Resurrecting The Queen: Queen Tera in Bram Stoker’s The Jewel of Seven Stars,
When people think of Bram Stoker, they invariably think of Dracula. His novel, The Jewel of Seven Stars, is perhaps overshadowed simply by the importance of the vampire, but it is by no means an inferior novel. Detailing the attempt to resurrect an ancient Egyptian Queen, the novel went on to inspire movies such as Hammer’s Blood from the Mummy’s Tomb, and in some ways the Universal adaptation of The Mummy with Tom Cruise. In this article, I will discuss Queen Tera, and the way she is portrayed as a constant threat to patriarchal society.
To note, I’m using a copy of the novel which includes the original ending and the second, revised ending. I’m basing my discussion on the original ending because it’s darker and, presumably, the direction Stoker originally intended. Also, selfishly, because I much prefer it.
Let us first note that, aside from Margaret Trelawny (and a brief mention of her mother), Queen Tera is the only female character in the novel, and she never utters a word. Her characterization is presented through the male characters of the novel; the documentation of Van Huyn’s book, or the recounting of Corbeck and Trelawny. The power that she exhumes, therefore, may or may not be interpreted to be being played up by the male characters to increase the sense of a threat that she poses. Note that before we are given a name, we have the warning that “‘The “Nameless One” has insulted them and is forever alone. Go not nigh, lest their vengeance wither you away.’” (P.84)
With all that in mind, what is initially deciphered from the sarcophagus reveals Tera to have challenged the male-dominated society of the priests, “‘who had by then achieved immense power’” (p.87). “‘In the statement, it was plainly set forth that the hatred of the priests was, she knew, stored up for her, and that they would after her death try to suppress her name.’” (p.88). Their motivation is her strength in being able to combat their overthrowing of the monarchy, “‘They were then secretly ready to make an effort… that of transferring the governing power from a Kingship to a Hierarchy.’” (p.87) The priests, to their own gain, attempt to get rid of her, “‘make out that the real Princess Tera had died in the experiment, and that another girl had been substituted, but she conclusively proved their error.’” (P.88)
Tera, however, shows incredible resilience thanks to her own determination and learning from her father, “‘He had also had her taught statecraft, and had even made her learned in the lore of the very priests themselves.’” (p.87). She even breaks the tradition of a male ruler, though others try to align her to it. “‘In the following picture she was in female dress, but still wearing the crowns of Upper and Lower Egypt, while the discarded male raiment lay at her feet.’” (P.88). She is very much her own woman, not afraid to show her sex, going against the patriarchy set up for the Kingship, and against the priesthood. “‘She seems to have seen through the weakness of her own religion.’” (p.113)
Her intelligence is noted by the present-day protagonists, who even say that the mummy’s gender may affect their knowledge of the situation, that “Men may find that what seemed empiric deductions were, in reality, the results of a loftier intelligence and a learning greater than our own.” (P.164) Mr. Trelawny also states that:
“We might have known that the maker of such a tomb – a woman, who had shown in other ways such a sense of beauty and completeness, and who had finished every detail with such a feminine richness of elaboration – would not have neglected such an architectural feature.” (P.95)
However, Queen Tera possesses a knowledge which the others do not, which ensures their eventual demise and her assumed resurrection. As is noted by Carol A. Senf, “What makes Tera so overwhelming is her violence and ability to over-power the assembled experts.” (p.107). The science and understanding of all the men in the room cannot save them from Tera’s avenging evil, just as the priests could not stop her eventual revival.
It is this knowledge of another world, knowledge beyond that of the priests and the protagonists, that they fear. Women’s rights movements are slowly gaining momentum at the time, and just a few years before the novel’s publication, in 1898, Stoker’s native Ireland had the Irish Women’s Suffrage and Local Government Association arise from the Dublin Women’s Suffrage Association. Gender politics is on the rise, and the female threats to patriarchal power could not have been far from Stoker’s mind.
This fear of female invasion to the modern patriarchal society is what makes Tera so terrifying. Killing dozens of people throughout the recorded events, based on a combination of ambition and supernatural power, fuelled by a wrath based on gender politics very closely linked to the rising gender politics of Stoker’s time, Queen Tera is an overshadowed classic villain of gothic horror. With gender politics still very much in the public consciousness in today’s world, perhaps revisiting this pushed-aside novel by one of modern horror’s founding fathers, is worth the time for all of us.
Article by Kieran Judge
Blood from the Mummy’s Tomb. 1971. [Film] Directed by Seth Holt. United Kingdom: Hammer.
Senf, C. A., 2010. Bram Stoker. Wales: University of Wales Press.
Stoker, B., 2009. The Jewel of Seven Stars. United States of America: Seven Treasures Publications.
The Mummy. 2017. [Film] Directed by Alex Kurtzman. United States of America: Universal.