In James Hogg's The Private Memoirs and Confessions of a Justified Sinner (1824), Fyodor Dostoevsky's The Double (1846), and Robert Louis Stevenson's The Strange Case of Dr. Such plot–driven (re)doubling differs from the familiar nineteenth–century topos of the Doppelgänger. Noticing their facial resemblance, the displaced representative of English nobility then alters his appearance to replicate the photographic image in Quive–Smith's forged passport and thereby ensure his departure from the United Kingdom disguised as a Latin American “gentleman” still intent on completing his earlier mission (181). After eleven days of being besieged in his subterranean redoubt by pseudonymous Major Quive–Smith, an anglicized Nazi agent, Ingelram contrives a ballista and kills his adversary by impaling him with an iron spike. 1) Of immediate interest, though, is what transpires at the end of Rogue Male. A belated sequel titled Rogue Justice (1982) christens this persona Raymond Ingelram, fictionally the descendant of fifteen British generations whose aristocratic standing has been marginalized by interwar upheavals in the social order. Drawing on the Edwardian adventure tale's theme of hunter and hunted exemplified by John Buchan's The Thirty–Nine Steps (1915), Geoffrey Household's Rogue Male (1939), his best–known thriller, dramatizes the exploits of an unnamed narrator who, after unsuccessfully attempting to assassinate an unspecified Central European demagogue, is literally run to ground in the Dorset countryside.
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