Narration, setting, and moral psychology in Stevenson's Markheim

Stevenson

Narration and setting in 'Markheim' by Robert Louis Stevenson

Markheim

Narration and setting in 'Markheim' by Robert Louis Stevenson

Markheim was written in 1885 and is widely recognized as one of Robert Louis Stevenson's most successful short stories. It was initially published in a Christmas-time annual and later appeared in Stevenson's the Merry Men and Other Tales and Fables (1887).

The plot of the story revolves around the events that occurred in a dealer's shop where the protagonist, Markheim, ostensibly wished to buy a gift for his female friend. In fact this is just a ruse and he is intent on robbing the shop. He brutally kills the owner and proceeds to look for the money. However, what he encounters in the house is a stranger who could be a supernatural entity, the devil, or a manifestation of his one deeper conscience and sense of right and wrong. He realizes his true nature in his conversation with the stranger and eventually gives himself up to the police.

On the surface the plot of the story is about little more a rather shabby and cruel murder with the aim of theft. However, in actuality the story is much more than this and can be interpreted on a number of levels. It is a moral and psychological drama as well as a supernatural horror story. The story is also about the strange and the bizarre in the midst of ordinary life.

Furthermore, as will be discussed in the sections below, the central themes of this story explore the nature of human being and the constant battle between good and evil in human existence. The true 'action' and setting of this study takes place after the murder, when the protagonist sees images of himself in various mirrors in the house and the strange figure appears to him. This vision interrogates his own sense of who he is and the story becomes an introspective journey into his own identity and a view of the human psyche. As one commentator on this work states;

Robert Louis Stevenson's 'Markheim' is a macabre and philosophical short story depicting a journey through the psyche of an 'unwilling sinner', in which telling and essential decisions are made by the eponymous character. These decisions, I believe, are undertaken on a journey through Markheim's self, battling with his inner devils for a morally acceptable life.

The story therefore has elements of the horror and the supernatural genre. However, a number of critics have also interpreted it in a more philosophical light as a work that is intended to question and investigate the way that human beings understand like and reality.

Central to this story is a theme that can be found in many works by Robert Louis Stevenson; namely, the theme of human duality and the mixture of good and bad in the individual. The use of language and metaphor in the opening paragraphs of the story emphasizes this theme; for example the phrase, "…with the mingled shine and darkness in the shop" suggests the theme of light and dark good and evil.

The Critical reception to this short story has been in the main extremely positive over the years. Many critics view Stevenson as a "pioneer" in the development of the modern short story.

Matthews (1907) states the following: "Stevenson was one of the earliest of British writers to perceive the artistic possibilities of the true short-story."

A number of critics have seen the influence of the works of the horror and supernatural writer, Edgar Allen Poe, in this story. As one study notes; "Markheim" is foremost among Stevenson's tales of horror and the supernatural, and shows the strong influence of Edgar Allan Poe. The story is also often compared to Fedor Dostoevsky's novel Crime and Punishment (1866) due to its exploration of benevolence and iniquity within the conscience of the individual.

1.1. What experiences of the author are reflected in the stories?

As has been noted in many different studies of Stevenson and his work, he was deeply concerned not only with the strange and bizarre events that disrupt normal life but also with the duality and dichotomies that he perceived to exist within human nature. These experiences and insights into life can be seen to be reflected in this story.

Stevenson was aware of the propensity for both good and evil within human nature and that there was often a conflict in people between these opposing tendencies. We see this clearly in the character of Markheim and his struggle to reconcile and come to terms with the evil aspects of his identity

There is also a certain philosophical tendency that should be considered in an analysis of this short story, and which relates to the issue of the author's experience reflected in the story. As one critic notes, the story has a great deal to do with the author's personal life. The theme of the fleeting quality of life -- that we are on this earth for a short time and what we do morally or ethically has an external dimension. This is a theme that concerned the author in his personal life and which we find hidden in the narrative of this story.

Barry Menikoff states that the "capriciousness of life" is one of the central themes of the short story.

He notes that, "Stevenson was an intensely driven man: the thought that he might die and leave nothing behind, that his name would have been "writ in water" only, that it would disappear unremembered into the oblivion of time, this was the spur that impelled him to write wherever he was…."

We can also see this sense of questioning desperation in the text.

"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?"

This sense of desperation and tension takes the form of philosophical questions that relate to the meaning and value of life. The image and reality of death and the possibility that life may be meaningless is continually referred to in the short story; for example, when the protagonist observes the dead body of the dealer; "In these poor, miserly clothes, in that ungainly attitude, the dealer lay like so much sawdust."

This questioning of the purpose and meaning of life and identity is also found in the dialogue between the protagonist and the stranger.

"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!

2.4. Do we know what he is thinking about?

What the narrator is thinking about comes across in many description and comments. For example, the emphasis on the shortness of life, the inevitability of death and the meaning of life are all aspects that interest the narrator. We see this in his description of Markheim's thoughts after the murder and his observation of the dead dealer lying on the floor.

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.

3. Narration

3.1. Are events presented in chronological order or not: how many thing are narrated, told, in detail or not?

The events in this short story are told in chronological order from the beginning when Markheim enters the shop to the end where he gives himself up to the police. However, this chronological order is at times interspersed with views and scenes from the past; for example, when Markheim first encountered images of murder and memories of religious experiences. In other words, while the narrative is essentially chronological the sequence of events is often interrupted by memories and thoughts that are strictly out of sequence. However it should be noted that when the narrative deviates from the sequence of present event, these digressions, such as memories of childhood, tend to add depth to the narrative.

3.2. Mood in the stories

The development of mood in the setting of this story is extremely important in this short story. Very briefly the mood of a story refers to "The general feeling the reader gets while reading the story."

This is however a rather simplistic definition that does not tell us much. A more comprehensive definition of mood is;

The mood of a short story is established through detailed descriptions of the settings, people, and atmosphere of a story. For example, if you are writing a scary story about a haunted house, the mood will be dark and foreboding. The setting should be dark - muted colors and shadowy corners - and the characters should be feeling a mixture of excitement and delicious fear.

Mood is therefore created by as combination of setting, tone, language usage and detail. The mood of tension and terror that the protagonist experiences after the murder of the dealer is clearly expressed in the language and imagery of the following quote from the story. "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."

3.3. Language usage by narrator and characters.

The language used by the narrator is a mixture of succinct and straightforward description and more intense and perceptive commentary. On the one hand the narrator tells the story in a direct manner. On the other hand he uses devices of style such as metaphor and simile to express the more subtle and complex points of his character's feelings and emotions.

The language usage of the characters is often argumentative and complex - especially in the discourse between Markheim and the stranger. An example of the way that the narrator combines straightforward description with astute insight into the nature of the characters can be seen in the following extract. "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."

In this description and in the juxtaposition of the opposites of "eager spark of hope" and " nothing of mirth," we are afforded some insight into the conflict that rages in the consciousness of the character.

3.4. Stylistic device

There are as wide range of stylistic devices that contribute to the mood and the atmosphere of the story. The following are only a few examples.

Contrast and paradox are used to great effect in this story. This stylistic device also highlights the central them of duality and the inner turmoil and conflict between opposites that we encounter in the main character. Some examples from the text would be: "…"with the mingled shine and darkness in the shop," "the bright suit of armour…and on the dark wood carvings" and "A flash of ice; a flash of fire."

These examples all show a relationship to the central conflict of opposites in the narrative.

Metaphor is used expertly to convey different emotions and states of mind; for example, "The dealer, while he thus ran on in his dry and biting voice." This evokes something of the quality of character. A good example of metaphor as it relates to the themes of the story is; "The candle stood on the counter, its flame solemnly wagging in a draught…."

The image of flame as symbol of passion or desire is combined with the image of a wagging and admonishing finger. In one short phrase the writer is able to convey a sense of the feeling of morality and conscience that lies at the center of Markheim's character.

Pure description and the use of language serve not only to add tension and interest to the story but also highlight the central theme of duality and inner conflict. Note the following description of Markheim just before he stabs the dealer.

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.

There is a sense of horror that is expertly conveyed by words like "…his teeth looked out." This is not only horror at the act of murder but also horror as the knowledge of the inner evil that he recognizes within himself.

4. Setting:

4.1. The definition of setting

The physical setting of this story is situated inside the shop and house of the dealer. However, the true setting is the story is much more expansive than this would suggest. Setting is usually defined as a combination of elements. These include, ehe physical, sensuous world of the work; the time in which the action of the work takes place and "...the social environment of the characters (i.e. The manners, customs, and moral values of the characters' society)."

There is also the setting within the mind of the protagonist which would be the psychological setting. One could also talk about the supernatural setting of this story. In other words, the point being made is that there are a number of different ways of understanding the setting in a story and that this term does not just refer to the actual physical location in which the narration takes place.

In essence, the setting refers to the place, place, atmosphere and general milieu of the story. The setting is also includes the mood and atmosphere of the short story. In this short story the setting is directly connected to the mood and themes of the work.

While the setting is the Dealer's shop it is much more than this. When the story begins the attitude of the dealer, which is rather rude and belligerent, is combined with the atmosphere of tension in the shop. This sense of tension is increased dramatically after the murder when the protagonist experiences the first pangs of conscience. The following extract from the story illustrates this point.

…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.

In other words, the room is transformed by the attention to detail in the setting or immediate environment. The setting therefore becomes more than an objective, physical place and it is developed by the use of images and language into a psychological and even a supernatural environment in which the action takes place.

4.2. Time: when the stories take place.

The story was written in 1885. The actual time of the story is situated within the milieu and social context of this time. The style of dress, furnishings and language correspond to this time period. In terms of the internal time of the story we remain in the present for most of the story, with occasional flashbacks to the past and the possible future of the main character. As Smith ( 2002) notes; Stevenson's psychological study, includes " & #8230;a brief flashback to a fair in a fishers' village where the young Markheim saw pictures of murderers and their victims…." (Smith, 2002, p. 260)

4.3. Place: where the stories take place, functions of the place (e.g. safe and unsafe places)

Place is a relative concept in this story. The place of the dialer's shop becomes a supernatural as well as a psychological space, where the central character encounters his deeper emotions and feelings. The house in which the protagonist moves around after the murder is filled with objects which all add to the ominous and macabre silence and sense of the supernatural.

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.

The house itself, the rooms, doors and objects, become a presence and takes on a life of its own. This is a precursor to the creation psychic encounter that is to follow. But the real setting or "place" in which the story takes place is the psychological state of the protagonist, as his inner doubts, fears and pangs of consciousness start to make see or envision presences. He imagines that. "…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…"

4.4. Weather if is important

As the story takes place indoors the weather is not an important factor. However, there is a hint that the weather outside is dark and gloomy, which would correspond to the atmosphere of the story.

4.5. Type of setting, it is important for the story or not in addition to what has already been discussed about setting we should emphasize that setting, as well as the mood and atmosphere of that setting, is extremely important in terms of the success of the story. The house itself in which the dealer lives, with its cluttered interior, objects and mirrors, adds to the sense of the strange encounter with the supernatural. Setting also determines the actions of the main character to a certain extent. The following lines from the beginning of the short story show the setting in terms of character.

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.

In these lines we see congruence or a link between the setting -- the entrance from the daylight into the relative gloom of thee shop -- and the beginning of the journey into the darkness of the main character's soul.

4.6. Whether setting determines characters action, how the setting impacts characters thoughts words or action.

This question has been answered and incorporated into 4.5.