Doppel Daenger and female gothic in the black cat"Doppel daenger" - the dangerous thought that has always occupied the minds of many scholars - originates from the German language. By definition, this phrase translates to the existence of one's double: the concept of someone else existing independently with an identity equal to that of another individual whom he or she closely resembles. The idea of ​​shared identity prevails in the genre of Gothic literature, especially as a counterpart to female Gothic and predominantly in the literary works of the great American author of all time, Edgar Allan Poe. Likewise, the gothic genre category called female gothic implies both female authorship and an emphasis on psychological depth. Therefore, Poe takes the two literary devices and, in an attempt to blend them together for the purpose of creating a more complex plot, the author delves into the question of the contribution and purpose of dual characters in the Gothic plot. Because Poe uses double characters as a literary device, intertwined with the use of feminine gothic, to create an intricate and perplexing plot he also sets the stage for a surprising paradoxical situation. Most of the time, the hiring of a double figure plays a constructive role with respect to the plot, expanding and embellishing the plot (not necessarily for the better), and destructive with respect to the revelation whose unhappy outcome contributes to the gothic genre. At the beginning of the story "The Black Cat", Poe introduces "the extraordinarily large and beautiful animal, entirely black and sagacious to a surprising degree" and then immediately ventures to remark on "the ancient popular notion that all black cats were concerned. ..". ..... in the center of the card ......intertwined interrelationships between the feminine gothic and the double character device In "The Black Cat", both the stoic black cat and his double attract the disconcerting double and the gothic princes feminine. . Consequently, with the use of the two devices, and through an intricate plot, the author forces the main character to self-destruct: "the evil creature did not leave me alone for a moment... the thing on my face, and its enormous weight...looms eternally over my heart" (326). This thought lingers in the narrator and haunts him until the end of his torment. "It is the special vocation of the Gothic to embody this paradoxical doubling of being/non-being, that is, to exist for most of the story in order to self-destruct" (Web source 4). Works cited and consulted "Triangle Journals - Women's Writing": http: //www.triangle.co.uk/wow/wow-03bi.htm