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a panic, the narrator breaks into his frenemy’s room at night and, seeing that even the boy’s face is now identical to his, flees the school in horror. The double then trails him for years, like Victor Frankenstein’s monster, and exhibits a special talent for turning up disapprovingly just when the increasingly corrupt narrator is committing an immoral act. In the final scene William drags his double into an antechamber at a party, engages him unwillingly in a sword fight, and stabs him to death. But
take over the control of humans; Mary Shelley’s Frankenstein is not that different from Arnold Schwarzenegger’s Terminator. Works of varying intellectual merit, to be sure, but both expressions of the same concern; that technologies have taken control – to the detriment, rather than to the benefit, of mankind. (A fact which, more than anything, is evident in the history of warfare. As military historian John Keegan (1993: 359–61) has shown, the increasing number of casualties in wars – civilian as well as non-civilian – is a direct consequence of technological