The Jewel of Seven Stars - Knowledge (XXG)

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comforted by the confirmation of Tera's existence, they proceed with the experiment and unwrap the mummy. They discover that Tera is wearing a marriage robe, which greatly distresses Margaret. Malcolm is put in charge of turning on the electric lights after the experiment ends, and Margaret blows out the candles. As the lamps are lit, the coffer begins to glow, emitting a green vapour that passes into the sarcophagus. Suddenly, the wind from the storm shatters a window, blowing the vapour around the room, and black smoke pours out of the coffer. The room is engulfed in smoke, and Malcolm waits for the command to turn on the lights, but it never comes. The lamps slowly burn out and Malcolm fumbles in the dark, coming across the limp body of a woman whom he believes is Margaret. He carries her upstairs and leaves her in the hall while he runs for matches, but when he returns, he finds only Tera's bridal robe lying on the floor, the Jewel of Seven Stars lying where the heart would be. He returns to the cave and turns on the lights to find all of his companions on the floor, dead.

367:—similar to the Valley of the Sorcerer, where Tera is found in the novel. The similarities between the two, Hebblethwaite states, are "almost too overt to be mere coincidence"; both are extremely powerful female rulers who take on the role of men. Just as Hatshepsut commanded and transfigured her masculine image, it is found in Tera's tomb that "rominence was given to the fact that she, though a Queen, claimed all the privileges of kingship and masculinity. In one place she was pictured in man’s dress, and wearing the White and Red Crowns. In the following picture she was in female dress, but still wearing the Crowns of Upper and Lower Egypt, while the discarded male raiment lay at her feet". Both Tera and Hatshepsut also seemed to possess some awareness that their legacy would be destroyed. In the novel, Tera leaves an inscription stating her plans for resurrection, as well as that "the hatred of the priests was, she knew, stored up for her, and that they would after her death try to suppress her name". A similar inscription was found on an 314:

of beliefs or knowledges in a loosely occult framework" developed in response to British anxieties about the rule of Egypt. One common plot in these narratives was the "Mummy’s Curse", which "follows the basic plot structure of misappropriation of tomb artifacts with fatal consequences following the protagonist home and features the explicit warning 'beware of the Mummy’s Curse'”; often these artifacts were possessed by some supernatural element. Mummies were often the focal point of these stories, usually of noble rank, because most of the mummies being discovered in the nineteenth century were pharaohs. There was an emphasis on the idea of perfect preservation and beauty; mummies were unravelled at museum exhibitions in British museums, and audiences were amazed by their "almost perfect condition". Because of their preserved beauty, female mummies in Victorian fiction were often eroticized objects of desire.

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states that the publishers asked for a happier and less gruesome ending, Stoker never confirmed this reason. In addition, Ludlam's explanation does not account for the removal of Chapter 16. Stoker's own perspective on censorship in a 1908 essay indicates that he would not have consented to censorship by a publisher: "he strongest controlling force of imagination is in the individual with whom it originates. No one has power to stop the workings of imagination…individual discretion is the first line of defence against such evils as may come from imagination". From this statement promoting self-censorship, William Hughes constructed an argument that Stoker himself chose to revise the ending and remove Chapter 16 because it incited religious doubt and speculation that would threaten dominant religious beliefs.

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aware of the scientific and cultural developments that were taking place around the turn of the century, that he was fascinated with technological developments…Stoker sometimes saw the future as full of infinite possibilities for improvement, sometimes as totally at the mercy of primitive forces". This is demonstrated in the appropriately titled chapter, "Powers—Old and New", in which Malcolm considers the consequences of Tera's resurrection on existing British beliefs. The direction of his thoughts in this chapter, which was notably deleted from the 1912 edition, seems to indicate that ancient Egyptian society was more progressive than nineteenth-century England, both spiritually and scientifically:

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men". In the final scene, the group of men publicly and voyeuristically unravel Tera's corpse, which, Hebblethwaite states, is a way to humiliate the female and revert her to submission. Tera's naked, youthful body is described in great detail as the men, even Malcolm, become "more and more excited". However, this attempt at reassertion is interrupted by Margaret, who demands Tera be covered and removes the body from the men's invasive gazes. Ultimately, the men are returned to the role of observer and must await Margaret's consent to continue, implying the uncontrollable nature of the New Woman.

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becoming strong and self-sufficient. As Margaret's feminine qualities strengthen, her male counterparts are increasingly threatened. Malcolm is continually disturbed and "quite unmanned" by Margaret's empowerment and, as Hebblethwaite points out, "finds her newfound womanly emotionalism—'gloom and anxiety, hope, high spirits, deep depression, and apathetic aloofness'—not conducive to his own peace of mind". The more Margaret embraces her freedom, the more distant she is to Malcolm, even occasionally showing outright disdain; this exemplifies what males fear will happen if women gain autonomy.

441:, wrote and published many accounts of his travels, and Stoker admired his adventures and discoveries: "Burton had the most vivid way of putting things—especially of the East. He had both a fine imaginative power and a memory richly stored not only from study but from personal experience….Burton knew the East. Its brilliant dawns and sunsets…the mysteries of its veiled women; its romances; its beauty; its horrors". Inspired by the stories of Egypt he heard, Stoker dedicated himself to the study of Egyptology; Stoker was known to own a number of texts on Egyptology, including William Wilde's 222:

left, only to be robbed of the mummy during a storm by their Arab guides. Trelawny suggested that they return to the tomb, where they found the mummy and the three Arabs, murdered. During their time in the tomb, they were put under some trance and recovered three days later to find that Trelawny's wife had died in childbirth, but Margaret survived. Sixteen years passed before Trelawny contacted Corbeck, frantic because he believed that the lamps they saw in the tomb, when arranged in a specific shape, would make the coffer open and would possibly be the key to Tera's resurrection.

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unconscious and bloodied on the floor of his room, under some sort of trance. Margaret reveals that her father had left a letter of strange instructions in the event of his incapacitation, stating that his body should not be removed from his room and must be watched at all times until he wakes up. The room is filled with Egyptian relics, and Malcolm notices that the "mummy smell" has an effect on those in the room. A large mummy cat in the room disturbs Margaret's cat, Silvio, and the doctor suspects Silvio is guilty of the scratch marks on Trelawny's arm.

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of her after her coronation show her as a man—wide shoulders, trim hips, and no hint of breasts". About twenty years after her death in 1458 BC, her name and image was removed from temple walls, and many of her statues were destroyed. Dorman argues that this was not personal animosity, but rather an attempt to eradicate any hints of an unconventional, female ruler, "best erased to prevent the possibility of another powerful female ever inserting herself into the long line of Egyptian male kings".

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escapes from her male captors, suggesting a more positive outcome for the New Woman. In stark contrast, the 1912 edition drastically revises the ending: Tera dies instead and Margaret and Malcolm are married. According to Andrew Smith, "The first ending suggests Stoker’s inability properly to control the rebellious aspects of the Female Gothic, whereas the second, as in Dracula, implies the possibility of exerting social control through marriage".

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sends him away. After a normal night with no attacks, a stranger arrives, begging to see Trelawny. He reveals himself to be Eugene Corbeck, an Egyptologist who was working with Trelawny. He has returned from Egypt with lamps that Trelawny requested, but finds upon his arrival at the house that the lamps have disappeared. The next day, Malcolm and Margaret admire Trelawny's Egyptian treasures, noting in particular a large

489:, and nineteenth-century politics. Brantlinger notes three key themes of Imperial Gothic: "individual regression or going native; an invasion of civilization by the forces of barbarism or demonism; and the diminution of opportunities for adventure and heroism in the modern world". Imperial Gothic is marked by a fear of the future, expressing these anxieties as supernatural events that are equally uncontrollable. 723: 719:", middle-class feminists who espoused the domestic sphere and sought social and sexual freedom, challenging the gender roles that dominated British society. Jusova explains that by " and defamiliarizing the hegemonic Victorian definitions of gender and sexual identities, the New Woman further fueled the anxieties and fears that already circulated among the middle-class British population at the time". 680:’ publication, and "electric light was just beginning to be widely used in domestic households…throughout Stoker’s novel, there runs an underlying sense of wonder at modern man’s ability to harness the power of electricity". In light of the fact that these scientific advancements were so recent, the idea that ancient Egyptians had been using this science centuries before is even more staggering. 656:"The whole possibility of the Great Experiment to which we were now pledged was based on the reality of the existence of the Old Forces which seemed to be coming in contact with the New Civilisation…If there were truth at all in the belief of Ancient Egypt then their Gods had real existence, real power, real force…If then the Old Gods held their forces, wherein was the supremacy of the new?” 783:, was even less positive: "This book is not one to be read in a cemetery at midnight…but it does not quite thrill the reader as does the best work in this genre…It is due to Mr. Stoker to say that his wild romance is not ridiculous even if it fails to impress". In Stoker's body of work, the endings are all relatively satisfying, clear-cut, and optimistic. The ambiguous, tragic ending of 601: 385: 1751: 226:

powerful Queen Tera was and explains that her spirit has been residing in the mummy cat in Trelawny's room, waiting to be reunited with its human form. Trelawny believes that the coffer, when opened by the proper formation of the lamps, will release some sort of magic that will revive the mummy and bring Tera's spirit to life. Trelawny's attack was the attempt of Tera's

635:. According to Perry, Stoker admired the poet and often emulated his style in personal letters to Whitman, an emulation that would later appear in Stoker's novels. Stoker's lengthy, eloquent descriptions possess a poetic quality, and Perry argues that his characters " with a sense of rhythm, parallelism, and balance that is characteristic of Whitman". 501:"It was all so stupendous, so mysterious, so unnecessary! The issues were so vast; the danger so strange, so unknown. Even if it should be successful, what new difficulties would it not raise…there would be some strange and awful development—something unexpected and unpredictable—before the end should be allowed to come…!”. 807:

When the novel was re-released in 1912, the speculative chapter 16, "Powers Old & New", had been removed. The ending was rewritten as an upbeat, straightforward conclusion wherein the experiment fails, everyone lives, and Margaret and Malcolm get married. Though Harry Ludlam's biography of Stoker

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The ending of the novel presents an ambiguous answer to the issue of the New Woman, one that is noticeably altered in the 1912 edition. In the 1903 version, Margaret dies, putting an end to her independence. However, it is implied by the presence of Tera's burial robe in her place that Tera lives and

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Egyptology and the fascination with ancient artifacts were echoed in nineteenth-century literature. Between 1860 and 1914, hundreds of stories about Egyptian mummies, curses, and exploration were published. Roger Luckhurst situates this within a cultural trend of what he calls Egyptian Gothic, "a set

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and invention of electricity. Once everyone arrives at the new house, Margaret's behavior becomes increasingly erratic, and she seems to have an uncanny knowledge of Tera's thoughts and feelings. Malcolm begins to suspect that Margaret is the astral body of Tera and fears that she will be too weak to

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on the wall led Corbeck and Trelawny to believe that the mummy was possessed with some sort of black magic and that Queen Tera had immense power over the Upper and Lower Worlds. The hieroglyphics seemed to indicate that Tera planned to return from the dead. They took the sarcophagus from the tomb and

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discourse: " frequently display both a degree of personal assertion and a sexual precocity which at first sight distances them from the patriarchal ideal of female passivity and subservience…even though by the end of each work the suggestion is implicitly made that biological difference, the destiny

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by proving that the religious principles of the Egyptians held merit and truth. Cowed by this perjurious thought, Malcolm reflexively cuts himself off, thinking, "I dared not follow it!”. However, the question of progression is immediately brought up again in Trelawny's equally unnerving theories on

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writer due to his mastery of the horror novel than a literary author. Most of his writings are still unknown; in an interview with Stoker's grandnephew, this is attributed to the fact that "Stoker never had time to perfect his style in the numerous novels and stories he wrote…most of the rest of his

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to Tuthmose's son, by a concubine, her half-nephew. Rather than being regent to the toddler king, however, Hatshepsut took the throne and declared herself ruler. However, because Egyptian kingship was intrinsically masculine, Hatshepsut publicly transformed her feminine self; all statues and "images

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sparked the interest of European scholars and travelers. The occupation of Egypt made it easier to bring these monuments back to Britain, and "there soon arose a demand for antiquities from Egypt to be shipped to private manors in Europe as well as to public museums. It became popular for mummies to

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covered with hieroglyphics, and an oddly well-preserved mummy hand with seven fingers. Malcolm then finds the missing lamps in Margaret's bedroom. Concerned for Margaret, Malcolm tells Corbeck everything that has happened up until his arrival, and Corbeck gives Malcolm a mysterious book to read. The

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is the tension between the Old World and the New in terms of progress. The late nineteenth century was a time of invention and modernization, and the novel constantly questions the power of the past in comparison to these modern technological and scientific innovations. Senf argues that "Stoker was

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The confirmation of Tera's existence and her potential ability to return and invade Western civilization, shattering pre-existing beliefs about religion and science, reflects the anxieties brought on by the end of imperialism. This echoes the uncertainty of the future as the era of imperialism came

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book tells the story of Nicholas van Huyn, a Dutch explorer who travelled to the Valley of the Sorcerer to explore the tomb of a mysterious Egyptian queen, Tera. In the tomb, he finds a sarcophagus and a mummy hand with seven fingers, adorned with a ruby ring with seven points that look like stars.

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On the first night of watch, Malcolm awakens to find Trelawny again on the floor, bloody and senseless. Margaret asks Dr. Winchester to summon another expert, and he calls for Dr. James Frere, a brain specialist. However, when Frere demands that Trelawny be moved from his room, Margaret refuses and

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Abel Trelawny at the request of Abel's daughter, Margaret, of whom Malcolm is enamoured. Once Malcolm arrives at the house, he meets Margaret, Superintendent Dolan, and Doctor Winchester, and learns why he has been called: Margaret, hearing strange noises from her father's bedroom, woke to find him

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When the men in the narrative attempt to regain masculine control, they are subverted by Margaret. As Deane argues, the wrapped and veiled Victorian mummy is extremely sexualized, "a woman…who, perfectly preserved in her youthful beauty, strongly attracts the libidinous attention of modern British

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However, scholars of Stoker's forgotten works contest this, arguing that Stoker was much more than a genre author writing for "chills and thrills". In a review of a collection of Stoker's lesser-known writing, critic Colin Fleming explains, "there’s no easy category to dump in, and the one he’s

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had a very underwhelming response from nineteenth-century critics. When the novel was released in 1903, critics and readers were generally left confused by the story; one review stated that readers would "curdle their blood" and "addle their brains" trying to understand "this most extraordinary

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through Margaret's transformation; though she gains strength throughout the novel, in the end she does not survive to see a society where New Women reign. Margaret begins as a timid, submissive daughter and non-threatening love interest, but she gradually takes on the qualities of Queen Tera,

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On the night of the experiment, a wild storm rages outside as they set up in a cave underneath the house. Margaret tells her father that Tera will not possess the mummy cat and will remain powerless until the experiment is complete, seeming to confirm that Margaret has been possessed. Somehow

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Corbeck's story is interrupted by Trelawny's revival. He embraces his daughter and joyfully approves Malcolm's courtship. Dolan and the police depart, glad to escape from the mystery, and Trelawny gathers the remaining inhabitants of the house to explain his Great Experiment. He describes how

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After this overwhelming wealth of information is revealed, Malcolm questions the implications of ancient forces interacting with new civilization. He worries about the impact on religion and monotheism if the power of the ancient Egyptian gods is proven. Trelawny also posits that the ancient

264:: The daughter of Abel, born while Abel was entranced in Tera's tomb, Margaret begins as a demure and sweet woman but grows more independent throughout the text. She strongly resembles Queen Tera and eventually takes on similar characteristics, possibly being possessed by Tera's spirit. 1754: 276:: An Egyptologist who aids Trelawny in his endeavors to recover Egyptian artifacts. A little bit feisty, he seems more interested in the artifacts than the idea of resurrecting Tera. His enthusiasm wanes and his anxiety grows as the Great Experiment goes from theory to reality. 300:

and began to exert a strong influence on the country. However, the Victorian-era fascination with Egypt had risen at the start of the nineteenth century, when European exploration of Egypt began. Archaeological discoveries of ancient Egyptian tombs and monuments such as

270:: A famous Egyptologist who becomes obsessed with the idea of resurrecting Tera. A hopeful, ambitious, and fearless man, he is extremely interested in scientific progress and believes that the ancient Egyptians were more progressive than the contemporary British. 730:

Stoker's older works appear more critical of The New Woman. As the New Woman became more prevalent in society, however, Stoker continued to feature independent female characters in his works, balancing an exploration of the possibility of feminine power with a

282:: A young doctor who initially comes to treat Trelawny for his wounds but becomes entangled in the mystery. Though he is hesitant at first to give up on factual evidence, he shows a willingness to believe in the supernatural and eagerly assists in the revival. 687:

was published right at the turn of the twentieth century, Stoker's implications of the power of the past call for a respect for "primitive" nineteenth-century discoveries. Hebblethwaite articulately states: "As a new century began, and

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in Ancient Egypt. Hatshepsut ruled Egypt from 1479 BC to 1458 BC, one of the first and few female rulers. She married her half-brother, Tuthmose II, who ruled from 1492 BC until his death in 1479 BC. At this point, Hatshepsut became

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represents a specific fear, which Brantlinger labels the "invasion scare story": in a reversal of the "outward thrust of imperialist adventure", a foreign body gains power and threatens the existing structure of civilization. In

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Corbeck tells Malcolm that, years ago, he and Trelawny travelled to Egypt to search for the tomb where the sarcophagus lies. They find the tomb and discover that the mummy's wrist was coated with fresh dried blood. The

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and referring to his works as "collage art": a combination of voices from a variety of sources that make up a single text. This idea of collage is represented in the journalistic interludes and alternating voices in

597:; at two points, the story breaks away from Malcolm's narration and takes on the voice of first Nicholas Van Huyn, through a retelling of his novel, and then Corbeck's extensive story about finding Tera's tomb. 550:

are all considered landmarks of Gothic horror fiction. Though it increased in popularity in the nineteenth century, elements of Gothic horror have appeared in more contemporary works, influencing authors from

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are referenced, and "the many mentions of ancient Egyptian gods, funerary practices and traditional customs that pepper the novel testify to the author’s profound knowledge of his subject". Stoker studied at

628:, Wynne argues, was inspired by the stage "magic" and innovations in staging that allowed for illusions to be performed in the theatre: "Stoker in his fiction… illusion in the service of the supernatural". 230:—the mummy cat—to remove the Jewel of Seven Stars from a locked safe in his bedroom. He reveals that he has prepared an isolated house at Kyllion, in Cornwall, where the experiment is to take place. 371:

at Hatshepsut's memorial: "Now my heart turns this way and that, as I think what the people will say—those who shall see my monuments in years to come, and who shall speak of what I have done".

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In a revised version released in 1912, this ending was removed. In the second version, the experiment fails entirely, no one is harmed, and Margaret and Malcolm marry a few years later.

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and brought it back to Dublin; Belford argues that this would later inspire Stoker to write a mummy story. Stoker references his friendship with another Orientalist explorer,

2177: 1937: 258:: The protagonist and narrator, Malcolm is drawn into the mystery of Queen Tera by his love for Margaret Trelawny, and his desire to protect her guides most of his actions. 2059: 421:—who was an Egyptology enthusiast, and often shared the stories of his adventures with Stoker. On one voyage in 1837, Wilde discovered a mummy outside of a tomb near 989:

Patterson, J. D. (2002). Beyond Orientalism: Nineteenth century Egyptomania and Frederick Arthur Bridgman’s 'The Funeral of a Mummy'. University of Louisville.

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Muro, M. (1 April 1983). "Dusting off Dracula's creator: A blood relative of Bram Stoker seeks recognition for the long-neglected Gothic novelist".

795:. The novel has been examined by critics, but is seen more as a collective part of Stoker's work than an exemplary novel that stands on its own, as 631:

In addition to being influenced by his relationship with Irving and the theatre, Stoker's style was also influenced by his friendship with poet

2052: 1985: 559:. The genre is marked by supernatural occurrences, gloomy settings, violent emotions, terror, and threatening villains, all of which appear in 696:, counsels its readers not to utterly reject the past as archaic and non-essential—there were things of value to be learned and remembered". 1798: 1771: 1692: 2108: 857: 2147: 29: 310:

take up residence in the libraries and studies of rich Europeans and for houses to be decorated with Egyptian motifs and artifacts".

2045: 1159: 1822: 322: 2192: 473:, from its placement during the fin-de-siecle, is an example of Imperial Gothic. Influenced by anxiety over the decline of the 2187: 2162: 2152: 413:, where many early Orientalists and Egyptologists studied. According to several biographies of Stoker, he was close with Sir 2087: 841: 624:, "with all its theatrics and high emotions". The mysticism of the occult and the supernatural that Stoker expounds upon in 239:

fight off a possession, but when he relays these concerns to Trelawny and Margaret, they seem unafraid of this possibility.

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Malcolm realizes in this passage that the success of Tera's resurrection will shake the fundamental Christian belief of

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Stoker's style was arguably a product of his background in the theatre, working as business manager to theatre legend

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long before nineteenth-century scientists. As Hebblethwaite explains, radioactivity had been recently discovered by

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Brier, B. (2013). Egyptomania: Our three thousand year obsession with the Land of the Pharaohs. Palgrave Macmillan.

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Brantlinger, Patrick (1985). "Imperial Gothic: Atavism and the Occult in the British Adventure Novel, 1880-1914".

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Bulfin, Ailise (2011). "The Fiction of Gothic Egypt and British Imperial Paranoia: The Curse of the Suez Canal".

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product remains unreadable and inept. Some of it, in fact, is so bad that it has been mistaken for burlesque".

1838: 827: 822: 143:, first published by Heinemann in 1903. The story is a first-person narrative of a young man pulled into an 1902: 1886: 1870: 1846: 613: 406: 880: 1589: 1572:

Smith, Andrew (May 2004). "Love, Freud, and the Female Gothic: Bram Stoker's The Jewel of Seven Stars".

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Stoker's own knowledge of Egyptology can be seen in his painstaking attention to historical accuracy in

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Merritt, S. M. (11 July 2013). "Bram Stoker, Dracula, and the Victorian Gothic stage (Book review)".

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Luckhurst, R. (2012). The mummy’s curse: The true history of a dark fantasy. Oxford University Press.

917: 589: 564: 1734: 1118: 1830: 943: 364: 1735:"Mothers, Daughters, and Vampires: The Female Sexual Dilemma in Eighteenth-Century Vampire Poetry" 2115: 1091: 865: 297: 180: 1953: 747: 563:. The villains are themselves supernatural in some way; the abundance of mummy fiction in late 396:. The Egyptian artifacts are described in laborious detail, contemporary Egyptologists such as 2026: 2011: 1719: 1688: 1017: 621: 209: 103: 1993: 1929: 1680: 1581: 1440: 1083: 339: 156: 117: 2016: 664:

science. In particular, Trelawny posits that the Egyptians had discovered electricity and

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Deane, Bradley (2008). "Mummy Fiction and the Occupation of Egypt: Imperial Striptease".

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in—Scary Writer Guy—is limiting". Fleming classifies Stoker's style as Gothic as well as

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The Lyceum Theatre, where Stoker worked and was inspired to write melodramatic fiction.

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to an end, and the idea of reverse colonialism became more prominent and terrifying.

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Though Queen Tera is an entirely fictional character, she bears many resemblances to

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Hughes, William (1994). "Profane Resurrections: Bram Stoker's Self-Censorship in

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Egyptians possessed contemporary scientific knowledge, such as the discovery of

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in December 1902 and January 1903 but the first US edition was published by

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Fleischhack, M (2009). "Vampires and Mummies in Victorian Gothic Fiction".

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Prepublication issues toward a US edition were deposited for copyright by

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writing, the empowerment and assertiveness of women was on the rise. The

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Fleming, Colin (Summer 2013). "Digging Up the Truth About Bram Stoker".

1854: 1517:"Rethinking the New Woman in Stoker's Fiction: Looking at Lady Athlyne" 791:

increased, more of Stoker's lesser-known work came to light, including

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left readers baffled. In the 1960s and 1970s, when critical studies of

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Stoker's writing style is often overlooked, as he is seen as more of a

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Egypt. In Britannica Online Encyclopedia. Encyclopædia Britannica Inc.

772:, which received very little critical attention until the late 1960s, 1585: 482: 438: 348: 327: 235: 1714: 746: 721: 599: 576: 383: 321: 151: 1502:. Columbus, OH: The Ohio State University Press. Retrieved from 1339:

The Norton Anthology of English Literature: Norton Topics Online

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Rule of darkness: British literature and imperialism, 1830-1914

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Beyond Dracula: Bram Stoker’s Fiction and its Cultural Context

498:, Queen Tera's resurrection is the embodiment of this threat: 104: 1503: 726:

A political cartoon from the 1890s depicting the New Woman.

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Stoker, B. (1908, September). The censorship of fiction.

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Saturday review of politics, literature, science, and art

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An illustration of European men unwrapping a mummy, 1886.

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invested in gender, is the most powerful force of all".

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tendencies were directly influenced by his knowledge of

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literature, such as darkness, death, sexuality, and the

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Irish Orientalism: A literary and intellectual history

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genres to create a pleasurably terrifying experience.

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Full text and PDF versions of the 1903 and 1912 eds.

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Bram Stoker, Dracula, and the Victorian Gothic stage

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Egyptian Religion: Egyptian Ideas on the Future Life

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Snowbound: The Record of a Theatrical Touring Party

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The nineteenth century and after: A monthly review.

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Science and social science in Bram Stoker’s fiction

825:(1970), an episode of the British anthology series 616:for twenty-seven years. Wynne posits that Stoker's 359:early in 1903, the same year as the publication of 116: 102: 94: 86: 78: 68: 58: 48: 38: 1973:The Duties of Clerks of Petty Sessions in Ireland 1367: 1365: 1175: 1173: 1047: 1045: 516:is part of a subgenre of Gothic fiction known as 355:The tomb of Queen Hatshepsut was discovered by 1647:A biography of Bram Stoker: Creator of Dracula 2053: 1792: 1632:(1903, Dec. 19). "The Jewel of Seven Stars". 1321: 1319: 1317: 960:"The Jewel of Seven Stars" (162, 280pp, 1903) 8: 588:, pointing out Modernistic elements such as 21: 1289:English Literature in Transition, 1880-1920 1076:English Literature in Transition, 1880-1920 1069: 1067: 1010:English Literature in Transition, 1880-1920 541:The Strange Case of Dr. Jekyll and Mr. Hyde 477:, Imperial Gothic texts employ elements of 2178:Irish novels adapted into television shows 2060: 2046: 2038: 1799: 1785: 1777: 1179:Hebblethwaite, K. (2008). "Introduction". 962:. LC Online Catalog. Retrieved 2016-09-16. 27: 20: 1444: 1429:"Whitman's Influence on Stoker's Dracula" 916:, incorporate the titular jewel into his 455:Egyptian Tales Translated from the Papyri 1946:Dracula's Guest and Other Weird Stories 1240:Bram Stoker and the man who was Dracula 1139:Wilson, Elizabeth B. (September 2006). 956:"The Jewel of Seven Stars" (92pp, 1902) 929: 1986:Personal Reminiscences of Henry Irving 1253:Personal reminiscences of Henry Irving 1229:. New York: Syracuse University Press. 447:Easy Lessons in Egyptian Hieroglyphics 431:Personal Reminiscences of Henry Irving 1772:Internet Speculative Fiction Database 935: 933: 409:, which boasted a notable program in 7: 715:was marked by the emergence of the " 1733:Quinn, Ashley M. (22 August 2022). 1619:(1903). Some novels of the season. 2183:Novels adapted into radio programs 739:This contradiction can be seen in 14: 2158:British novels adapted into films 2109:Bram Stoker's Legend of the Mummy 1183:. New York, NY: Penguin Classics. 1158:Highfield, Roger (27 June 2007). 858:Bram Stoker's Legend of the Mummy 567:is closely linked to this genre. 443:Narratives of a Voyage to Madeira 2022:William Thomson (brother-in-law) 1749: 1677:GothicK: Origins and Innovations 1160:"'How I found Queen Hatshepsut'" 946:(loc.gov). Retrieved 2016-09-16. 942:(1st US ed). LC Online Catalog. 912:'s set of linked short stories, 2173:Irish novels adapted into films 1541:. New York: St. Martin’s Press. 940:"The jewel of the seven stars" 147:plot to revive Queen Tera, an 1: 1471:. Greenwood Publishing Group. 1433:Walt Whitman Quarterly Review 1374:The Virginia Quarterly Review 1141:"The Queen Who Would Be King" 1119:"The Woman Who Would Be King" 433:. Burton, an explorer of the 177:Doubleday, Page & Company 1500:The new woman and the empire 777:story". A London newspaper, 2088:Blood from the Mummy's Tomb 1759:public domain audiobook at 1621:The Review of Reviews, (28) 1277:. Cornell University Press. 842:Blood from the Mummy's Tomb 2214: 1911:The Lair of the White Worm 1608:Critical insights: Dracula 1521:Journal of Dracula Studies 1088:10.2487/elt.51.4(2008)0029 427:Sir Richard Francis Burton 332:Metropolitan Museum of Art 298:the British occupied Egypt 33:Cover of the first edition 2148:20th-century Irish novels 2082: 2017:Thornley Stoker (brother) 1685:10.1163/9789004483743_014 1606:Lynch, J. (Ed.). (2009). 1504:http://ohiostatepress.org 172:, and societal progress. 26: 22:The Jewel of Seven Stars 16:1903 novel by Bram Stoker 2075:The Jewel of Seven Stars 2012:Florence Balcombe (wife) 1879:The Jewel of Seven Stars 1767:The Jewel of Seven Stars 1756:The Jewel of Seven Stars 1715:The Jewel of Seven Stars 1673:The Jewel of Seven Stars 1560:The jewel of seven stars 1427:Perry, Dennis R (1986). 1326:The jewel of seven stars 1273:Brantlinger, P. (1988). 1205:The jewel of seven stars 1193:The jewel of seven stars 1181:The jewel of seven stars 823:"The Curse of the Mummy" 793:The Jewel of Seven Stars 785:The Jewel of Seven Stars 774:The Jewel of Seven Stars 741:The Jewel of Seven Stars 706:The Jewel of Seven Stars 685:The Jewel of Seven Stars 678:The Jewel of Seven Stars 650:The Jewel of Seven Stars 626:The Jewel of Seven Stars 595:The Jewel of Seven Stars 561:The Jewel of Seven Stars 514:The Jewel of Seven Stars 496:The Jewel of Seven Stars 491:The Jewel of Seven Stars 471:The Jewel of Seven Stars 453:, and Flinders Petrie's 394:The Jewel of Seven Stars 361:The Jewel of Seven Stars 132:The Jewel of Seven Stars 1922:Short story collections 1649:. New English Library. 1446:10.13008/2153-3695.1860 1343:http://www.wwnorton.com 828:Mystery and Imagination 124:PZ3.S8743 J PR6037.T617 2193:Novels set in Cornwall 1903:The Lady of the Shroud 1871:The Mystery of the Sea 1847:The Shoulder of Shasta 1337:The Gothic. (n.d.) In 752: 727: 683:Especially given that 605: 407:Trinity College Dublin 389: 335: 191:Malcolm Ross, a young 139:novel by Irish writer 2188:Novels by Bram Stoker 2163:Fiction about mummies 2153:British Gothic novels 1770:title listing at the 1739:Scientia et Humanitas 1729:at Bram Stoker Online 1550:Hebblethwaite, p.xxiv 1480:Hebblethwaite, p.xxix 1417:. Palgrave Macmillan. 1117:Cooney, Kara (2012). 750: 725: 603: 526:The Castle of Otranto 387: 330:of Hatshepsut at the 325: 287:Historical background 181:Harper & Brothers 154:. It explores common 2068:Film adaptations of 1979:A Glimpse of America 1679:. pp. 132–139. 1515:Senf, Carol (2007). 1467:Senf, C. A. (2002). 1264:Hebblethwaite, p.xix 1255:. London: Heinemann. 1238:Belford, B. (2002). 1216:Hebblethwaite, p.xxi 1145:Smithsonian Magazine 918:Diogenes Club series 590:non-linear narrative 565:Victorian literature 520:. First featured in 388:Bram Stoker in 1906. 2198:Irish horror novels 2168:Irish Gothic novels 2143:1903 fantasy novels 2138:1903 British novels 1645:Ludlam, H. (1977). 1537:Hughes, W. (2000). 1498:Jusova, I. (2005). 1489:Hebblethwaite, xxxv 1401:Diabolique Magazine 1380:(3): 207–210, 218. 1251:Stoker, B. (1906). 1225:Lennon, J. (2008). 944:Library of Congress 881:Legend of the Mummy 780:The Saturday Review 648:A major concern in 375:Literary background 365:Valley of the Kings 23: 1723:(1912 revised ed.) 1413:Wynne, C. (2013). 1123:Lapham’s Quarterly 764:Critical reception 753: 728: 606: 390: 336: 303:Cleopatra's Needle 262:Margaret Trelawney 164:, the rise of the 2125: 2124: 2035: 2034: 2027:Bram Stoker Award 1839:The Watter's Mou' 1823:The Primrose Path 1720:Project Gutenberg 1694:978-90-04-48374-3 1451:Project MUSE 1341:. Retrieved from 1297:Project MUSE 1100:Project MUSE 1025:Project MUSE 622:Victorian theatre 445:, Wallis Budge's 280:Doctor Winchester 128: 127: 90:Print (hardcover) 79:Publication place 2205: 2062: 2055: 2048: 2039: 1994:Famous Impostors 1930:Under the Sunset 1831:The Snake's Pass 1801: 1794: 1787: 1778: 1753: 1752: 1746: 1722: 1699: 1698: 1668: 1662: 1656: 1650: 1643: 1637: 1630: 1624: 1617: 1611: 1604: 1598: 1597: 1586:10.7227/GS.6.1.8 1569: 1563: 1557: 1551: 1548: 1542: 1535: 1529: 1528: 1512: 1506: 1496: 1490: 1487: 1481: 1478: 1472: 1465: 1459: 1458: 1448: 1424: 1418: 1411: 1405: 1404: 1396: 1390: 1389: 1369: 1360: 1359: 1351: 1345: 1335: 1329: 1323: 1312: 1311: 1284: 1278: 1271: 1265: 1262: 1256: 1249: 1243: 1242:. Da Capo Press. 1236: 1230: 1223: 1217: 1214: 1208: 1202: 1196: 1190: 1184: 1177: 1168: 1167: 1155: 1149: 1148: 1136: 1127: 1126: 1114: 1108: 1107: 1071: 1062: 1061: 1049: 1040: 1039: 1005: 999: 996: 990: 987: 981: 978: 972: 969: 963: 953: 947: 937: 710: 612:and running the 340:Queen Hatshepsut 318:Queen Hatshepsut 149:ancient Egyptian 120: 106: 70:Publication date 31: 24: 2213: 2212: 2208: 2207: 2206: 2204: 2203: 2202: 2128: 2127: 2126: 2121: 2078: 2066: 2036: 2031: 2000: 1961: 1954:Dracula's Guest 1917: 1810: 1805: 1750: 1732: 1712: 1707: 1702: 1695: 1670: 1669: 1665: 1657: 1653: 1644: 1640: 1631: 1627: 1618: 1614: 1605: 1601: 1571: 1570: 1566: 1558: 1554: 1549: 1545: 1536: 1532: 1514: 1513: 1509: 1497: 1493: 1488: 1484: 1479: 1475: 1466: 1462: 1426: 1425: 1421: 1412: 1408: 1398: 1397: 1393: 1371: 1370: 1363: 1353: 1352: 1348: 1336: 1332: 1324: 1315: 1286: 1285: 1281: 1272: 1268: 1263: 1259: 1250: 1246: 1237: 1233: 1224: 1220: 1215: 1211: 1203: 1199: 1191: 1187: 1178: 1171: 1157: 1156: 1152: 1138: 1137: 1130: 1116: 1115: 1111: 1073: 1072: 1065: 1051: 1050: 1043: 1007: 1006: 1002: 997: 993: 988: 984: 979: 975: 970: 966: 954: 950: 938: 931: 927: 814: 805: 766: 708: 704:At the time of 702: 676:at the time of 646: 641: 573: 553:Edgar Allan Poe 544:, and Stoker's 511: 468: 466:Imperial Gothic 463: 417:—the father of 398:Flinders Petrie 382: 377: 320: 294: 289: 252: 189: 160:themes such as 145:archaeologist's 87:Media type 71: 34: 17: 12: 11: 5: 2211: 2209: 2201: 2200: 2195: 2190: 2185: 2180: 2175: 2170: 2165: 2160: 2155: 2150: 2145: 2140: 2130: 2129: 2123: 2122: 2120: 2119: 2112: 2105: 2098: 2091: 2083: 2080: 2079: 2067: 2065: 2064: 2057: 2050: 2042: 2033: 2032: 2030: 2029: 2024: 2019: 2014: 2008: 2006: 2002: 2001: 1999: 1998: 1990: 1982: 1976: 1969: 1967: 1963: 1962: 1960: 1959: 1958: 1957: 1942: 1934: 1925: 1923: 1919: 1918: 1916: 1915: 1907: 1899: 1891: 1883: 1875: 1867: 1859: 1851: 1843: 1835: 1827: 1818: 1816: 1812: 1811: 1806: 1804: 1803: 1796: 1789: 1781: 1775: 1774: 1763: 1747: 1730: 1724: 1710: 1706: 1705:External links 1703: 1701: 1700: 1693: 1663: 1651: 1638: 1625: 1612: 1610:. Salem Press. 1599: 1574:Gothic Studies 1564: 1552: 1543: 1530: 1507: 1491: 1482: 1473: 1460: 1419: 1406: 1391: 1361: 1346: 1330: 1313: 1295:(3): 243–252. 1279: 1266: 1257: 1244: 1231: 1218: 1209: 1197: 1185: 1169: 1150: 1128: 1109: 1082:(4): 381–410. 1063: 1041: 1016:(4): 411–443. 1000: 991: 982: 973: 964: 948: 928: 926: 923: 922: 921: 906: 905: 901: 900: 891: 890: 886: 885: 876: 875: 871: 870: 862: 854: 846: 837: 836: 832: 831: 819: 818: 813: 810: 804: 801: 765: 762: 701: 698: 645: 644:Old versus New 642: 640: 637: 614:Lyceum Theatre 572: 569: 522:Horace Walpole 510: 507: 475:British Empire 467: 464: 462: 459: 381: 378: 376: 373: 319: 316: 293: 290: 288: 285: 284: 283: 277: 274:Eugene Corbeck 271: 265: 259: 251: 248: 188: 185: 126: 125: 122: 114: 113: 108: 100: 99: 96: 92: 91: 88: 84: 83: 82:United Kingdom 80: 76: 75: 72: 69: 66: 65: 60: 56: 55: 50: 46: 45: 40: 36: 35: 32: 15: 13: 10: 9: 6: 4: 3: 2: 2210: 2199: 2196: 2194: 2191: 2189: 2186: 2184: 2181: 2179: 2176: 2174: 2171: 2169: 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162:imperialism 141:Bram Stoker 43:Bram Stoker 2132:Categories 1863:Miss Betty 1455:1301725576 1386:1415163485 1308:1308657836 1022:A263250356 925:References 910:Kim Newman 817:Television 768:Much like 661:monotheism 250:Characters 1636:. p. 768. 1623:, p. 638. 1594:216249752 1096:161374315 1036:876279205 896:The Mummy 717:New Woman 694:Edwardian 690:Victorian 586:Modernist 429:, in his 363:, in the 296:In 1882, 193:barrister 183:in 1904. 166:New Woman 63:Heinemann 59:Publisher 2102:The Tomb 1761:LibriVox 1745:: 81–98. 1590:ProQuest 1382:ProQuest 1304:ProQuest 1207:, p. 129 1060:: 62–77. 1054:Inklings 1032:ProQuest 530:Romantic 305:and the 170:feminism 111:11975302 2005:Related 1949:(1914) 1887:The Man 1855:Dracula 1562:, p.233 1328:, p.185 1195:, p.129 797:Dracula 789:Dracula 770:Dracula 692:became 547:Dracula 423:Saqqara 369:obelisk 344:pharaoh 1997:(1910) 1989:(1906) 1981:(1886) 1975:(1879) 1941:(1908) 1933:(1881) 1914:(1911) 1906:(1909) 1898:(1908) 1890:(1905) 1882:(1903) 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