If historical, editorial, and biographical racializations of the life of Louverture by writers like Lacroix and Métral influenced Alphonse de Lamartine in his portrayal of the downfall of the revolutionary hero as a tragic “interracial” family romance, Eméric Bergeaud's narration in Stella (1859) of the divisions between two fictional revolutionaries as a shameful ‘quarrel between brothers’ (137) was influenced by some of the same tropologies that made Louverture's struggle with his children appear Oedipal. Instead of using the “interracial” family romance and its language of patricide to describe Toussaint Louverture and his children, in Stella, Bergeaud focuses on what he paints as an unfortunate, but in the end redemptive, fratricidal conflict between two brothers with different skin colors, Romulus, whose skin color could be ‘compared to the blackest of ebony,’ and Rémus, whose skin Bergeaud said was the ‘pale shade of mahogany’ (8). Bergeaud, for his part, wrote that he had used the names of these Roman figures ‘less with the thought of establishing a one-to-one analogy between them and the historical twins, but because they were brothers’ (20).