Extract: TABLEAU I. The Double Life. The Stage represents a room in the Deacon's house, furnished partly as a sitting-, partly as a bed-room, in the style of an easy burgess of about 1780. C., a door; L. C., a second and smaller door; R. C., practicable window; L., alcove, supposed to contain bed; at the back, a clothes-press and a corner cupboard containing bottles, etc. Mary Brodie at needlework; Old Brodie, a paralytic, in wheeled chair, at the fireside, L. SCENE I To these Leslie, C. Leslie. May I come in, Mary? Mary. Why not? Leslie. I scarce knew where to find you. Mary. The dad and I must have a corner, must we not? So when my brother's friends are in the parlour he allows us to sit in his room. 'Tis a great favour, I can tell you; the place is sacred. Leslie. Are you sure that 'sacred' is strong enough? Mary. You are satirical Leslie. I? And with regard to the Deacon? Believe me, I am not so ill-advised. You have trained me well, and I feel by him as solemnly as a true-born Brodie. Mary. And now you are impertinent Do you mean to go any further? We are a fighting race, we Brodies. Oh, you may laugh, sir But 'tis no child's play to jest us on our Deacon, or, for that matter, on our Deacon's chamber either. It was his father's before him: he works in it by day and sleeps in it by night; and scarce anything it contains but is the labour of his hands. Do you see this table, Walter? He made it while he was yet a 'prentice. I remember how I used to sit and watch him at his work. It would be grand, I thought, to be able to do as he did, and handle edge-tools without cutting my fingers, and getting my ears pulled for a meddlesome minx He used to give me his mallet to keep and his nails to hold; and didn't I fly when he called for them and wasn't I proud to be ordered about with them And then, you know, there is the tall cabinet yonder; that it was that proved him the first of Edinburgh joiners, and worthy to be their Deacon and their head. And the father's chair, and the sister's workbox, and the dear dead mother's footstool-what are they all but proofs of the Deacon's skill, and tokens of the Deacon's care for those about him?... Robert Louis Balfour Stevenson (13 November 1850 - 3 December 1894) was a Scottish novelist, poet, essayist, and travel writer. His most famous works are Treasure Island, Kidnapped, Strange Case of Dr Jekyll and Mr Hyde and A Child's Garden of Verses. A literary celebrity during his lifetime, Stevenson now ranks as the 26th most translated author in the world. His works have been admired by many other writers, including Jorge Luis Borges, Bertolt Brecht, Marcel Proust, Arthur Conan Doyle, Henry James, Cesare Pavese, Emilio Salgari, Ernest Hemingway, Rudyard Kipling, Jack London, Vladimir Nabokov, J. M. Barrie, and G. K. Chesterton, who said of him that he "seemed to pick the right word up on the point of his pen, like a man playing spillikins Stevenson was born at 8 Howard Place, Edinburgh, Scotland, on 13 November 1850 to Thomas Stevenson (1818-87), a leading lighthouse engineer, and his wife Margaret Isabella (n e Balfour; 1829-97). He was christened Robert Lewis Balfour Stevenson. At about age 18, Stevenson was to change the spelling of "Lewis" to "Louis", and in 1873 he dropped "Balfour". Lighthouse design was the family's profession: Thomas's father (Robert's grandfather) was the famous Robert Stevenson, and both of Thomas's brothers (Robert's uncles) Alan and David, were in the same field. Indeed, even Thomas's maternal grandfather, Thomas Smith, had been in the same profession. However, Robert's mother's family were not of the same profession. Margaret's natal family, the Balfours, were gentry, tracing their lineage back to a certain Alexander Balfour who had held the lands of Inchyra in Fife in the fifteenth century.
Robert Louis Stevenson, Wilkie Collins and Daphne du Maurier are authors of particular importance to the literature of the double, having produced, among other works, The Strange Case of Dr. Jekyll and Mr. Hyde, The Woman in White and Rebecca. Each also rejected the prevailing social order of his or her time, a factor that plays an important role in determining how the double is represented and treated. The literary theory of romance narrative structure follows the hero's journey through a dark 'descent' to a happier 'ascent', but this journey is shown to apply to a largely masculine identity. On the other hand, the rise of the female persona and her relation to the double is a progression that is clearly charted through the works of Stevenson, Collins and du Maurier. It shows an extraordinary alteration in the structure of traditional romance narrative, and leads to an exploration of new ways in which the imprisoned female character may be able to free herself and become whole.
S.Q. and R.L.: the Squirrel Twins consists of a series of photographs with captions. Each photograph depicts two characters engaged in various activities. The characters are two squirrels, each made from polymer clay. This is a sort of comic book, featuring alliterations and plays on words.
Symbiosis is an adatation in the form of a modern psycho thriller with a gothic touch of literary classic "The strange tale of Dr Jekyll and Mr Hyde" by R.L. Stevenson and the novel "Mary Reilly" by Valerie Martin.Police inspector John Utterson and his colleague Harry Enfield must solve the triple homicide of Vice-Chancellor James Carew and two prostitutes in Whitechapel City. Their investigations lead them to the high-society callgirl service off Mrs Farraday and to Highgate University. Here, Utterson soon encounters arrogant lecturer-researcher Dr Henry Jekyll, his traumatized student Mary Reilly whom he secretly fancies and his mysterious but evasive new lab assistant Mr Edward Hyde, as well as the shady religious fanatic Poole. The murderous truth behind the killings however by far exceeds Utterson's worst fears...
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