The doppelgänger, a term of German origin meaning “double-walker,” serves as a multi-dimensional device that contributes not only to the narrative intricacies but also the psychological depth of “The Sandman.” In the text, the characters Coppelius and Coppola function as grotesque reflections of Nathanael’s own psyche. However, the doppelgänger theme doesn’t stop at mere reflection; it blurs the lines between Nathanael and these disturbing figures, creating a chilling merger that transcends the physical realm to infiltrate the psychological.

Both characters emerge at crucial junctures in the narrative, like malevolent omens foreshadowing Nathanael’s descent into “madness.” Coppelius, for instance, is the demon of Nathanael’s childhood, the architect of his early fears. His appearance during Nathanael’s formative years ties the character indelibly to Nathanael’s emerging sense of self, embedding a sense of dread into his foundational psychology. Coppola, who comes later, almost seems like a reincarnation of Coppelius, making us wonder if they are the same person or if Nathanael’s deteriorating mental health is projecting his childhood fears onto a new target. Either way, Coppola serves to reignite Nathanael’s obsession with eyes and stirs his internal tumult to a frenzied peak.