into the world of his
double is strangely intriguing, as he narrates his deceptions and
observations, and how easily he falls into the role. No one in the
family suspects his masquerade, though he comes very close to
revealing himself many times. The repressed emotions and history of
du Gue's family runs deep and hold numerous dark secrets. I found
myself rushing through the tale to discover these secrets and what
John will do next. The plot sounds outlandish on the surface, but
this is psychological realism at its best, causing this reader at
least, to become obsessed with how the story finally resolves itself
- and it is not disappointing.
These
characters certainly come from another time and another place. Jean
de Gue's daughter, Marie-Noel, is a deeply religious child who
experiences visions and loves her father beyond words. My thought was
that if any of the family would see through John's deceptions, it
would be the child. This young child, through her innocence, is the
only voice of truth in the house, and her antics and precocious
dialogue speaks of another time - a truly unique and memorable
character.
This
is a masterful piece of literature, a unique thriller that will be
just as fascinating and entertaining for readers a hundred years from
now.
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