By William Hughes (auth.)
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Extra resources for Beyond Dracula: Bram Stoker’s Fiction and its Cultural Context
The power behind Skooro is rejected; that which supports Chiaro is embraced. The broad Augustinian tenets of the Doctrine of Free Grace have thus been retained, though their theological ramifications have not been extracted to the full in Under the Sunset. Indeed, the volume advances a simplified version of Christian doctrine, if not one made theologically more hopeful, and thus more attractive to the child reader. Stoker's doctrinal vagueness arguably represents his participation in a lay rather than clerical appreciation of Christian theology.
The detailed characterisation of Queen Tera, however, places her in high relief against this background, and allows her to function as a problematic figure in the sexual and religious politics of both archaic Egypt and twentieth-century England. Budge lists no Tera amongst the monarchs of Egypt, although The Mummy confirms the novel's location of the Eleventh Dynasty at Thebes, and supports Stoker's choice of Antef as a suitable name for her Theban father. so The Queen's name is a fabrication which enforces the structural relationship between Tera and Margaret Trelawny, the latter also 'A queenly figure' (JSS SS) according to Ross.
And I hope that my worser self is buried there along with it - for ever' (DC 159). Markam himself admits that the lesson has been learned. In 'The Rose Prince', however, it is not the fictional character but the implied child reader who is manoeuvred into internalising the narrator's caution regarding human weakness. The narrator concludes his depiction of the foolish courtiers with the advice: Children who wish to become good and great men or good and noble women, should try to know well all the people whom they meet.