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"Markheim"
Short story by Robert Louis Stevenson
LanguageEnglish
GenreHorror
Publication
Published inThe Broken Shaft: Unwin’s Christmas Annual
(ed. H. Norman)
Publication typeCollection
PublisherLondon: T. Fisher Unwin
Media typePrint
Publication dateDecember 1885

"Markheim" is a short story by Robert Louis Stevenson, originally prepared for the Pall Mall Gazette in 1884, but published in 1885 in The Broken Shaft: Tales of Mid-Ocean as part of Unwin's Christmas Annual.[1] The story was later published in Stevenson's collection The Merry Men and Other Tales and Fables (1887).

Synopsis

[edit]

The story opens late one Christmas Day in an antique store, presumably in London during the mid 1880s. A man named Markheim has come even though the store is officially closed, and the rather shady dealer points out that whenever he comes to visit after hours, it is usually to privately sell a rare item, claiming it to be from a late uncle's collection he inherited. The dealer hints his suspicions that more likely Markheim stole these items, although it has not stopped him from purchasing them, usually for an amount less than what his client asked for. Markheim visibly flinches at the dealer's not-so-subtle insinuations, but claims that he has not come to sell anything this time, but rather to buy a Christmas present for a woman he will soon marry, implying she is well off. Though somewhat incredulous, the dealer suggests a mirror as a gift, but Markheim takes fright at his own reflection, claiming that no man wants to see what a mirror shows him. Markheim seems strangely reluctant to end the transaction, but when the dealer insists that his visitor must buy or leave, Markheim consents to review more goods. However, when the dealer turns his back to select another item, Markheim pulls out a knife and stabs him to death.

Surrounded by mirrors and ominously ticking clocks, and with only a candle to light up the dark shop, Markheim spends some minutes recovering his nerve when he hears someone moving about upstairs, though he knows the dealer's maidservant has taken the day off and no one should be there. He reassures himself that the outer door is locked, searches the dealer's body for keys and then goes to the upper rooms where the dealer lived to look for money, which he intends to use to start a business. As he searches for the right key to open the dealer's safe, he hears footsteps on the stairs, and a man opens the door and asks, "Did you call me?"

Markheim believes that the stranger is the Devil. Though he never identifies himself, the stranger is clearly supernatural; he says that he has watched Markheim his whole life. He tells Markheim that the servant is returning to the store early, so Markheim had best hurry or face the consequences. He also offers to show Markheim the right key to open the safe, although he predicts that Markheim's business will not be successful. Indeed, the stranger clearly knows that much of Markheim's life has been unsuccessful, consisting of gambling and petty theft. Instead of continuing to loot the house, Markheim tries to justify his life and conduct to the stranger, entering into a discussion of the nature of good and evil. The stranger refutes him on every point, and Markheim is at last obliged to admit that he has thrown his life away and turned to evil.

The servant returns, and as she knocks on the door, the stranger advises Markheim that he can entice her in by telling her that her master is hurt, then kill her and have the whole night to ransack the house. Markheim retorts that while he has lost the love of good, he still hates evil. The face of the stranger undergoes a "wonderful and lovely change", full of "tender triumph", as he disappears. Markheim opens the door and tells the servant to call the police, for he has killed her master.

Commentary

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Stevenson combines a moral drama with a gothic horror story. Despite the deliberate ambiguity, most critics view Markheim's visitor as some sort of "good" spirit, whose features suddenly "brightened and softened with a tender triumph" when Markheim decides to give himself up rather than choose to commit a second murder.[2] Michael S. Rose of the New Oxford Review identifies him as Markheim's guardian angel.[3]

According to Ignat Avsey, a university lecturer and distinguished translator of Russian literature,[4] the work was influenced by Fyodor Dostoevsky's novel Crime and Punishment.[5]

Adaptations

[edit]

References

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Sources

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  • Harman, Claire. Myself and the Other Fellow: A Life of Robert Louis Stevenson. HarperCollins (2005): New York. ISBN 0-06-620984-6
[edit]
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Markheim

View on Grokipedia
from Grokipedia
Markheim is a short story by Scottish author Robert Louis Stevenson, first published in December 1885 as part of The Broken Shaft: Tales of Mid-Ocean, Unwin’s Christmas Annual. Set in an antique shop in London on Christmas Day, the narrative follows the protagonist Markheim, a desperate petty thief who murders the elderly dealer to access the shop's hidden money, only to encounter a mysterious visitor—possibly the Devil—who engages him in a profound dialogue about his past crimes, conscience, and potential for redemption. The story, later collected in Stevenson's 1887 volume The Merry Men and Other Tales and Fables, blends elements of , , and the , emphasizing themes of moral conflict, versus , and the battle between within the human soul. Through Markheim's introspective turmoil and the ambiguous presence, Stevenson explores the inescapability of guilt and the possibility of self-reform, drawing on influences from his Calvinist upbringing and Victorian-era concerns with and fate. Notable for its tense atmosphere and concise structure, "Markheim" has been adapted into various formats, including operas, plays, and radio dramas, underscoring its enduring appeal as a tale of ethical reckoning amid holiday irony.

Background

Publication History

"Markheim" was originally prepared by in 1884 for submission to the Pall Mall Gazette, though it was ultimately not published there, as it was deemed too short for the number's length requirements (about 6,500 words instead of the expected 8,000). The story received its first publication in December 1885 as part of The Broken Shaft: Tales of Mid-Ocean, Unwin's Christmas Annual edited by Henry Norman and published by T. Fisher Unwin in . In 1887, "Markheim" was included in Stevenson's anthology The Merry Men and Other Tales and Fables, issued by Chatto & Windus in and Scribner's in New York. The story has since appeared in numerous reprints within Stevenson collections, such as combined editions of and The Merry Men from the late onward, as well as modern anthologies like the 1993 Tales from the Prince of Storytellers edited by Barry Menikoff.

Composition and Context

"Markheim" was composed in late 1884 while resided at Bonallie Towers in , England, during a period marked by his ongoing battles with severe respiratory illnesses that often confined him to his homes there, such as Bonallie Towers (where the story was begun) and later . These health challenges were compounded by financial strains, as the family's resources dwindled, prompting Stevenson to seek lucrative writing commissions to support his household. The story drew influences from Edgar Allan Poe's psychological crime narratives, such as "" and "William Wilson," which explored the internal conflicts of conscience and duality in criminal minds. Similarly, ' Christmas tales, including , informed the ironic holiday setting, subverting festive themes of redemption and goodwill into a darker examination of reckoning. This blend reflected Stevenson's engagement with Victorian literary traditions of seasonal storytelling, initially conceived as a Christmas piece for the Pall Mall Gazette. "Markheim" emerged amid Stevenson's deepening interest in , paralleling his work on The Strange Case of Dr. Jekyll and Mr. Hyde (1886), both probing the divided self and ethical dilemmas through gothic lenses. This thematic preoccupation underscored Stevenson's broader exploration of human duality during his Bournemouth years.

Synopsis

Plot Overview

On a foggy Day in , the story unfolds in the dimly lit shop of an dealer, cluttered with curios, clocks ticking solemnly, and an upstairs drawing-room accessible via a . The atmosphere is oppressive, with the gray light filtering through the windows and the distant sounds of cheer contrasting the shop's isolation. Markheim, a disheveled man with a history of petty crimes, enters the shop under the pretense of purchasing a for a lady, claiming recent success on the to gain the dealer's trust. He browses various items, including mirrors and hand glasses, engaging the dealer in about the nature of their transactions and the dealer's windfalls from ignorant customers. As the clock strikes three, Markheim requests to examine a displayed among the wares; seizing the moment when the dealer turns away, he stabs the old man fatally in the back, killing him instantly and locking the shop door to prevent interruption. With the dealer dead, Markheim begins a frantic search for , first rifling through the cash-box and the victim's pockets, then ascending to the upstairs drawing-room to hunt for hidden keys and valuables in drawers and cabinets. His efforts yield little, heightening his desperation as he contemplates the dealer's frugal habits. Suddenly, a mysterious visitor materializes in , a figure who mirrors Markheim's appearance and seems to possess omniscient knowledge of his thoughts, past misdeeds, and current predicament; the visitor engages him in dialogue, revealing details of Markheim's life and urging him to continue the or face his . As the conversation intensifies, Markheim confesses his guilt and reflects on his lifelong pattern of moral failures, ultimately rejecting the visitor's temptations and resolving to surrender to the authorities for reform. The visitor, satisfied with this choice, departs as mysteriously as he arrived, his form brightening and fading like a presence. Moments later, the maid returns from her errands, signaled by the ; Markheim meets her at the door, openly confessing the with the words, "I have killed your master," and prepares to await .

Key Characters

Markheim, the story's , is portrayed as a man in his thirties with a pale, ghastly face, dark eyes burning with a feverish light, and a nervous demeanor marked by trembling hands and a haggard lift of the upper lip. A habitual thief and gambler who has repeatedly pawned items at the shop, he enters on Day under the pretense of buying a , driven by desperation after losses on the . His role escalates when he murders the dealer by stabbing him suddenly during their interaction, after which he becomes tormented by his , experiencing horror, , and repulsion as he searches the premises for money. Throughout the narrative, Markheim's reveals a deepening , fluctuating between resolve to continue his crimes and fascination with his own moral failings, culminating in a profound epiphany where he confesses his guilt and surrenders to impending . The dealer serves as the primary and victim, depicted as an elderly, small, round-shouldered man with a wizened, crafty face, bald head, grayish , and sharp, greedy eyes framed by gold spectacles. His dry, biting voice and suspicious nature underscore his role as a miserly dealer in second-hand goods and antiques, isolated in his dimly lit shop on a when most are celebrating. During the confrontation with , he accuses the of , leading to his swift by , after which his body lies pale and wax-like on the floor, smeared with blood. Though killed early, the dealer's miserly traits and the circumstances of his demise catalyze Markheim's psychological turmoil, highlighting the immediate consequences of the . The emerges as a mysterious, supernatural-like intruder shortly after the , characterized by an unusual , a wavering outline, and a commonplace appearance in a dark suit, with a calm, measured voice that conveys quiet . At times resembling Markheim himself, he claims intimate knowledge of the protagonist's past misdeeds—including , , and —and even foretells future events like the maid's return. His role involves assisting Markheim in ransacking the shop while engaging him in probing dialogue about his life choices, exposing the futility of further and urging . This interaction drives Markheim's development, forcing him to confront his inner divisions and paving the way for his moral turnaround. The is a minor character, a young woman with a fresh, healthy face and simple attire, who assists in the dealer's shop and embodies everyday normalcy amid the unfolding . She departs early in the story for errands but returns at the end, signaled by the . Her timely arrival interrupts Markheim's deliberations, prompting his final decision to confess the rather than harm her or flee. Though underdeveloped psychologically, her role as for resolution underscores the intrusion of external reality into Markheim's isolated crisis.

Analysis

Themes

In Robert Louis Stevenson's "Markheim," the central themes revolve around the internal moral conflicts of the human psyche, exploring the tension between and within a framework influenced by Calvinist theology and psychological . The story portrays the protagonist's confrontation with his own conscience as a pivotal force, manifesting through supernatural ambiguity that blurs the line between external temptation and self-reproach. A primary theme is the awakening of and the possibility of redemption, depicted through Markheim's post-murder guilt that evolves into a moment of moral clarity. After committing the crime, Markheim experiences escalating , with the blood on the floor "beginning to find eloquent voices," symbolizing the insistent call of his inner compass. The mysterious visitor, interpreted as a projection of his psyche, challenges him to either persist in or surrender to , ultimately leading to his decision to confess upon hearing the maid's knock, which represents an opportunity for . This resolution aligns with a redemptive arc rooted in Calvinist notions of an "Effectual Calling," where the double facilitates spiritual renewal rather than . The struggle between is embodied in the visitor's ambiguous nature, who serves as both tempter and judge, exteriorizing Markheim's internal duality to force a confrontation with his capacity for further wrongdoing. Critics view this figure as a manifestation of that tests Markheim's will, blurring elements with psychological self-judgment, as the visitor calmly reasons toward additional crimes while revealing the futility of evasion. In a theological reading, all sins equate to in Stevenson's , framing the narrative as a unified moral battle where evil's allure is overcome through . This theme underscores the story's exploration of , where Markheim's choice to reject the visitor's counsel affirms the potential for good to prevail. The ironic setting on Day heightens the moral by juxtaposing the holiday's themes of goodwill, , and divine with an act of violence and ensuing despair. Markheim's ostensibly innocent visit to the for a "" devolves into , inverting the season's redemptive symbolism and amplifying his isolation amid societal festivity. This contrast critiques superficial holiday cheer, positioning the as a dark to Christian narratives of birth and , where Markheim's questions as a form of moral defeat. Human duality emerges as a foundational motif, prefiguring Stevenson's later work in The Strange Case of Dr. Jekyll and Mr. Hyde by examining the split nature of the self through the device. In "Markheim," the visitor appears as "a shadow of himself," reflecting the protagonist's divided identity and echoing Stevenson's later assertion in The Strange Case of Dr. Jekyll and Mr. Hyde that "man is not truly one, but truly two." This theme, influenced by emerging psychological theories of the double brain, portrays duality not as inevitable doom but as a pathway to self-enlargement and ethical choice, with Markheim's surrender marking a positive integration of his fractured psyche. Psychoanalytic interpretations further align this split with Freudian structures, where the id's impulses clash with the superego's demands, culminating in a regression toward childlike innocence as redemption.

Narrative Style and Techniques

Stevenson's "Markheim" employs a third-person limited perspective centered on the , immersing readers in Markheim's psychological turmoil through extensive internal reflections that mimic a confessional monologue. This technique builds escalating tension by revealing the character's rationalizations and guilt in real time, as seen in passages where Markheim anticipates the consequences of his actions while navigating the aftermath of the . The limited viewpoint restricts access to other characters' minds, heightening the intimacy and unreliability of Markheim's perceptions, which fosters a sense of claustrophobic . A key technique is the ambiguity surrounding the mysterious visitor, whose identity—whether devil, divine agent, or —remains deliberately unresolved, amplifying the story's horror and prompting deeper self-examination. This ambiguity serves as a narrative device to externalize Markheim's conflict without definitive closure, allowing the horror to stem from interpretive uncertainty rather than explicit . By withholding clarity, Stevenson enhances the introspective quality, forcing readers to engage with the protagonist's on ambiguous terms. Gothic elements are integral to the narrative, with the claustrophobic setting, pervasive , and symbolic mirrors creating an atmosphere of dread and self-confrontation. The shop's dim and echoing , such as the incessant ticking of clocks, underscore Markheim's temporal anxiety and isolation, while mirrors repeatedly catch his gaze, symbolizing inescapable and the fragmentation of identity. These motifs draw on Gothic conventions to externalize internal horror, transforming the mundane environment into a psychological that mirrors the protagonist's fractured . The unfolds through between Markheim and the , which functions as a mechanism contrasting the story's predominant descriptive narration of internal states. This conversational exchange shifts the pace, with the visitor's probing questions dismantling Markheim's defenses and catalyzing his awakening, as in the dispassionate that exposes his self-deceptions. By pivoting to at this juncture, Stevenson heightens dramatic intensity while underscoring the theme of through interpersonal .

Adaptations

Radio Adaptations

"Markheim" was first adapted for radio on the syndicated American series The Weird Circle, airing on May 21, 1945. This 25-minute episode emphasized the story's and moral elements through and . A subsequent aired on , 1947, as the fifth episode of The Hall of Fantasy, a fantasy produced in and later syndicated. This 30-minute production featured an ensemble cast including Beth Caulder, Richard Harcourt, and Robert Olsen, with the story's elements—such as the mysterious visitor and Markheim's moral confrontation—emphasized through heightened atmospheric tension to underscore its horror aspects. Key alterations from the original tale included enhanced sound effects to build auditory suspense, notably the amplified echoes and footsteps within the antique shop, which intensified the claustrophobic setting and the protagonist's psychological descent. In 1953, the story was adapted for the British radio series Theatre Royal, starring as Markheim in a production that highlighted the dramatic dialogue and ethical themes. A later adaptation aired on May 23, 1975, as episode 279 of , titled "Markheim: Man or Monster?" and retitled to highlight the story's exploration of human depravity. Written by Ian Martin and directed by Himan Brown, the one-hour production starred as the tormented Markheim, supported by actors including Grace Matthews and Rosemary Rice. To fit the radio format, the script incorporated dynamic for dramatic effect, such as layered echoes and deliberate footstep cues in the shop scenes, while condensing the narrative to maintain pacing within the episode's runtime, focusing on the core plot of crime, guilt, and intervention.

Television and Film Adaptations

The first television adaptation of Robert Louis Stevenson's "Markheim" was a live production for the BBC's Sunday-Night Theatre series, airing on December 28, 1952. Adapted by Winston Clewes and directed by , the episode emphasized the story's confessional dialogue between the protagonist and the mysterious , portrayed through stark, stage-like visuals in a single-set environment to heighten the psychological tension of Markheim's moral reckoning. The live format limited elaborate scenery, focusing instead on shots of the actors' expressions to convey the Visitor's enigmatic presence, often implied through shadows rather than overt effects. In 1971, the story was adapted as an episode of the Polish anthology series Theatre Macabre, hosted by and directed with an emphasis on . This colorful production, the twelfth episode of the first season, utilized vibrant staging within the antique shop to symbolize Markheim's descent into guilt, with the Visitor depicted as a looming, shadowy figure that materializes amid cluttered, vividly lit displays of curiosities. Key directorial choices included expanded interior sets that visually represented the story's ticking clocks and mirrors as motifs of inescapable time and , enhancing the horror through dynamic camera angles that blurred the line between reality and . A standalone Polish television film, Markheim, directed by Janusz Majewski and released in 1972, offered an Eastern European lens on the tale's moral themes of redemption and . Starring Jerzy Kamas as the tormented protagonist, the 25-minute black-and-white short portrayed the Visitor as a subtly shadowy, omnipresent entity—achieved through and minimalistic framing—that forces Markheim to confront his past sins in a confined, labyrinthine shop interior expanded for cinematic depth. This diverged by intensifying the Visitor's visual ambiguity, using long shadows and off-screen implications to evoke a dread rooted in , while the detailed set design highlighted the antique dealer's domain as a microcosm of decayed .

Opera

American composer adapted "Markheim" into a one-act , premiered on March 31, 1966, at the New Orleans Opera Association, with Norman Treigle in the title role. The by Floyd follows the original story closely, set in a pawnshop on , exploring themes of guilt and redemption through operatic dialogue and that heightens the . The work has been performed in various productions, including a 2014 chamber version by Little Opera Theatre of New York.

Stage Adaptations

"Markheim" has been adapted for the stage, though specific productions are less documented; notable is a 1953 British radio-to-stage transition via Theatre Royal, but live theater versions emphasize the story's dramatic potential in exploring moral conflict.

References

  1. https://robert-louis-stevenson.org/works-chronology/
  2. https://www.encyclopedia.com/arts/encyclopedias-almanacs-transcripts-and-maps/markheim-robert-louis-stevenson-1887
  3. https://www.ebsco.com/research-starters/literature-and-writing/markheim-robert-louis-stevenson
  4. https://jerrywbrown.com/wp-content/uploads/2014/02/Robert-Louis-Stevenson-Short-Stories.pdf
  5. https://gothictexts.wordpress.com/2013/06/11/the-broken-shaft-tales-in-mid-ocean-1886-edited-by-henry-norman/
  6. https://books.google.com/books/about/New_Arabian_nights_The_merry_men_and_oth.html?id=_rlDAQAAMAAJ
  7. https://robert-louis-stevenson.org/bournemouth/
  8. https://robert-louis-stevenson.org/wp-content/uploads/sins-and-follies.pdf
  9. https://interestingliterature.com/2015/10/the-best-edgar-allan-poe-stories/
  10. https://files.commons.gc.cuny.edu/wp-content/blogs.dir/20673/files/2018/01/stiles.pdf
  11. https://dspace.cuni.cz/bitstream/handle/20.500.11956/27540/BPTX_2008_2_11210_ASZK00306_132513_0_74386.pdf?sequence=1&isAllowed=y
  12. https://www.gutenberg.org/files/12732/12732-h/12732-h.htm
  13. https://www.enotes.com/topics/markheim/in-depth
  14. https://study.com/academy/lesson/markheim-by-robert-louis-stevenson-summary-analysis.html
  15. https://eprints.nottingham.ac.uk/48664/1/MRes%20Examined%20Thesis%20Kate%20Garland%20%28ID%204241213%29.pdf
  16. https://literariness.org/2020/06/23/analysis-of-robert-louis-stevensons-stories/
  17. https://www.researchgate.net/publication/326438738_%27Man_is_not_truly_one_but_truly_two%27_a_positive_reading_of_Robert_Louis_Stevenson%27s_double
  18. https://www.academia.edu/7141600/A_Psychoanalytic_Examination_of_Robert_Louis_Stevenson
  19. https://www.hrpub.org/download/20160630/LLS6-19307105.pdf
  20. https://robert-louis-stevenson.org/wp-content/uploads/jss-volume-6.pdf
  21. https://ecommons.luc.edu/cgi/viewcontent.cgi?article=1679&context=luc_theses
  22. https://www.oldtimeradiodownloads.com/thriller/the-weird-circle/markheim-1945-05-21
  23. https://tangentonline.com/oldtimeradio/hall-of-fantasy-qmarkheimq-by-robert-louis-stevenson/
  24. https://www.oldtimeradiodownloads.com/thriller/hall-of-fantasy/hall-of-fantasy-47-04-24-05-markheim
  25. https://archive.org/details/470213ThePerfectScript
  26. https://literature.fandom.com/wiki/Markheim
  27. http://www.nettally.com/keith.flowers/biblio/0279.htm
  28. https://podcasts.apple.com/lk/podcast/0279-markheim-man-or-monster-5-23-1975/id1785440343?i=1000725280928
  29. https://www.cbsrmt.com/episode/279-markheim-man-or-monster.html
  30. https://www.imdb.com/title/tt1291742/
  31. https://eofftv.com/sunday-night-theatre-markheim-1952/
  32. https://www.imdb.com/title/tt1291742/fullcredits/
  33. https://www.imdb.com/title/tt15101038/
  34. https://letterboxd.com/film/markheim-1972/
  35. https://www.imdb.com/title/tt1957799/episodes/?season=1
  36. https://www.imdb.com/title/tt0933085/
  37. https://www.filmpolski.pl/fp/index.php/124451
  38. https://eofftv.com/markheim-1972/
  39. https://www.boosey.com/pages/opera/moreDetails?musicId=6304
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