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The Gothic double is a literary motif which refers to the divided personality of a character. Closely linked to the Doppelgänger, which first appeared in the 1796 novel Siebenkäs by Johann Paul Richter, the double figure emerged in Gothic literature in the late 18th century due to a resurgence of interest in mythology and folklore which explored notions of duality, such as the fetch in Irish ...
In fiction and mythology, a doppelgänger is often portrayed as a ghostly or paranormal phenomenon and usually seen as a harbinger of bad luck. Other traditions and stories equate a doppelgänger with an evil twin.
A doppelgänger [a] (/ ˈ d ɒ p əl ɡ ɛ ŋ ər,-ɡ æ ŋ-/ DOP-əl-gheng-ər, -gang-), sometimes spelled doppelgaenger or doppelganger, is a ghostly double of a living person, especially one that haunts its own fleshly counterpart.
Crossword-like puzzles, for example Double Diamond Puzzles, appeared in the magazine St. Nicholas, published since 1873. [32] Another crossword puzzle appeared on September 14, 1890, in the Italian magazine Il Secolo Illustrato della Domenica. It was designed by Giuseppe Airoldi and titled "Per passare il tempo" ("To pass the time"). Airoldi's ...
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The last puzzle in "Pencilwise" has generally been "The World's Most Ornery Crossword," a large standard crossword puzzle which has two sets of clues spanning three pages. One set, which is revealed by folding one page in half to hide the second page, consists of "Hard" clues (three stars), while the clues under this fold are "Easy" (one star ...
The puzzle proved popular, and Sulzberger himself authored a Times puzzle before the year was out. [11] In 1950, the crossword became a daily feature. That first daily puzzle was published without an author line, and as of 2001 the identity of the author of the first weekday Times crossword remained unknown. [13]
Thomas Mann said of Fyodor Dostoevsky's The Double: A Petersburg Poem, which explores a similar doppelgänger theme, "by no means improved on Edgar Allan Poe's 'William Wilson,' a tale that deals with the same old romantic motif in a way far more profound on the moral side and more successfully resolving the critical [theme] in the poetic". [4]
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