critical essay jekyll and hyde

Dr Jekyll and Mr Hyde: Full Analysis and Themes

By Dr Oliver Tearle (Loughborough University)

The story for Jekyll and Hyde famously came to Robert Louis Stevenson in a dream, and according to Stevenson’s stepson, Lloyd Osbourne, Stevenson wrote the first draft of the novella in just three days, before promptly throwing it onto the fire when his wife criticised it. Stevenson then rewrote it from scratch, taking ten days this time, and the novella was promptly published in January 1886.

The story is part detective-story or mystery, part Gothic horror, and part science fiction, so it’s worth analysing how Stevenson fuses these different elements.

Strange Case of Dr Jekyll and Mr Hyde: analysis

Now it’s time for some words of analysis about Robert Louis Stevenson’s classic 1886 novella. However, perhaps ‘analyses’ (plural) would be more accurate, since there never could be one monolithic meaning of a story so ripe with allegory and suggestive symbolism.

Like another novella that was near-contemporary with Strange Case of Dr Jekyll and Mr Hyde , and possibly influenced by it ( H. G. Wells’s The Time Machine ), the symbols often point in several different directions at once.

Any attempt to reduce Stevenson’s story of doubling to a moral fable about drugs or drink, or a tale about homosexuality, is destined to lose sight of the very thing which makes the novella so relevant to so many people: its multifaceted quality. So here are some (and they are only some) of the many interpretations of Strange Case of Dr Jekyll and Mr Hyde which have been put forward in the last 120 years or so.

A psychoanalytic or proto-psychoanalytic analysis

In this interpretation, Jekyll is the ego and Hyde the id (in Freud’s later terminology). The ego is the self in Freud’s psychoanalytic theory, while the id is the set of primal drives found in our unconscious: the urge to kill, or do inappropriate sexual things, for instance.

Several of Robert Louis Stevenson’s essays, such as ‘A Chapter on Dreams’ (1888), prefigure some of Freud’s later ideas; and there was increasing interest in the workings of the human mind towards the end of the nineteenth century (two leading journals in the field, Brain and Mind , had both been founded in the 1870s).

The psychoanalytic interpretation is a popular one with many readers of Jekyll and Hyde , and since the novella is clearly about repression of some sort, one can make a psychoanalytic interpretation – an analysis grounded in psychoanalysis, if you like – quite convincingly.

It might be significant, reading the story from a post-Freudian perspective, that Hyde is described as childlike at several points: does he embody Jekyll’s – and, indeed, man’s – deep desire to return to a time before responsibility and full maturity, when one was freer to act on impulse? Early infancy is the formative period for much Freudian psychoanalysis.

Recall the empty middle-class scenes at the beginning of the book: Utterson and Enfield on their joyless Sunday walks, for instance. Hyde attacks father-figures (Sir Danvers Carew, the MP whom he murders, is a white-haired old gentleman), which would fall in line with Freud’s concept of the Oedipus complex and Jekyll’s desire to return to a time before adult life with its responsibilities and disappointments.

However, one fly in the Oedipal ointment is that Hyde also attacks a young girl – almost the complete opposite of the ‘old man’ or father figure embodied by Danvers Carew.

Nevertheless, psychoanalytic readings of the novella have been popular for some time, and it’s worth remembering that the idea for the book came to Stevenson in a dream. Observe, also, the presence of dreams and dreamlike scenes in the novel itself, such as when Jekyll remarks that he ‘received Lanyon’s condemnation partly in a dream; it was partly in a dream that I came home to my own house and got into bed’.

An anti-alcohol morality tale?

Alternatively, a different interpretation: we might analyse these dreamlike aspects of the novel in another way and see the novel as being about alcoholism and temperance , subjects which were being fiercely debated at the time Stevenson was writing.

Here, then, the ‘transforming draught’ which Jekyll concocts represents alcohol, and Jekyll, upon imbibing the draught, becomes a violent, unpredictable person unknown even to himself. (This reading has been most thoroughly explored in Thomas L. Reed’s 2006 study The Transforming Draught .)

Note how often wine crops up in this short book: it turns up first of all in the second sentence of the novella, when Utterson is found sipping it, and Hyde, we learn, has a closet ‘filled with wine’. Might the continual presence of wine be a clue that we are all Hydes waiting to happen? Note how the opening paragraph informs us that Utterson drinks gin when he is alone.

This thesis – that the novella is about alcohol and temperance – is intriguing, but has been contested by critics such as Julia Reid for being too speculative and reductionist: see her review of The Transforming Draught in The Review of English Studies , 2007.

The ‘drugs’ interpretation

Similarly, the idea that the ‘draught’ is a metaphor for some other drug, whether opium or cocaine . Scholars are unsure as to whether Stevenson was on drugs when he wrote the book: some accounts say Stevenson used cocaine to finish the manuscript; others say he took ergot, which is the substance from which LSD was later synthesised. Some say he was too sick to be taking anything.

You could purchase cocaine and opium from your local chemist in 1880s London (indeed, another invention of 1886, Coca-Cola, originally contained cocaine, as the drink’s name still testifies: don’t worry, it doesn’t any more).

This is essentially a development of the previous interpretation concerning alcohol, and arguably has similar limitations in being too restrictive an interpretation. However, note the way that Jekyll, in his ‘full statement’ becomes reliant on the ‘draught’ or ‘salt’ towards the end.

A religious analysis

As such, the story has immediate links with the story Stevenson would write sixty years later. Stevenson was an atheist who managed to escape the constrictive religion of his parents, but he remained haunted by Calvinistic doctrines for the rest of his life, and much of his work can be seen as an attempt to grapple with these issues which had affected and afflicted him so much as a child.

The sexuality interpretation

Some critics have interpreted Jekyll and Hyde in light of late nineteenth-century attitudes to sexuality : note the almost total absence of women from the story, barring the odd maid and ‘old hag’, and that hapless girl trampled underfoot by Hyde.

Some critics have suggested that the idea of blackmail for homosexual acts lurks behind the story, and the novella itself mentions this when Enfield tells Utterson that he refers to the house of Mr Hyde as ‘Black Mail House’ as a consequence of the girl-trampling scene in the street.

As such, the novella becomes an allegory for the double life lived by many homosexual Victorian men, who had to hide (or Hyde ) their illicit liaisons from their friends and families. The poet Gerard Manley Hopkins wrote to his friend Robert Bridges that the girl-trampling incident early on in the narrative was ‘perhaps a convention: he was thinking of something unsuitable for fiction’.

Some have interpreted this statement – by Hopkins, himself a repressed homosexual – as a reference to homosexual activity in late Victorian London.

Consider in this connection the fact that Hyde enters Jekyll’s house through the ‘back way’ – even, at one point ‘the back passage’. 1885, the year Stevenson wrote the book, was the year of the Criminal Law Amendment Act (commonly known as the Labouchere Amendment ), which criminalised acts of ‘gross indecency’ between men (this was the act which, ten years later, would put Oscar Wilde in gaol).

However, we should be wary of reading the text as about ‘homosexual panic’, since, as Harry Cocks points out, homosexuality was frequently ‘named openly, publicly and repeatedly’ in nineteenth-century criminal courts. But then could fiction for a mass audience as readily name such things?

A Darwinian analysis

Charles Darwin’s book On the Origin of Species , which laid out the theory of evolution by natural selection, had been published in 1859, when Stevenson was still a child. In this reading, Hyde represents the primal, animal origin of modern, civilised man.

Consider here the repeated uses of the word ‘apelike’ in relation to Hyde, suggesting he is an atavistic throwback to an earlier, more primitive species of man than Homo sapiens . This reading incorporates theories of something called ‘devolution’, an idea (now discredited) which suggested that life forms could actually evolve backwards into more primitive forms.

This is also linked with late Victorian fears concerning degeneration and decadence among the human race. Is Jekyll’s statement that he ‘bore the stamp, of lower elements in my soul’ an allusion to Charles Darwin’s famous phrase from the end of The Descent of Man (1871), ‘man […] bears […] the indelible stamp of his lowly origin’?

In his story ‘Olalla’, another tale of the double which Stevenson published in 1885, he writes: ‘Man has risen; if he has sprung from the brutes he can descend to the same level again’.

This Darwinian analysis of Jekyll and Hyde could incorporate elements of the sexual which the previous interpretation also touches upon, but would view the novel as a portrayal of man’s – and we mean specifically man ’s here – repression of the darker, violent, primitive side of his nature associated with rape, pillage, conquest, and murder.

This looks back to a psychoanalytic reading, with the ‘id’ being the home of primal sexual desire and lust. The girl-tramping scene may take on another significance here: it’s a ‘girl’ rather than a boy because it symbolises Hyde’s animalistic desire to conquer and brutalise someone of the opposite, not the same, sex.

There have been many critical readings of the novella in relation to sex and sexuality, but it’s important to point out that Stevenson denied that the novella was about sexuality (see below).

A study in hypocrisy?

Or perhaps not: perhaps there is something in the idea that hypocrisy is the novella’s theme , as Stevenson himself suggested in a letter of November 1887 to John Paul Bocock, editor of the New York Sun : ‘The harm was in Jekyll,’ Stevenson wrote, ‘because he was a hypocrite – not because he was fond of women; he says so himself; but people are so filled full of folly and inverted lust, that they can think of nothing but sexuality. The Hypocrite let out the beast’.

This analysis of Jekyll and Hyde sees the two sides to Jekyll’s personality as a portrayal of the dualistic nature of Victorian society, where you must be respectable and civilised on the outside, while all the time harbouring an inward lust, violence, and desire which you have to bring under control.

This was a popular theme for many late nineteenth-century writers – witness not only Oscar Wilde’s 1891 novel The Picture of Dorian Gray but also the double lives of Jack and Algernon in Wilde’s comedy of manners, The Importance of Being Earnest (1895). This is a more open-ended interpretation, and the novella does appear to be about repression of some sort.

In this respect, this interpretation is similar to the psychoanalytic reading proposed above, but it also tallies with Stevenson’s own assertion that the story is about hypocrisy. Everyone in this book is masking their private thoughts or desires from others.

Note how even the police officer, Inspector Newcomen, when he learns of the murder of the MP, goes from being horrified one moment to excited the next, as ‘the next moment his eye lighted up with professional ambition’. He can barely contain his glee. The maid who answers the door at Hyde’s rooms has ‘an evil face, smoothed by hypocrisy; but her manners were excellent’.

From these clues, we can also posit a reading of the novel which sees it as about the class structure of late nineteenth-century Britain, where Jekyll represents the comfortable middle class and Hyde is the repressed – or, indeed, oppressed – working-class figure.

Note here, however, how Hyde is repeatedly described as a ‘gentleman’ by those who see him, and that he attacks Danvers Carew with a ‘cane’, rather than, say, a club (though it is reported, tellingly, that he ‘clubbed’ Carew to death with it).

A scientific interpretation

The reference to the evil maid with excellent manners places Jekyll’s own duality at the extreme end of a continuum, where everyone is putting on a respectable and acceptable mask which hides or conceals the evil truth lurking behind it. So we might see Jekyll’s scientific experiment as merely a physical embodiment of what everyone does.

This leads some critics to ask, then, whether the novella about the misuse of science . Or is the ‘tincture’ merely a scientific, chemical composition because a magical draught or elixir would be unbelievable to an 1880s reader? Arthur Machen, an author who was much influenced by Stevenson and especially by Jekyll and Hyde , made this point in a letter of 1894, when he grumbled:

In these days the supernatural per se is entirely incredible; to believe, we must link our wonders to some scientific or pseudo-scientific fact, or basis, or method. Thus we do not believe in ‘ghosts’ but in telepathy, not in ‘witch-craft’ but in hypnotism. If Mr Stevenson had written his great masterpiece about 1590-1650, Dr Jekyll would have made a compact with the devil. In 1886 Dr Jekyll sends to the Bond Street chemists for some rare drugs.

This is worth pondering: the use of the ‘draught’ lends the story an air of scientific authenticity, which makes the story a form of science fiction rather than fantasy: the tincture which Jekyll drinks is not magical, merely a chemical potion of some vaguely defined sort. But to say that the story is actually about the dangers of misusing science could be a leap too far.

We run the risk of confusing the numerous film adaptations of the book with the book itself: we immediately picture wild-haired soot-faced scientists causing explosions and mixing up potions in a dark laboratory, but in fact this is not really what the story is about , merely the means through which the real meat of the story – the transformation of Jekyll into Hyde – is effected.

It’s only once this split has been achieved that the real story, about the dark side of man’s nature which he represses, comes to light. (Compare Frankenstein here .)

All of these interpretations of Jekyll and Hyde can be – and have been – proposed, but it’s worth bearing in mind that the popularity of Stevenson’s tale may lie in the very polyvalent and ambiguous nature of the text, the fact that it exists as a symbol without a key, a riddle without a definitive answer.

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Literary Theory and Criticism

Home › British Literature › Analysis of Robert Louis Stevenson’s The Strange Case of Dr. Jekyll and Mr. Hyde

Analysis of Robert Louis Stevenson’s The Strange Case of Dr. Jekyll and Mr. Hyde

By NASRULLAH MAMBROL on October 7, 2022

Longman, Green, and Company published Robert Louis Stevenson’s The Strange Case of Dr. Jekyll and Mr. Hyde in 1886 as a “shilling shocker.” Stevenson reputedly developed the storyline from a dream he had about a man forced into a cabinet after ingesting a potion that would convert him into a brutal monster. The composition of Dr. Jekyll and Mr. Hyde began in September 1885, and the final draft was submitted for publication later that same year. Unlike most 19th century literary works, Stevenson’s manuscript was released in book form instead of being serialized in a popular magazine. The publishers withheld its release until January 1886 because booksellers had already placed their Christmas stock. Within six months, Stevenson’s novella sold more than 40,000 copies in England and America.

Dr. Jekyll (right) and Mr. Hyde, both as portrayed by Fredric March in Rouben Mamoulian’s film Dr. Jekyll and Mr. Hyde (1931).

Dr. Jekyll and Mr. Hyde debates the conflict between good and evil and the correlation among bourgeois values, urban violence, and class structure. Dr. Jekyll is a seemingly placid character whose often-debated scientific research has nonetheless gained him respect amid his peers. The potion that Jekyll develops causes an unexplainable transformation into the violent Mr. Hyde. The Mr. Hyde alter-ego may represent an uncontrollable subconscious desire driven by anger and frustration toward an oppressive English class structure. Hyde’s numerous rampages include trampling a young girl and murdering the prominent English politician Sir Danvers. Although Jekyll prefers living the life of “the elderly and discontent doctor” (84), he cannot control his urge for “the liberty, the comparative youth, the light steps, leaping impulses, and secret pleasures” that the Hyde persona offers him. Dr. Jekyll’s desired liberty is perhaps caused by the restricted lifestyle that bourgeois cultural codes imposed on English society. Several Victorian social critics maintained that inner-city London dwellers were a debased life form living in junglelike conditions analogous to those in Africa. In 1890, William Booth, the founder of the Salvation Army, claimed that England needed rescuing from its continually degenerating condition since its citizens were gradually turning into “[a] population trodden with drink, steeped in vice, [and] eaten up by every social and physical malady” (quoted in Stevenson, 183). Stevenson’s text describes how hidden desires have always existed in a seemingly perverted civilization.

Literary critics have stressed that Stevenson’s success in the “shilling shocker” market both helped and hindered his career. The rapid success of Dr. Jekyll and Mr. Hyde led Henry James to remark that Stevenson’s novella was at first too popular a work to be comfortably called a masterpiece. Henry James was not questioning Stevenson’s talent as a writer but rather was noting that the book’s quick popularity defined it as a story that was easily accessible to the mass public.

Playwright Richard Mansfield produced a stage version of Dr. Jekyll and Mr. Hyde in 1888. Shortly after Mansfield’s play opened, several East End London prostitutes were murdered by a serial killer nicknamed Jack the Ripper. English newspapers initially termed the slayer the “Whitechapel murderer” and “Leather Apron” before settling on “Jack the Ripper.” Reporters based their stories on the possible correlation between the killings and Mansfield’s theatrical representation of violence. Mansfield’s play was eventually closed because such parallels made it seem as though Jack the Ripper was mimicking the violence depicted in Mansfield’s play, marking the first time that the concept of Mr. Hyde was used in reference to sequential crime sprees. Reports from the Daily Telegraph further damaged the profits for Mansfield’s play by stating that “there is no taste for horror” (17) on the London stage. Dr. Jekyll and Mr. Hyde remains a significant canonical text that uses its patchwork narrative to explore the conflation of reality and fictional representation that most postmodern writers still examine.

BIBLIOGRAPHY Caler, Jenni. The Robert Louis Stevenson Companion. Edinburgh: P. Harris, 1980. James, Henry. “Robert Louis Stevenson.” Reprinted in The Strange Case of Dr. Jekyll and Mr. Hyde, edited by Martin A. Danahay, 140–141. Orchard Park, N.Y.: Broadview Literary Texts, 1999. Rose, Brian A. Jekyll and Hyde Adapted: Dramatizations of Cultural Anxiety. Westport, Conn.: Greenwood, 1996. Saposnik, Irving S. “The Anatomy of Dr. Jekyll and Mr. Hyde.” In The Definitive Dr. Jekyll and Mr. Hyde Companion, edited by Harry M. Geduld, 108–117. New York: Garland Publishing, 1983. Stevenson, Robert Louis. The Strange Case of Dr. Jekyll and Mr. Hyde. Edited by Martin A. Danahay, 29–91. Orchard Park, N.Y.: Broadview Literary Texts, 1999.

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Dr. Jekyll and Mr. Hyde

Robert louis stevenson, ask litcharts ai: the answer to your questions.

Much of the suspense associated with the mysteries of the novel are suspenseful solely because they are deliberately kept secret or repressed by the characters. The novel's secrets come out in spits and spurts. Enfield shares his story with Utterson , but he is only persuaded to share Hyde ’s name at the end. Utterson, upon hearing Hyde's name, does not reveal that he has heard it before, in Jekyll's will. From that point on, most of the story’s revelations are made not through conversation between characters but rather through a sequence of letters and documents , addressed, sealed and enclosed in safes, so that they need to be put together like a puzzle at the end. The dependence on these sheets of paper for the unraveling of the mystery creates a sense of silence and isolation about each character, and leaves the reader not really sure how much we have been allowed in to the intimacies of their minds. Each man seems to be isolated from every other, and there is a sense that this masculine world has been hushed by the need to maintain social reputation. The men avoid gossip, seem almost to avoid speaking completely about anything of substance, and while many of the men describe themselves as friends, their relationships are most defined by the things they keep secret from each other. There are many occasions in which one man will start to talk and then silence himself and keep the remainder, often the most important or personal detail, to himself. The weight of unsaid information is heavy.

Jekyll's actions suggest the possible outcome of such self-repression. He ultimately feels compelled to find a secret outlet for the urges he cannot share—Mr. Hyde. Through Mr. Hyde, Jekyll believes he can maintain his reputation while enjoying his darker urges, but Hyde's takeover of Jekyll suggests that repression only strengthens that which is repressed, puts it under higher pressure so that it explodes.

Reputation, Secrecy and Repression ThemeTracker

Reputation, Secrecy and Repression Quotes in Dr. Jekyll and Mr. Hyde

"I feel very strongly about putting questions; it partakes too much of the style of the day of judgment. You start a question, and it's like starting a stone. You sit quietly on the top of a hill; and away the stone goes, starting others…”

"Poor Harry Jekyll," he thought, "my mind misgives me he is in deep waters! He was wild when he was young; a long while ago to be sure; but in the law of God, there is no statute of limitations. Ay, it must be that; the ghost of some old sin, the cancer of some concealed disgrace…”

The large handsome face of Dr. Jekyll grew pale to the very lips, and there came a blackness about his eyes. "I do not care to hear more," said he. "This is a matter I thought we had agreed to drop."

"I cannot say that I care what becomes of Hyde; I am quite done with him. I was thinking of my own character, which this hateful business has rather exposed."

The death of Sir Danvers was, to his way of thinking, more than paid for by the disappearance of Mr. Hyde. Now that that evil influence had been withdrawn, a new life began for Dr. Jekyll. He came out of his seclusion, renewed relations with his friends, became once more their familiar guest and entertainer…

"I have had a shock," he said, "and I shall never recover. It is a question of weeks. Well, life has been pleasant; I liked it; yes, sir, I used to like it. I sometimes think if we knew all, we should be more glad to get away."

The middle one of the three windows was half-way open; and sitting close beside it, taking the air with an infinite sadness of mien, like some disconsolate prisoner, Utterson saw Dr. Jekyll.

"O, sir," cried Poole, "do you think I do not know my master after twenty years? Do you think I do not know where his head comes to in the cabinet door, where I saw him every morning of my life? No, sir, that thing in the mask was never Dr. Jekyll--God knows what it was, but it was never Dr. Jekyll; and it is the belief of my heart that there was murder done."

“Think of me at this hour, in a strange place, labouring under a blackness of distress that no fancy can exaggerate, and yet well aware that, if you will but punctually serve me, my troubles will roll away like a story that is told. Serve me, my dear Lanyon and save

Your friend, H.J.”

"Lanyon, you remember your vows: what follows is under the seal of our profession. And now, you who have so long been bound to the most narrow and material views, you who have denied the virtue of transcendental medicine, you who have derided your superiors--behold!"

What he told me in the next hour, I cannot bring my mind to set on paper. I saw what I saw, I heard what I heard, and my soul sickened at it; and yet now when that sight has faded from my eyes, I ask myself if I believe it, and I cannot answer.

I am careless; this is my true hour of death, and what is to follow concerns another than myself. Here then, as I lay down the pen and proceed to seal up my confession, I bring the life of that unhappy Henry Jekyll to an end.

Victorian Science Fiction

Our critical review, robert louis stevenson’s inspiration for the strange case of dr. jekyll and mr. hyde.

April Edwards

     In Anne Stiles’ article “Robert Louis Stevenson’s  Jekyll and Hyde  and the Double Brain”, she argues that though Stevenson claimed he had no previous knowledge of the psychological idea of multiple personalities, he may have read several scientific articles published during the 1870’s and 1880’s from French and British popular medical journals about this condition, which inspired him to write several works including  Deacon Brodie: A Double Life ,  The Strange Case of Dr. Jekyll and Mr. Hyde , and “Markheim”. During the Victorian Era, contemporary scientists were discussing the idea of everyone having a double brain. As they saw it, the right-hemisphere and the left-hemisphere were associated with distinct attributes (this still remains true) and that a person may have the opposing sides pulling them towards specific characteristics. Stiles explains Stevenson’s interpretation by saying “While Jekyll exhibits left-hemisphere attributes (masculinity, whiteness, logic, intelligence, humanness), Hyde embodies right-hemisphere traits (femininity, racial indeterminacy, madness, emotion, and animality)”. However during this time, Stevenson may also have heard about the dual-brain theory, where the right and left hemispheres could act independently such that an over-active right brain may lead someone to very emotional and irrational acts, such as murder. Stiles discusses an article “The Brain of a Criminal Lunatic” by the physiologist David Ferrier (1882) where he discovered an over-enlarged right-hemisphere and an abnormally-small left-hemisphere during an autopsy of a woman who was mentally ill and murdered her children. During the Victorian Era, many scientists proposed the idea of needing to equally exercise both areas of the brain in order to prevent one side of the dual-brain from taking over. Stevenson likened this idea of a dual-brain in  Jekyll and Hyde :

    “The evil side of my nature, to which I had now transferred the stamping efficacy, was less robust and less developed than the good which I had just deposed. Again, in the course of my life, which had been, after all, nine tenths a life of effort, virtue and control, it had been much less exercised and much less exhausted. And hence, as I think, it came about that Edward Hyde was so much smaller, slighter and younger than Henry Jekyll” (55).

In the beginning, Jekyll and the right-brain was the dominant personality but as the story progresses and Jekyll increasingly turns into Hyde, the secondary persona strengthens until eventually Jekyll is no longer in control and Hyde can appear whenever he wants.

   “That part of me which I had the power of projecting, had lately been much exercised and nourished; it had seemed to me of late as though the body of Edward Hyde had grown in stature, as though (when I wore that form) I were conscious of a more generous tide of blood; and I began to spy a danger that, if this were much prolonged, the balance of my nature might be permanently overthrown, the power of voluntary change be forfeited and the character of Edward Hyde become irrevocably mine” (59).

It can be connected in the novel how the new medical theories about dual-brains and multiple personalities that Stevenson may have been exposed to played a significant impact in his writing. After the publication of  Jekyll and Hyde , Frederic W. H. Myers sent his 1886 article titled “Multiplex Personality” in which he discussed the case study of Louis V. Also at the time two other famous case studies of Felida X. and Sergeant F. were summarized and discussed in the  Cornhill Magazine  during the late 1870’s, of which Stevenson was also a contributor. These case studies of potential interest to Stevenson along with his own scientific interests may have led him to create Dr. Jekyll and Mr. Hyde. The fact that Stevenson titles the novella as  The Strange Case  infers that he sees the potential behind his story being like a psychological case study of someone with multiple personalities. Stiles goes on to say “In other words, Stevenson does not merely reproduce the typical form of the case study, which was generally dry, unemotional, and detached from the patient’s suffering. Stevenson combines the basic structure of the case study with a tone and subject matter more appropriate to the Gothic, so that his novella suffers from a case of split personality like that of the protagonist himself. The logical, left-brain perspective of science combines with the primitive, emotional, right-brain perspective of the Gothic, demonstrating how Stevenson incorporates the polarities of the dual-brain theory into the literary form of his famous novella”.

I agree that there were many new psychological and scientific theories being discussed during the time when Stevenson was working on  Jekyll and Hyde  and that while he may not want to admit any inspiration from these theories, there are definite connections that can be drawn between the two. While the story has been seen historically as a tale of “good versus evil” within a man, there are much subtler psychological depths with which we can study Stevenson’s “case study”.

Works Cited

Stiles, Anne. “Robert Louis Stevenson’s Jekyll and Hyde and the Double Brain.” SEL Studies in English Literature 1500-1900 46.4 (2006): 879-900. DOI: 10.1353/sel.2006.0043

 A Changed Lens

Holly Murphy

     When I first closed The Strange Case of Dr. Jekyll and Mr. Hyde I was unsure whether the story itself was actually science fiction. Yes, Dr. Jekyll did use science to change himself, but where was the de-familiarization, the quest of the author, the novum? Scientific change was definitely present, but as we discussed in class, it takes more than the presence of a new technology to define a work as “Science Fiction”. Then I stumbled across Mr. Hyde and Mr. Seek: Utterson’s Antidote by Richard Gaughan. He explains that the de-familiarization appears from the perspective of Mr. Utterson. Like, probably, many readers, I viewed Utterson as a device through which Stevenson was telling his tale. However, the novel, according to Gaughan, is actually about the de-familiarization that Utterson feels—the complete transformation of mind and thought that he has to make in order to comprehend and step into his role. From the beginning, Stevenson describes Utterson as an unremarkable lawyer—one well versed in social interactions and with a tight circle of friends, but a thorny, and quiet man nonetheless. But as soon as he starts to involve himself with discovering Hyde, he changes. I think the novel, with Gaughan’s essay taken into account, is a fantastic representation of the subtleties of science fiction, as compared to Flatland or Erehwon. The changes come mainly from within a person, rather than directly because of technology, meaning, it is not Utterson who is messing with new tech; he only sees the one localized case of its invention. I also agree with Utterson that this novel is more about expressing the need to control and compartmentalize, rather a critique of the repression that happened in Victorian Society. Hyde is an attempt of Jekyll to section himself off, control what part of him shows when, where as Utterson has his creativity awakened by the whole case. He gets involved with his whole person, while still managing to act successfully in the Victorian society. Jekyll insists that it is Hyde alone who is guilty of sin (83), not him and that he is a martyr for ending his life and ridding the world of the evil id that he created. Jekyll and Hyde is not about a leap or regression in technology, but a progression in emotional and cultural thought; the revival and renewal of creativity.

 Gaughan, Richard T.  Mr. Hyde and Mr. Seek: Utterson’s Antidote . The Journal of Narrative Technique, Vol. 17. No. 2 (Spring, 1987), pp. 184-197.

The Anatomy of Dr. Jekyll and Mr. Hyde

Victoria Ainsworth

    Irving Saposnik’s The Anatomy of Dr. Jekyll and Mr. Hyde was a deep look into the moral issues faced by Victorian men at the time confronted within the book.  Many times Saposnik brings up the indivisibility of self.  With this concept, he discusses much about how inseparable Jekyll and Hyde are.  He goes on to discuss that throughout the novel and, most specifically, Jekyll’s narrative, Jekyll views himself as having two distinct identities as opposed to  both himself, Jekyll as well as Hyde being parts of himself.  Saposnik mentions that Jekyll “denies the most significant result of his experiment and indeed of his entire story, the inescapable conclusion that man must dwell in uncomfortable but necessary harmony with his multiple selves” (724).

During Jekyll’s narrative at the end of the story, he makes statements that easily back up Saposnik’s arguments.

“…I began to reflect more seriously than ever before on the issues and possibilities of my double existence. That part of me which I had the power of projecting, had lately been much exercised and nourished; it had seemed to me of late as though the body of Edward Hyde had grown in stature, as though (when I wore that form) I were conscious of a more generous tide of blood; and I began to spy a danger that, if this were much prolonged, the balance of my nature might be permanently overthrown, the power of voluntary change be forfeited, and the character of Edward Hyde become irrevocably mine. The power of the drug had not been always equally displayed. Once, very early in my career, it had totally failed me; since then I had been obliged on more than one occasion to double, and once, with infinite risk of death, to treble the amount; and these rare uncertainties had cast hitherto the sole shadow on my contentment. Now, however, and in the light of that morning’s accident, I was led to remark that whereas, in the beginning, the difficulty had been to throw off the body of Jekyll, it had of late gradually but decidedly transferred itself to the other side. All things therefore seemed to point to this: that I was slowly losing hold of my original and better self, and becoming slowly incorporated with my second and worse” (85).

In this paragraph, Jekyll constantly refers to “his other self” and his “double,” which are both in agreement with the argument of the article. I agree with Saposnik’s argument of morality.  Within this article he quotes one Chesterton as saying recognizing “The real stab of the story is not in the discovery that the one man is two men; but in the discovery that two men are one man…” (729). I like the use of this quote as a support in his argument for the moral duality as opposed to the physical duality within Jekyll and Hyde.  Later, in talking about Hyde in comparison to Jekyll, he remarks that  “Hyde is usually described in metaphors because essentially that is what he is: a metaphor of uncontrolled appetites, an amoral abstraction driven by a compelling will unrestrained by any moral halter.  Such a creature is, of necessity, only figuratively describable, for his deformity is moral rather than physical” (730).  In saying this, he highlights the difference between Jekyll and Hyde; “it is moral, rather than physical.”

  Saposnik, Irving, S. “The Anatomy of Dr. Jekyll and Mr. Hyde.” Studies in English Literature, 1500-1900 49.1(1971):715-31.Http://www.jstor.org/stable/449833. Jstor. Web. 6 Oct. 2014

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Home — Essay Samples — Literature — The Strange Case of Dr. Jekyll and Mr. Hyde — Duality in “The Strange Case of Dr. Jekyll and Mr. Hyde”

Analysis of Jekyll and Hyde Duality in Stevenson's Novel

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• Edley, N., & Wetherell, M. (2001). Jekyll and Hyde: Men's constructions of feminism and feminists. Feminism & Psychology, 11(4), 439-457. (https://journals.sagepub.com/doi/pdf/10.1177/0959353501011004002)
• Doane, J., & Hodges, D. (1989, October). Demonic Disturbances of Sexual Identity: The Strange Case of Dr. Jekyll and Mr/s Hyde. In NOVEL: a Forum on Fiction (Vol. 23, No. 1, pp. 63-74). Duke University Press.(https://www.jstor.org/stable/1345579)
• Rose, B. A. (1996). Jekyll and Hyde Adapted: Dramatizations of Cultural Anxiety (No. 66). Greenwood Publishing Group. (https://www.worldcat.org/title/jekyll-and-hyde-adapted-dramatizations-of-cultural-anxiety/oclc/32921958)
• Becchio, C., Sartori, L., Bulgheroni, M., & Castiello, U. (2008). The case of Dr. Jekyll and Mr. Hyde: a kinematic study on social intention. Consciousness and cognition, 17(3), 557-564. (https://www.sciencedirect.com/science/article/abs/pii/S1053810007000207)
• Lacey, N. (2010). Psychologising Jekyll, demonising Hyde: The strange case of criminal responsibility. Criminal Law and Philosophy, 4, 109-133. (https://link.springer.com/article/10.1007/s11572-010-9091-8)

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