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In 1920, Jaidev Verma is a famous poet who lives the life of a loner as he is unable to meet the love of his life, Smriti. They got to know each other through an exchange of letters and slowly fall in love. One day, Jaidev receives a letter informing him that Smriti had died by an accident. Now his sister Karuna is the only support system that keeps him motivated. One day Jaidev finds an unconscious girl near a lake and brings her home. After gaining consciousness, she is unable to remember anything from her past life except Jaidev's poems. Karuna becomes skeptical of her presence in the house and gets even more so when the keeper of the cemetery warns them of an evil spirit inside her.


The aspect on which I wish to focus here is another element of national identity. What we see in The Great Impersonation is the change of imperial battlefield from the nineteenth to twentieth century: evil moves from the externalized 'darkness' to an internal one. It is on the site of Dominey's personal identity (England's national identity) that the fight now takes place. The reader is never sure (or is not supposed to be), until the end, whether the character who returns to England is Dominey (the rejuvenated Englishman acting as double agent to save Britain) or Von Ragastein (the German spy threatening to destroy Britain). Various characters refuse both Dominey as Dominey (most notably Dominey's wife) and Dominey as Von Ragastein (Von Ragastein's former lover (SS 929)).


Yet, as the primitive increasingly came to stand for the opposite of the rational, the two also became increasingly yoked together. Through science, industry, technology the image of the savage was created, disseminated and denounced. However, the worst crime of the primitive is his amorality (godlessness), which was increasingly what the scientist was accused of. In one of the most famous of double narratives, Robert Louis Stevenson's Strange Case of Dr Jekyll and Mr Hyde (1886) the animal is the evil, but spontaneous part, opposed to the good, but rational part, of the double. Yet this cannot remain a closed double, because the figure is inextricably linked to the scientist: in fact, the animalism is created by the scientist.


This animalizing aspect of 'Darkest' Africa is not unusual in the contemporaneous genre text, but what is strange is that this image, of man as animal, remains to haunt Dominey when he returns to England and his ancestral home: "It moved at first on all fours, then on two legs, then on all four again" (SS 974). Amongst villagers and servants the story goes that this figure is the spirit of Roger Unthank, whom Dominey supposedly slew, before fleeing his home a decade before. Africa is connected to this ghost story in Dominey's attempts to downplay it: "I'll tell you a few West African superstitions which will make our local one seem anaemic."(SS 835) Dominey also 'makes light' of the local ghost in another sense, when he talks of most ghosts being "a credit to the family," but this one as "quite outside the pale" (SS 909). The story can also be seen in class terms, when the ghost reveals itself to be the living, but insane school teacher, Roger Unthank. His madness arises out of an obsession with his social superior, Dominey's wife, and sees him living in the nearby marshes as "half man, half beast" (SS 975).


This internalizing of the Imperial struggle, in the sense of the struggle taking place in England, is a major theme throughout our period of spy fiction. The internalizing, in the sense of the struggle being a psychological one, is a less well tread path that reaches its most sophisticated form in Geoffrey Household's book. Here, the animalizing of the hero takes place in England, from an enemy closing in for the 'kill.' Though, initially, he can still see himself as a human, alienated, individual (lead

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