Doppelganger 'And The Secret Sharer'

Throughout history and literature, the doppelganger theme has been an interesting and highly discussed topic of discussion. The word doppelganger originated in Germany and became a popular symbol of horror literature whose theme was considerably complex. In German folklore the doppelganger is a wraith or apparition of a living person, which is different from a ghost. The existence of a double spirit, an exact replica is an ancient and widespread belief. To meet one’s double is an omen that death is soon to follow. Though the word derives from Germany there are myths, legends, and stories told all throughout history and other cultures that describe their own version of the doppelganger, the duel person, spirit double, double goer, and even dualistic
twins. Each refereeing to an equal but opposite of one’s self making one side either in the living world and the other a shadow or that one is good and the other is evil.
Either way the doppelganger is a form that one should avoid for their presence brings upon the others downfall or death. A few examples of this theme are “The Secret Sharer” by Joseph Conrad, “The Strange Case of Dr.Jekyll and Mr. Hyde” by Robert Louis Stevenson and “The Importance of Being Ernest” by Oscar Wilde. In each short story the doppelganger theme is used to show the duel personalities of the main character, however, each is used in a different way and with a different outcome. This theme shows the mental, physical, and emotional states of the characters and how through the use of their opposite selves they internalize their issues thus becoming a victim of their own delusions and
actions.

“The Secret Sharer” is a short story by Joseph Conrad published in 1912.It is about a new captain aboard a ship which reflects Conrad’s sixteen years as both a sailor in the French merchant navy, then the British merchant navy, and later as a captain on the Otago. This story is looked at as an example of the doppelganger theme because Leggatt and the captain seem so close in personality, demeanor, and appearance. Conrad writes “the shadowy, dark head, like mine, it was in the night, as though I had been faced by my own reflection in the depths of a somber and immense mirror.” Indicating that from the moment the captain saw Leggatt he projected his own image onto this stranger causing him to feel connected with him. Even though no one on the ship sees Leggatt, his true presence on the ship is validated since the captain of the other ship comes aboard and discusses his escape with the narrator. Later, when the first mate comments on hearing voices and strange noises coming from the captain’s cabin, Conrad writes “No sir. I would have sworn I had heard you moving in there not a moment ago. It’s most extraordinary… very sorry sir” indicates that Leggatt is a true physical being.
It can be devised that Leggatt has become the captains other self, a person that looks, acts and thinks exactly like the captain.
Many times throughout the story the captain refers to Leggatt as his “other self, double, secret self” forcing the reader to question Leggatt and his presence aboard the ship. Leggett’s presence causes the captain to become isolated not only from his crew and his duties but also from his other self. When he is in the presence of Leggatt he feels whole but also neglectful of his duties as captain, and when he is on deck doing his job he longs to be near his double. As Brian Richardson states “ he demonstrates his irresponsibility by leaving his post as watch to go below for a cigar, then leaving it again as Leggatt climbs the ladder unwatched while he goes back for some clothes.” Further Richardson infers his is indeed “wildly improbable as a description of an English captain coping with such a strange visitor in a foreign land.” Making his secret and his other self-more important than his duties which leaves him to feel torn and separated from himself. The idea that Leggatt is his identical equal causes him to go mad and be paranoid, “I was constantly watching myself, my secret self, as dependent on my actions as my own personality, sleeping in that bed, behind that door which faced me as I sat at the head of the table. It was very much like being mad, only it was worse because one was aware of it” writes Conrad. From the moment Leggatt comes
aboard the personality of the captain changes and causes him to become a different person. His mind is consumed with the thoughts, actions and secret presence of Leggatt that he cannot think of anything else even to the point of disaster when he puts the life of one man above the rest of the crew as well as him own. Another short story that uses a double life theme is “The Importance of Being Ernest” by Oscar Wilde. The double life or a duel self-theme is used as the central metaphor in the play to represent the notion of “Bunbury” or “Bunburying.” In the play Algernon, defines Bunburying as “the practice of creating an elaborate deception that allows one to misbehave while seeming to uphold the very highest standards of duty and responsibility.” Thus, creating a dual personality and alternate life in order for the characters to be able to be who they want to be and who they need to be in society. In the play both Jack and Algernon create Ernest in order for them to both have a life separate from the one they live. However, their lives collide and cause turmoil creating confusion and havoc in both their lives. In Jacks case his imaginary, wayward brother Ernest is used as a device not only to escape social and moral obligations but also allows Jack to appear far more moral and responsible than he actually is. Similarly, Algernon’s imaginary friend Bunbury allows him to escape the city to enter the country, where he imposes on people who don’t know him such as Cecily. The difference in what Jack and Algernon do is that Jack