In the following excerpt, Orel discusses “Markheim” in conjunction with the tales “Ollala” and “Thrawn Janet” as representing some of Stevenson's most successful horror stories.

In the following essay, Egan discusses “Markheim” as a moral fable in terms of the psychological exploration of the main character.

In the following essay, Saposnik surveys the critical debate over the identity of the visitant in “Markheim.”

In the following excerpt, Eigner discusses the Christian ethics expressed in “Markheim” in comparison to the Christian mores of the Russian writers Fedor Dostoevsky and Leo Tolstoy.

In the following excerpt, Saposnik offers a psychological reading of “Markheim,” concluding that Markheim's surrender to the police “is neither good nor evil.”

In the following excerpt, Ward asserts that “Markheim,” although it strains the reader's credibility, is successful as a parable with a stated moral.

In the following excerpt, Menikoff discourses upon “Markheim” as an allegory for “the struggle of good and evil for the heart of man.”

In the following review, Mann and Mann compare an earlier version of “Markheim” to a more recent version of the story reprinted in a collection of Stevenson stories edited by Barry Menikoff.

In the following excerpt, Hammond analyzes “Markheim” as an allegory for the psychological duality of man.

In the following excerpt, Keppler discusses the symbolism of the visitant in terms of Christian ethics.

In the following excerpt, Herdman inspects the motif of the Doppelgänger in “Markheim.”

In the following excerpt, Ziolkowski considers mirrors in “Markheim” as symbols of the character's confrontation with his own conscience.

In the following essay, Gossman discusses the influence of Shakespeare's Macbeth on Stevenson's “Markheim.”

In the following excerpt, Miyoshi views the notion of duality in “Markheim” as the embodiment of Markheim's conscience.