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Utterson takes a walk with his relative, Enfield, and hears a troubling story from him.

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Utterson is anxious to discover that his good friend Dr Jekyll has made a ruffian called Hyde the beneficiary of his will. He intercepts Hyde in the street and is alarmed at his manner. Hyde, he learns, has freedom of access to Dr Jekyll's home, but only enters at the back door and never appears in company. Please note the text includes a brief description of violence against a child (repeated from Chapter 1).

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Utterson is anxious to discover that his good friend Dr Jekyll has made a ruffian called Hyde the beneficiary of his will. He intercepts Hyde in the street and is alarmed at his manner. Hyde, he learns, has freedom of access to Dr Jekyll's home, but only enters at the back door and never appears in company.

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Utterson visits Dr Jekyll and raises the issue of his will and the behaviour of Mr Hyde.

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There is outrage at the murder of Sir Danvers Carew. Utterson can identify the murderer.

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Utterson visits a depressed and anxious Jekyll and finds him much changed. Jekyll vows to have nothing more to do with Hyde and gives Utterson a letter - apparently by Hyde - stating rather mysteriously that Hyde cannot be caught by the police. Later, at home, Utterson discovers that the hand-writing of the letter closely matches Jekyll's and wonders if his friend may be forging for the murderer to protect him.

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Utterson visits a depressed and anxious Jekyll and finds him much changed. Jekyll vows to have nothing more to do with Hyde and gives Utterson a letter - apparently by Hyde - stating rather mysteriously that Hyde cannot be caught by the police.

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Chapter 6: Remarkable Incident of Dr Lanyon

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Chapter 6: Remarkable Incident of Dr Lanyon

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Utterson visits Lanyon and finds him on his death-bed, completely estranged from Jekyll.

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Utterson and Enfield encounter Jekyll and are horrified at his changed appearance.

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Utterson is surprised to receive a visit from Poole. Jekyll's servant tells the lawyer that he fears his master has gone missing...and has been replaced by some sort of creature who has locked himself in Jekyll's laboratory. Utterson goes with Poole and together they break the door of the laboratory down, but they are too late - the figure in the laboratory has already taken his own life. Utterson returns home with documents that will finally explain the mystery.

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Utterson is surprised to receive a visit from Poole. Jekyll's servant tells the lawyer that he fears his master has gone missing...and has been replaced by some sort of creature who has locked himself in Jekyll's laboratory.

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Utterson reads Lanyon's account of his meeting with a strange messenger sent by Jekyll.

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Chapter 10: Dr Jekyll's Full Statement of the Case

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Chapter 10: Dr Jekyll's Full Statement of the Case

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10. Henry Jekyll's full statement of the case

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Jekyll's written testimony explains the events and explores the duality of human nature.

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The Strange Case of Dr. Jekyll and Mr. Hyde by Robert Louis Stevenson proves to be an enduring literary illumination into the human psyche. This little novella, published as a Christmas story in 1886, took some of the first steps into early Modernism and provided the basis for stories that more deeply dive into human psyche like Oscar Wilde's The Picture of Dorian Gray and Virginia Woolf's Mrs. Dalloway. Dr. Jekyll and Mr. Hyde was one of the first books to explore the duality of good and evil in everyday people, a strong step away from the mono-polarization of morality present in Victorian literature, like one might find in Dickens.

Kevin Mills, a professor at the University of Glamorgan in Wales, authors an essay entitled "The Stain on the Mirror: Pauline Reflections in The Strange Case of Dr. Jekyll and Mr. Hyde." He interests himself in a specific angle of the duality: the Pauline pattern within the text, or in other words, the structure of the novel that seems to be concurrent with the life and words of Paul of Tarsus found in the Bible. In his essay, Mills takes account the similarities of the duality present in Dr. Jekyll and Mr. Hyde and Paul's words written in Romans 7 about the duality of the flesh and the spirit. Ultimately, Mills argues that not only is Paul's duality present in the text, but it was Stevenson's full reason for authoring the text in the first place. Mills argument convinces with skill and confidence and a very specific set of circumstances, but a lack of evidence fails to bring the reader to comply with his message.

The first area in which Mills fails to convince the reader by the lack of textual evidence is in his argument on page 342 in which he asserts that "Stevenson, drawing on St. Paul, depicted the divided self as a commonplace rather than as an aberration." While Stevenson's prose is unique to its time in exploring the wrongs of an everyman, Mills' argument does not make a significant enough connection between his prose and the writings or life of Paul. In fact, one might only realize that Stevenson is exploring an everyman if one uses background information to attempt to place Stevenson in congruence to the other Victorian writings at the time. Stevenson's prose is not significant in itself, but its significance lies as a subset of a larger writing community. Mills achieves this idea by comparing Dr. Jekyll and Mr. Hyde to the other Victorian writings, but he does not prove it to the reader within the text, and, in the world of Postmodernism and Formalist criticism, it is necessary that the critic prove his point with textual evidence, which Mills has not bothered to do. The lack of evidence in this point makes the reader suspicious that Mills is leading him down a rabbit hole.

Another area in which Mills makes his argument suspicious is when he connects Jekyll's freedom to the instance of Paul in prison in Philippi, recorded in Acts 16. Near the end of the book, when Jekyll gives his confession, he discusses how he feels free because he is able to let his morally corrupt self run wild in Mr. Hyde, while he can properly behave without negative urges. Mills mentions this passage: "'The drug had no discriminating action; it was neither diabolical nor divine; it but shook the doors of the prisonhouse of my disposition; and like the captives of Philippi, that which stood within ran forth' (85)" (qtd. in Mills 344). Mills takes this small quote and uses it as another instance of a Dr. Jekyll/Paul connection. While there are more actual quotes than the previous suspicious example, the quotes used for evidence in this instance speak only to freedom and not to the specific freedom enjoyed by Paul and Peter once they were freed from the prison in Philippi, and the lack specificity makes his claim weaker. While he has picked out the one specific example in the text, one example hardly constitutes a pattern. Mills here tries to liken the theme of freedom in Dr. Jekyll and Mr. Hyde to the instance of Philippi, and it is dubiously argued. If Mills had perhaps found another instance of the referencing to Paul or his theme of freedom, Mills would convince. In this situation, however, even a novice reader would notice Mills reads too much into this one sentence in the text.

From his discussion on Philippi, Mills himself provides the first discord to tear apart the instance of Peter and Paul in Acts 16 and the quote from the text: "Hyde's escape has precisely the effect of leading his jailer (Jekyll) to a kind of suicide, complete with suicide note in the form of his written confession" (344). However, readers of Acts 16 know the Apostles stop the jailer from committing suicide, instead converting him and letting him go. Mills goes on to say "precisely because the inmates did not 'run forth,' so the fact that Stevenson's text misses the point draws attention to Hyde's escape as a negative conversion-a narrative of deconversion as the 'pure evil' of Hyde gradually becomes dominate" (344). If Mills writes to attempt to draw a parallel between Dr. Jekyll and Paul, here, a flaw is found. The entire paragraph before it describes the event in Philippi as a freedom event of Paul, and subsequently the freedom Dr. Jekyll feels when Mr. Hyde is unattached and allowed to roam free. However, Mills, in this quote, specifically characterizes Mr. Hyde's existence and detachment as a negative thing, which is contradictory to the point he attempts to make in the paragraphs before, and contradictory to Jekyll's feelings as plainly stated in the text. Mills chokes on his own lack of evidence. Perhaps if Mills found more textual evidence from Stevenson to support a specific link to the events recorded in Acts 16 and the freedom Dr. Jekyll felt at the disconnect between himself and Mr. Hyde, a stronger point of evidence might be made here, but as it rests, it is as dubious as Hyde himself.

However, those two issues are two small riffs in an essay flowing with a close, respectable analysis of the two texts, but failing to ultimately tie the two texts together. Beginning on page 345, Mills grabs the reader with fascinating, well-supported evidence to show the duality mentioned in Romans 7 manifested in Dr. Jekyll and Mr. Hyde. Mills explains Stevenson's use of a mirror to question Jekyll's full understanding of his experiment and coming face-to-face, literally, with the evil inside himself, represented by the character of Mr. Hyde. Mills quotes both texts closely and the texts themselves show the patterns. When Jekyll looks into the mirror, "I was conscious of no repugnance, rather of a leap of welcome. This, too, was myself...In my eyes it bore a livelier image of the spirit, it seemed more express and single, that the imperfect and divided countenance I had hitherto accustomed to call mine" (qtd. in Mills 345). Mills effectively draws a parallel between the mirror and the use of Jekyll's first person when referring the Mr. Hyde. He then draws a parallel from that to Paul's realization of himself, not necessarily in a mirror, but in realizations of variations of himself, found in with Romans 7 and Paul's claim that "I live; yet not I, but Christ in me" (Gal 2:20, qtd in Mills 347). In this area of the essay, Mills does a fantastic job pointing out the realization of selves of both Paul and of Dr. Jekyll, but he does not connect them together as well as he could have with more of his personal analysis. He instead focuses on the same themes in both the texts, without paying attention to sewing the two arguments together. This is a constant problem throughout the text: Mills articulates the theme's effects on the texts, but fails to explain how the texts are then related.

Kevin Mills' "The Stain on the Mirror: Pauline Reflections in The Strange Case of Dr. Jekyll and Mr. Hyde," overall convinces the reader of the parallel and similar threads between the duality of personality explored in Stevenson's work and Paul's reflections in Romans 7, but a lack of evidence from Stevenson's book fails to bring his readers to complete agreement on his point. Mills convinces the reader that Paul and Dr. Jekyll have similar themes and similar instances of their respective stories, but he does not convince that Stevenson specifically had Pauline ideals in mind when he sat down to pen The Strange Case of Dr. Jekyll and Mr. Hyde. One can stay that, like Dr. Jekyll and Mr. Hyde, these two texts proved to be relatable but stayed as far apart from each other as possible.

Mills, Kevin. "The Stain on the Mirror: Pauline Reflections in The Strange Case of Dr. Jekyll and Mr. Hyde." Christianity & Literature. 53.3 (2004): 337-48.

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Rhetorical Analysis: Pauline Inklings in "Dr. Jekyll and Mr. Hyde"

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"The Strange Case of Dr. Jekyll and Mr. Hyde" by Robert Louis Stevenson proves to be an enduring literary illumination into the human psyche. This little novella, published as a Christmas story in 1886, took some of the first steps into...

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The Anxiety of the Unforseen in Stevenson's "Dr. Jekyll and Mr. Hyde"

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The Anxiety of the Unforseen in Stevenson's "Dr. Jekyll and Mr. Hyde"

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Robert Louis Stevenson typifies an anxiety shared by many prolific Victorian writers: that God will disappear as human psychology is readily researched and understood. Such a concern is evident in Stevenson's personal experiences and writings, wherein he passionately expresses the belief that there is no such thing as definitive evil or good in a person, a medieval notion that had survived through the Romantic movement and until the time of skeptical Victorian writers. Following the example of his fellow Victorians, Stevenson created a character, Mr. Hyde, who exemplifies the concentrated evil present in not some, but all people. In the short novel in which Hyde appears, Strange Case of Dr. Jekyll and Mr. Hyde, Stevenson portrays Jekyll's experiment as a failed attempt at reconciliation of faith and science in regards to questions of human nature and character. Through allusions to and inversions of past Romantic notions of nature and morality, he presents Mr. Hyde as a paradigm of the unforeseen and unwanted horrors that intriguing, yet uncertain discoveries may entail.

In Father Damien, An Open Letter to the Reverend Dr. Hyde of Honolulu, Stevenson expressesan understanding that a person's religion does determine his morality. He notes that despite the fact that both Hyde and the missionary Damien (the man whose sainthood he's defending) are religious men with similar goals for the Hawaiian lepers, Hyde, simply because Damien is a Catholic, finds petty reasons to discredit him (such as poor hygiene and alleged licentiousness). While Stevenson concedes that Damien was "indiscreet and officious" and could not help "human grumbling" when faced with making sacrifices, he emphasizes that he learned a "mania for doctoring" regardless (25).

This is in contrast to Hyde, who, despite making no such effort, considers his religious beliefs (and by extension, himself) superior to Damien in every way. Hyde, then, serves as the model for the character who shares his name: he is consumed with so much hypocrisy and mercilessness that he closely resembles pure evil, and is perhaps more "in tune" with his evil side for taking "pleasure to find and publish" Damien's faults and failures (30). Damien, on the other hand, can be viewed as more in touch with his good side for having "honesty of mind" to acknowledge such faults (29).

It becomes clear, then, that Damien, along with Stevenson himself, serve as templates for Dr. Jekyll, whose Biblical allusions in the novel's closing narrative appear to characterize him as a man who is unambiguously religious, but with human flaws (in the case of Damien), or at least once religious, but now skeptical (in the case of Stevenson). Moreover, Jekyll's description of Hyde's antics as "apelike" in the same narrative suggests Stevenson's distaste for the possible negative ramifications of Darwinian evolution (Stevenson 874). Also, Jekyll confesses himself the "chief of sinners," and "sufferers," suggesting he shows remorse on a spiritual level and believes in divine retribution (Stevenson 849).

Nonetheless, he clearly states he is a proponent of "transcendental medicine" and shuns "narrow and material views," characterizing him as similar to Damien in his earnestness to help others through innovation: Damien creates a sanctuary for the lepers, while Jekyll seeks to solve "those provinces of good and ill which divide the compound of man's dual nature" (Stevenson 863-64). Still, he holds flexible views about God and the mechanisms of human personality (much like Stevenson).

Certain subtleties in the text also connect Stevenson to Jekyll. G.K. Chesterton notes, for instance, that the story, though presented as if taking place in London, feels rather like it takes place in Stevenson's native Edinburgh, with Jekyll's "horror of mixing his reputation with moral frailty" being something with which Stevenson could relate, as it would be a concern for "the upper middle classes in solid Puritan communities" of Edinburgh (183). Stevenson's story came from discreet defiance of social pressure to adhere to religion, and so Jekyll's experiment allegorically represents Stevenson's writing of the story itself.

His agnostic sensibilities aside, Stevenson's attachment to the Romantics is apparent in the novel's Romantic allusions, all of which are transformed to serve the story's purpose as a sophisticated work of psychological horror. Stevenson evidently was not fond of the late Victorian era's large market for popular fiction. Patrick Brantlinger notes this, proposing the novel is, in fact, "an unconscious allegory about the commercialization of literature" (198). Jekyll's "great esteem" for "pious work," despite being a scientist, is the result of him being the surrogate for an agnostic author with Romantic sensibilities-one who leisure reads as a Romantic would, never touching Victorian popular fiction (Stevenson 857).

Stevenson's nostalgia and subsequent retooling of the Romantics is most obvious in his over-arching theme of double personality. Returning to the Open Letter, the "bad hygiene" that Dr. Hyde attributes to Damien seems to transfer to the character of Mr. Hyde, Jekyll's "bad side," whose physical "dirtiness" is apparent from people's reactions to him. Though he establishes in his letter to Dr. Hyde that he thinks physical appearance or dirtiness irrelevant if it does not hinder good works, Stevenson, because he is satirizing the medieval idea of ugliness being associated with character, presents Hyde as inspiring "a strong feeling of deformity" for a reason that is apparent, yet impossible to grasp (Stevenson 836). This mystery of the ugliness of Mr. Hyde, here, becomes an inversion of the Romantic notion of the mystery of the beautiful power of nature. While the Romantics had no desire to understand nature and were content to bask in the sublimity of its mysteriousness, the Victorians, as Jekyll reflects, seek the "greed of curiosity" (Stevenson 863).

The inexplicable ugliness of Mr. Hyde, then, becomes something undesirable and impossible to comprehend not because it is sublime, but because it is ghastly. Stevenson also owes his attention to features to his forerunner Browning, who, in "Fra Lippo Lippi," suggests through the words of the title character that "watching folks' faces" is an adequate psychological evaluation of character (151). This theory is comforting to Stevenson in that it does not completely disregard former notions, though it does complicate human morality by disqualifying mere deformity as an absolute factor in determining one's character.

Mr. Hyde's physical appearance thus cannot explain his intrinsic evil. Rather, Stevenson's explanation for primal evil in humans is that it is dormant until activated. This stands in contrast to Wordsworth's idea that primal goodness in humans is present in an ideal pre-existence of the soul which diminishes into a mere intimation in childhood before fading away as a person grows into an adult. In his quintessential work on this Neo-Platonist idea, Ode: Intimations of Immortality, Wordsworth insists that "our birth is both a sleep and a forgetting" (23). Stevenson counters this in a scene from Lanyon's narrative in which Lanyon encounters Hyde. Hyde's smallness is emphasized with the image of his clothes "being enormously too large for him," impressing the image of a child (861).

Unlike a child as envisioned by the Romantics, Hyde does not remind of the lost "radiance" and "splendor" of the natural world (Wordsworth 39). Rather, he causes feelings of "incipient rigor," such as that which Lanyon senses. He can only ascribe the sudden chill to a perception that lies not in a past pre-existent state but deep in "the nature of man," turning on "some nobler hinge than the principle of hatred" (Stevenson 861). In other words, Stevenson inverts Wordsworth's Neo-Platonism by having humans capable not of sensing a world removed from themselves, but a world within themselves-not a heavenly far-gone world, but a dark world of "black secrets," as Utterson says, palpable in the presence not of children, but of Mr. Hyde (Stevenson 841).

In addition to the Romantic idea of sublime knowledge of nature, Stevenson also manipulates the means by which such knowledge is transferred to mortals. The "incipient rigor" emanated by Hyde can be compared to the winter weather of Coleridge's "Frost at Midnight," which expresses his sentimentality for his infant son's potential to learn from nature "the lovely shapes and sounds intelligible of that eternal language, which thy God utters" (291). It is the "frost," performing its "secret ministry," that leads him to the revelation of the child's potential, and it this notion of feelings and imagination being sent forth by the forces of nature (specifically by the wind) that is inverted in Stevenson's handling of both setting and characters' emotions (Coleridge 290).

Stevenson's London is established as a cold and dark place, and nature seems not to deliver divine mysteries, but rather, as Jekyll puts it, "sufferings and terrors so unmanning" (Stevenson 849-50). Victorian essayist John Henry, Cardinal Newman spoke of knowledge as "something which grasps what it perceives through sense," and Stevenson purposely reflects this notion in his characters' attitudes (93). As noted by Vladimir Nabokov, he appeals to Victorian sensibilities by having the fantasy pass through the minds of "matter-of-fact" persons to make it "plausible" (186).

Thus, for the characters, hard evidence is favored over intuitions, seen when Poole relates a feeling "in [his] marrow kind of cold and thin" upon seeing Mr. Hyde, and must admit it is "not evidence" of Hyde's malevolence, though "a man has his feelings" (Stevenson 855). Stevenson distorts the Romantic motif of the wind in the same episode: when Poole and Utterson go to investigate Jekyll's theatre and get nearer to Mr. Hyde, the wind obscures rather than enlightens, "toss[ing] the light of the candle to and fro about their steps" (856). Ultimately, aided by his dark and confusing portrayal of the world, Stevenson portrays reactionary feelings as revealing tangible horrors rather than beautiful mystical truths, reflecting the change of interest from enigmatic natural power to hard science that accompanied the Victorian era.

In doing so, he follows in the footsteps of such earlier Victorians as Alfred, Lord Tennyson, who describes the artist's burden in "The Lady of Shallott," wherein the title character, a seamstress, becomes "sick of shadows" upon falling in love with Sir Lancelot (42). It is the reverse with Stevenson's characters: through Hyde, as Nabokov puts it, the "hidden artist" surfaces from within sensible people like Utterson (186). Hyde does not capture, but rather "enslave[s]" the imagination, in contrast to the Lady of Shallott, whose is enslaved by her imagination (Stevenson 838). Hyde's nature can by explained in scientific, not imaginative terms. For Jekyll, he inspires feelings of "distress that no fancy can exaggerate" (Stevenson 860). Such a feeling is very human and all-too-real when compared to the "emotion[s] recollected in tranquility" that Wordsworth, in his Preface to the Lyrical Ballads, describes as causing "spontaneous overflow of powerful feelings" (146).

Last of note is the huge debt Stevenson owes to Mary Shelley's Frankenstein, the Romantic work from which he imitates a story and complex narrative structure that he appropriates for the purpose of reflecting Victorian anxieties. Like Frankenstein, Strange Case of Dr. Jekyll and Mr. Hyde falls under the genre of "Gothic fiction," which, in the words of Peter K. Garrett, has a "characteristic complication of narrative form and multiplication of voices" as to deepen the mystery, suggesting the "uncertain success" of "control of meaning" (196). The narrative device itself, like in Frankenstein, reflects in form the story's theme of a force that cannot be contained; however, in Frankenstein, this force is the monster, while it is doubly Hyde and science in Stevenson's novel.

Stevenson inverts the story of Frankenstein itself by gradually revealing the monstrous nature of a human creator rather than the human nature of a monstrous creation. He achieves this with multiple narratives, in the same vein as Shelley. Like in Frankenstein, the narratives gradually reveal the monstrous perpetrators of a crime through the perpetrator's eventual confession (the murders of William Frankenstein and Danvers Carew, respectively). In his Victorian appropriation of the device, Stevenson introduces a qualification to the confession found also in Browning's similarly multi-narrative The Ring and the Book: here, too, a crime (adultery) is confessed, but Pompilia, in her confession, resigns to the fact that God is in ultimate control and that "all human plans and projects come to nought," as evidenced by her damning situation (380). Such "plans and projects" might include Jekyll's experiment, which comes to nought by killing him rather than ushering in an age of beneficial scientific discovery. So, while Victor's monster escapes after his confession to do more damage after being shunned by his creator, Jekyll's monster, after Jekyll's (and, by extension, Hyde's) confession, becomes unleashed upon the world after being pursued by his creator. As a result, he goes on a destructive rampage-a rampage similar to Victor's monster's and science's. It is all one rampage: the rampage against God.

From this, it is clear that Stevenson inverts the main thrust of Frankenstein:Victor abandoning his creation. Jekyll does not abandon Hyde; rather, Hyde abandons Jekyll. The ultimate theme of the two novels is that the monstrous side of living creatures is unavoidable and will be triggered in some way. In the case of Victor's monster, it is triggered by rejection, a type of harm. The harming of a creation causing disaster for the perpetrator is a Romantic idea best exemplified by the senseless crime against God's creature, the albatross, committed by the title character in Coleridge's "The Rime of the Ancient Mariner." Stevenson fashions the idea of harming God's creation into the context of scientific fervor. Jekyll is met with disaster because he harmed what is God's in the sense that he brought forth and sought to manipulate deep-seated aspects of creation that only God ought control. Strange Case of Dr. Jekyll and Mr. Hyde,then, stands in contrast to Frankenstein in that it is not about the consequences that come with creating life, but with revealing life: life, whose natural mechanisms are tantalizingly curious, yet incomprehensibly hideous, like Mr. Hyde.

Throughout The Strange Case of Dr. Jekyll and Mr. Hyde, Stevenson expresses an awareness of the consequences that are sure to arise should psychology be able to incontrovertibly define the origins of human character. If it is true that evil is inherent in all people or at least the result of people's experience rather than divine providence, then it becomes more difficult to say with certainty that God had any role in forming the hearts and minds of human beings. Using his own experience with religious hypocrites as well as flawed but good people, Stevenson crafts a story that represents the world as both horrific and curious in the way it affects humans.

Stevenson does not dismiss Romantic explanations of nature and human influence, but rather inverts and darkens them that they may reflect the godlessness of science. Jekyll's experiment is indeed fanciful, "transcendental," as he names it, but it cannot match the tranquil acceptance of a mysterious, Romantic world. The age has simply changed, and people yearn to satisfy curiosity, but as Jekyll admits, "It is one thing to mortify curiosity, another to conquer it" (Stevenson 850). Science might not fully satisfy all humanity yearns to know, Stevenson suggests, and if it continues to cast doubt on the existence of God, perhaps the Romantics were right in leaving some mysteries unsolved.

Brantlinger, Patrick. "An Unconscious Allegory about the Masses and Mass Literacy." Strange Case of Dr. Jekyll and Mr. Hyde: An Authoritative Text, Backgrounds and Contexts, Performance Adaptations, Criticism. By Robert Louis Stevenson. Ed. Katherine Linehan. New York: Norton, 2003. 197-204. Print.

Browning, Robert. Robert Browning's Poetry: Authoritative Texts, Criticism. Ed. James F. Loucks and Andrew M. Stauffer. 2nd ed. New York: Norton, 2007. Print.

Chesterton, G.K. "The Real Stab of the Story." Strange Case of Dr. Jekyll and Mr. Hyde: An Authoritative Text, Backgrounds and Contexts, Performance Adaptations, Criticism. By Robert Louis Stevenson. Ed. Katherine Linehan. New York: Norton, 2003. 183-84. Print.

Coleridge, Samuel Taylor. "Frost at Midnight." The Norton Anthology of English Literature. Ed. Stephen Greenblatt. 9th ed. Vol. 2. New York: Norton, 2012. 290-92. Print.

Garrett, Peter K. "Instabilities of Meaning, Morality, and Narraton." Strange Case of Dr. Jekyll and Mr. Hyde: An Authoritative Text, Backgrounds and Contexts, Performance Adaptations, Criticism. By Robert Louis Stevenson. Ed. Katherine Linehan. New York: Norton, 2003. 189-97. Print.

Nabokov, Vladimir. "A Phenomenon of Style." Strange Case of Dr. Jekyll and Mr. Hyde: An Authoritative Text, Backgrounds and Contexts, Performance Adaptations, Criticism. By Robert Louis Stevenson. Ed. Katherine Linehan. New York: Norton, 2003. 184-88. Print.

Newman, John Henry. The Idea of a University. N.p.: Longman's, Green, and Company, 1905. Google Books, 13 Dec. 2007. Web. 11 Apr. 2015.

Stevenson, Robert Louis. Father Damien, An Open Letter to the Reverend Dr. Hyde of Honolulu. N.p.: Scribner's, 1916. Google Books, 7 Nov. 2008. Web. 11 Apr. 2015.

Stevenson, Robert Louis. The Strange Case of Dr. Jekyll and Mr. Hyde. The Norton Anthology of English Literature. Ed. Stephen Greenblatt. 9th ed. Vol. 2. New York: Norton, 2012. 832-74. Print.

Tennyson, Alfred. Tennyson's Poetry: Authoritative Texts, Contexts, Criticism. Ed. Robert W. Hill. 2nd ed. New York: Norton, 1999. Print.

Wordsworth, William. Ode: Intimations of Immortality from Recollections of Early Childhood. N.p.: D. Lothrop and Company, 1884. Google Books, 12 Sep. 2007. Web. 11 Apr. 2015.

Wordsworth, William. Preface to Lyrical Ballads, with Pastoral and Other Poems. The Norton Anthology of English Literature. Ed. Stephen Greenblatt. 9th ed. Vol. 2. New York: Norton, 2012. 136-147. Print.

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The Anxiety of the Unforseen in Stevenson's "Dr. Jekyll and Mr. Hyde"

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Robert Louis Stevenson typifies an anxiety shared by many prolific Victorian writers: that God will disappear as human psychology is readily researched and understood. Such a concern is evident in Stevenson's personal experiences and writings, wherein he passionately expresses the belief that there is no such thing as definitive evil or good in a person, a medieval notion that had survived through the Romantic movement and until the time of skeptical Victorian writers.

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Excellent Annotated Copy of Jekyll and Hyde with Analysis 

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Excellent Annotated Copy of Jekyll and Hyde with Analysis 

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Teacher or student: Download this - it's great

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The True Battle of Jekyll and Hyde

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Plotting the Social Sins of Jekyll and Hyde 

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Plotting the Social Sins of Jekyll and Hyde 

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KS3/KS4. ‘Strange case of Dr Jekyll and Mr Hyde’ by Robert Louis Stevenson. Abridged in 10 episodes and read by John Sessions with Julian Rhind-Tutt as Dr Jekyll and David Shaw-Parker as Dr Lanyon. Consultant: Alison Powell.

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The Annotated Strange Case of Dr Jekyll and Mr Hyde

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The Annotated Strange Case Of Dr Jekyll And Mr Hyde by

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The Social Creation of Mr Hyde

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What Makes Mr. Hyde So Scary?: Disability as a Result of Evil and Cause of Fear

Sami Schalk

"There was something queer about that gentleman - something that gave a man a turn...you felt it in your marrow kind of cold and thin...it went down my spine like ice" (Stevenson 39). This statement describes an encounter with Mr. Hyde of Robert Louis Stevenson's Strange Case of Dr. Jekyll and Mr. Hyde and it describes just one of the many fearful reactions caused by this man. Since the story's publication, its plotline has become commonly known. In conjunction, Mr. Hyde's position as a frightening villain or monster is also widely accepted, but is this position really understood? Why is Mr. Hyde so terrifying, causing literally chilling reactions for other characters in the book? Some would suggest that Hyde is simply evil and that is what scares us, but such an answer doesn't explain why the sight of Hyde is terrifying. Evil after all isn't visible. Or is it? In both literature and film villains and monsters are shown to be evil not simply through horrible deeds, but also through visible disfigurement or impairment. Indeed, physical disability has come to signify deviance in our culture (LaCom 547). Perhaps this is where the answer to the fear of Mr. Hyde lies. In looking closely at the text through a critical disability studies lens, it appears that Mr. Hyde is not only frightening because he is evil which causes his unidentifiable disability, but also because he appears outside of the typical controlled contexts that people with disabilities are expected to be in. Combined, three factors result in the terror that Mr. Hyde infamously causes for the story's characters and readers alike.

Mr. Edward Hyde is a part of Dr. Henry Jekyll. He is, as Dr. Jekyll himself puts it, "the evil side of [Jekyll's] nature" brought into existence by a mysterious drink created in Jekyll's laboratory (Stevenson 55). Mr. Hyde is the embodiment of unfulfilled desires and experiences that Jekyll must forgo in order to be a reputable member of society. By consuming the color-changing drink, however, Dr. Jekyll is able to temporarily be Mr. Hyde. By undergoing this change, Jekyll as Hyde can live out his evil or selfish desires and, after returning to himself, fix whatever horrible things Hyde has done. It's a form of escape that seems at first truly ideal: Jekyll lives a seemingly perfect life and gets his kicks in an entirely different body and life. As Dr. Jekyll puts it, "all human beings, as we meet them, are commingled out of good and evil and Edward Hyde alone in the ranks of man, was pure evil" and "that child of Hell had nothing human; nothing lived in him but fear and hatred" (55, 63). As this quotation shows, Mr. Hyde is characterized in absolutes and in intensely negative terms. He is described as having "complete moral insensibility and insensate readiness to evil" (60).

In the course of the text, however, Mr. Hyde is only seen to do two real acts of evil. He first tramples a small girl (after which she lives and he gives the family a retribution check) and he later kills an innocent elderly gentleman. Granted, these are not two easily forgotten acts, but are they enough to result in the description of Hyde as "wholly evil" (55) or the statement that "if I ever read Satan's signature upon a face it is on that of [Mr. Hyde]" (16)? One must wonder how people can be so sure about him, and perhaps ask what else there is about Mr. Hyde that makes "the look of him, even at a distance, [go] somehow strongly against the watcher's inclination" (14). There must be something more in order for a man to say that one look from Hyde "brought out the sweat on me like running" (7). In a closer look at the text one finds that in addition to characterizations of evil, it is also said that there is a "haunting sense of unexpressed deformity" (23) about Mr. Hyde. It is in such descriptions as this where the concept of disability begins to factor into what makes Mr. Hyde so scary.

In the appendix of Martha Stoddard Holmes' Fictions of Affliction, Mr. Hyde is listed among the characters with "unspecified disabilities" (Holmes 199). Such a category is appropriate because while there are several references to Mr. Hyde as being "deformed somewhere" or of giving "an impression of deformity," nothing specific about this deformity is ever stated (Stevenson 9, 15). This lack of detail may be difficult for a television- and movie-oriented audience in need of descriptive images, but it probably would not have been significant or impeding for Victorian readers. As Holmes states in her introduction, Victorians did not particularly distinguish between mental and physical disability; rather, most people assumed a "meshing" of mind and body, where the two were equally connected as well as equally healthy or ill (13). Therefore, Mr. Hyde did not need a particular physical or mental trait, to be considered disabled, but only the suggestion of one.

Physical deformity or impairment has often been traditionally seen as connected to a bad mental or spiritual state of being. This connection, within disability studies, is referred to as the moral model of disability. This model of, or attitude toward, disability is not necessarily a conscious choice, but simply the fact that "somewhere in the backs of our minds we associate disabilities with sin, evil and danger" (Bowe 109). This attitude appears in the text in reference to Mr. Hyde as in the statement that "evil...had left on that body an imprint of deformity and decay" (Stevenson 55). Just as Victorians did not particularly distinguish between mind and body, the moral model does not regulate which comes first, the evil or the disability. As a result it is not clear if Hyde is disabled because he is evil or if he is evil because he is disabled. The two are not necessarily perceived to be the same, but are so intensely linked in the back of our minds that it becomes hard to not make the assumption of their coexistence. Given this societal connection between evil and disability, it is important to now explore disability adds another layer of fear and aversion toward Mr. Hyde that is not present when viewing him as simply evil.

In Victorian England, and still somewhat today as well, the male body is, as James Adams explains it, a "central locus of masculine authority," meaning a man's "status thus derives from, and is made visible in, his body" (Adams 151, 152). In a time when "athleticism and physical stamina" were associated with "true masculinity and moral strength," the disabled body was considered unmanly, and often un-human (LaCom 547). Throughout Strange Case of Dr. Jekyll and Mr. Hyde, Mr. Hyde is referred to in ways that take away not only his manhood, but his personhood as well. For example, Mr. Enfield states "It wasn't like a man; it was like some damned Juggernaut" (Stevenson 7). Mr. Utterson declares that Mr. Hyde "seems hardly human!" (16). Dr. Lanyon calls him "a disgustful curiosity" (48). Through such descriptions, Mr. Hyde becomes not a man, not a person, but some thing to be feared and hated. It is through viewing Mr. Hyde's disabled body as monstrous and sub-human that Dr. Lanyon can state that "there was something abnormal and misbegotten in the very essence of the creature that now faced me - something seizing, surprising and revolting" (48). It is also through this view that the disabled body becomes something to fear, for it not only represents evil as already established, but as deviance, the unexplainable and the unknown.

Despite seeing people with disabilities as abnormal or inhuman and associating them with sin or evil, Victorians did not always necessarily fear them in the way Stevenson's characters and readers fear Mr. Hyde. English society at the time had ways of exerting legal and social control in order to keep people with disabilities contained thus subduing the instinct to fear them. By keeping people with disabilities in prisons, workhouses and freak shows Victorian society created a boundary between the "normal" and the "abnormal," allowing those on the normal side to feel safe from the possible evil and monstrosity of the abnormal (LaCom 548, 550). In Victorian England, people with disabilities "were decidedly constituted as a social problem in need of a program of management" (Holmes 191) which often took a paternalistic form such as "in factories and workhouses, where managers often described their employees and inmates as children and themselves as father figures" (LaCom 551).

Echoes of such paternalism exist between Dr. Jekyll and Mr. Hyde, where Dr. Jekyll claims to have "had more than a father's interest" while he says "Hyde had more than a son's indifference" (Stevenson 59). Mr. Hyde, however, rejected Dr. Jekyll as a controlling father figure, coming into existence without Jekyll's permission while he slept. As Dr. Jekyll puts it, "I was slowly losing hold of my original and better self, and becoming slowly incorporated with my second and worse" (59). In short, Hyde was taking over. He was rejecting Dr. Jekyll as a father figure. Rather than being confined and controlled, as people with disabilities were at the time, Mr. Hyde crossed the boundaries and dared to enter "normal" society and wreak whatever havoc he could on those who mocked, feared or rejected him. The "murderous mixture of timidity and boldness" (15) ascribed to Mr. Hyde early in the text eventually becomes pure boldness and inability to be socially controlled. This rejection of rules, this crossing of boundaries, is the final cause of the fear of Mr. Hyde. The fact that he can be free with his uncontrolled, evil, disabled body, and that "normal" society is potentially no longer safe from him, is terrifying to characters in the stories, to readers then, and to a degree one may or may not wish to admit readers now as well.

It can now be concluded that what causes a man to feel "a shudder in his blood" (16) in the presence of Mr. Hyde is not simply one aspect of his character. Instead, it is the combination of evil, disability and inability to be controlled that makes Mr. Hyde so scary to characters in and readers of Stevenson's tale, even today. Evilness creates Hyde's disabled body (or vice versa) and when he, an evil, disabled, sub-human becomes uncontrolled, it is terrifying. Mr. Hyde crosses the boundaries that protect "us" from "them." But there is one more description of Hyde, the most in-depth portrayal in the book, which has yet to be explored. It reads:

Mr. Hyde was pale and dwarfish, he gave an impression of deformity without any nameable malformation, he had a displeasing smile, he had borne himself to the lawyer with a sort of murderous mixture of timidity and boldness, and he spoke with a husky, whispering and somewhat broken voice; all these points were against him, but not all of these together could explain the hitherto unknown disgust, loathing and fear with which Mr. Utterson regarded him. "There must be something else." said the perplexed gentleman. (Stevenson 15-16)

Here Hyde is acknowledged as possibly evil, possibly disabled and possibly capable of murder, yet even in recognizing all three factors, Utterson feels there is something else that is disturbing him. It could be that once Utterson realizes all three of these things are true about Hyde, his fears have been legitimized, but there is another possible reading as well. Perhaps this "something else" cannot be found in the character of Mr. Hyde at all, but in Mr. Utterson himself, in non-disabled society, in ourselves. If the combination of evil, disability and inability to be controlled does not fully explain the viewer's fear, could it be then that the possibility of uncontrolled evil and disability in all of us causes the multi-layered fear of Mr. Hyde? Perhaps, it is not Mr. Hyde we're scared of at all, but the parts of ourselves we fail to recognize, yet know we contain.

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What Makes Mr. Hyde So Scary?: Disability as a Result of Evil and Cause of Fear | Schalk | Disability Studies Quarterly

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Sami Schalk "There was something queer about that gentleman - something that gave a man a turn...you felt it in your marrow kind of cold and thin...it went down my spine like ice" (Stevenson 39).

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Print and annotate academic vocabulary and expressions.

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mong the many screen adaptations of Robert Louis Stevenson's novella "Strange Case of Dr Jekyll and Mr Hyde" is a seven-minute Tom and Jerry film made by Hanna-Barbera in 1947. Here, a saucer of milk spiked with moth balls and bug powder is enough to transform an ordinary, decent soul - the mouse - into a monster. After a few sips, Jerry swells into supermouse, terrorising Tom, who normally holds the upper paw. At the end of "Dr Jekyll and Mr Mouse", Tom tries lapping up the milk - only to be reduced to the size of a fly. The pair exit with Jerry in pursuit, wielding a swatter.

The same storyline drives another cartoon of the 1940s, "Mighty Mouse Meets Jekyll and Hyde Cat", though this time it is the cat who mixes a cocktail in the doctor's laboratory, changing from cute puss into a beast with fangs and fiendish claws. There is a Daffy Duck Jekyll and Hyde, and Bugs Bunny also makes use of it. Back in the human zone, there have been Abbott and Costello and Jerry Lewis versions of Stevenson's novella. In 1925, Stan Laurel starred in Dr Pyckle and Mr Pryde, which competed with When Quackel Did Hyde of 1920. There are various pornographic adaptations, including Dr Sexual and Mr Hyde. Five separate editions of the book were issued in France in 1947, not long after the end of a different horror story. Between 1950 and 1951, Japanese publishers offered readers seven translations to choose from, including one in graphic-novel form.

"Dr Jekyll and Mr Hyde" belongs to everyone who has ever referred to themselves in the third person, or cursed their own "split personality", or praised their "better nature". The poet Hugo Williams has compressed the essence into a single line - "God give me strength to lead a double life" - a plea to be in two places at once, not necessarily legitimately, without the inconvenience of a guilty conscience. Stevenson's respectable physician Henry Jekyll appears to have had a similar desire, though his appeal was not to the deity but the pharmaceutical cabinet, with disastrous results.

"Strange Case of Dr Jekyll and Mr Hyde" (the definite article is missing from the original title) was written in about six weeks in the autumn of 1885. It was Stevenson's response to a request from the publisher Charles Longman for a ghost story for the Christmas number of Longman's Magazine, in which he gave readers a taste of his best authors. The legend put about by RLS's stepson Lloyd Osbourne has it that he wrote a draft in three days, after being awakened from a dream, then threw it into the fire when his wife Fanny, Lloyd's mother, complained that he had "missed the allegory". After a brief period of reflection, Stevenson wrote it all out again, "in another three days of feverish industry".

Lloyd was a charming teller of tales about his stepfather, but not a reliable one. Letters make it plain that Stevenson spent at least six weeks on the revision. And even if an early version really was burned - "imagine my feelings as we saw those precious pages wrinkling and blackening and turning into flames", Lloyd wrote - there still exist two full drafts of the novella.

Fanny, however, was right to stress the importance of the missing element. It clearly is an allegory: in real life, people do not split into separate selves, with different bodily characteristics and ages (Hyde is notably smaller and younger than Jekyll). But an allegory of what? Stevenson's mother Margaret, who lived for three years after the death of her son in Samoa in 1894, was touched to learn that the story had been interpreted by a Church of Scotland minister as a parable on the wages of sin, and preached as a sermon from the pulpit. Stevenson's first biographer, Graham Balfour (1901), tells us that it was also "made the subject of leading articles in religious newspapers". Stevenson might have smiled indulgently at his acceptance by the kirk many years after he had fallen out with his father over fundamental religious differences, but he would have disapproved of the simplistic reading of his story as a lesson on the perils of straying from the path of righteousness.

An equally common Victorian reading of the story was as a moral tale on the horrors of the sexual appetite unleashed. This aspect was emphasised in early theatrical adaptations, of which there were several in the decade after publication (they included Dr Freckle and Mr Snide at Dockstader's Minstrel Hall, New York, in 1887). The most popular was the one starring Richard Mansfield, which was up and running a year after the appearance of the book and continued, on one side of the Atlantic and then the other, into the next century.

In adapting the novella for the stage, Thomas R Sullivan was obliged to negotiate an inconvenient absence in the original text: it contains no women characters, apart from an anonymous housemaid and a cook. Sullivan therefore presented Mansfield with Agnes Carew as the object of Jekyll's affection - a dramatic invention indeed, since it is her father, Sir Danvers Carew, who is the most prominent victim of Hyde's violence. In a rival production, which opened in London two days after Mansfield's but was closed down by Longman in a dispute over performance rights, love interest was provided by Sybil Howell, the daughter of a clergyman who is himself an adapter's fancy. The script of a 1931 film version, directed by Rouben Mamoulian, had a barmaid called Ivy performing a striptease in front of Jekyll. In an interview reprinted in the invaluable Dr Jekyll and Mr Hyde Companion, edited by Harry M Geduld, Mamoulian described the scene, which was cut from the finished movie: "She keeps throwing away the stockings, the garters, then the brassiere, the panties." In Mamoulian's view, the point of the story was that Dr Jekyll "would like to indulge in all sort of sexual excess and debauchery". Hyde, his hidden self, was brought into existence to give him licence to do so.

Stevenson deplored the attempts to plumb his divided hero's psychology in the various theatrical productions. In a private letter to the editor of the New York Sun in 1887, written from the Adirondacks, where he had gone for the sake of his health, he dismissed Mansfield's portrayal as an offshoot of modern society. Hyde, Stevenson insisted, "is no more sexual than another". He was certainly not, "Great Gods! a mere voluptuary", though there was "no harm" in that. "But people are so filled full of folly and inverted lust, that they can think of nothing but sexuality."

There are many other allegorical interpretations of the story. Elementary Freudianism sees Jekyll as embodying the ego (rational), Hyde the id (instinctive). Jekyll has been seen as a drunk, a drug addict, a pederast, a closet homosexual. In an excellent introduction to the Edinburgh University Press edition of the novella, Richard Dury ranges over a variety of possible readings, noting that of several "socially condemned activities" that Hyde is associated with, "veiled allusions to homosexuality are particularly frequent". The double life of Jekyll and Hyde can be seen as parallel to "the necessarily double life of the Victorian homosexual". Even though Stevenson may not have intended leaving them, there are suggestive markers throughout the text: the suspected blackmail of Jekyll by his "young man", his "favourite"; the "very pretty manner of politeness of Sir Danvers Carew" when approached in the street - terms that may have denoted forbidden liaisons to a Victorian readership. The hidden door by which he enters Jekyll's house is the "back way", even "the back passage". It happens that the year of composition, 1885, was the year in which an amendment to an act of parliament made homosexual acts between men a criminal offence.

The most popular allegorical reading in our own day suggests that, although the action is set in Soho, the atmosphere is really that of Edinburgh, capital of Scotland and RLS's birthplace. In this view, the moral focus of the story is the Scottish character, burdened by dual nationality (Scottish and British), caught between two tongues (Scots and English), its instinctive spontaneity repressed by a Calvinistic church - the very church that once came between Stevenson and his father, and caused a split in the family. Edinburgh is a city starkly divided into two: the foggy old town up on the hill, once the site of colourful crimes such as bodysnatching and of public hangings in the Grassmarket; and the splendid New Town to the north, on the other side of the then newly laid railway tracks. In Glasgow, where I grew up, the common perception of Edinburgh was of a cloudy inner life (old town) shielded by a genteel exterior (New Town). It was - how could you avoid saying so? - a Jekyll-and-Hyde sort of place.

The reclaiming of Stevenson's most famous work as a Scottish fable has a modern feel to it in this era of aspirationally independent Scotland, but it was suggested as early as 1915 by an American, Clayton Hamilton, who believed that the story might be "conceived as happening among the gloomy doorways and narrow wynds of the Scottish capital". GK Chesterton went further, stating that "Dr Jekyll and Mr Hyde", though "presented as happening in London", was "very unmistakably happening in Edinburgh" - which is plausible, but unmistakably not the case. If Stevenson had wanted to set his story in Edinburgh, rather than the streets of Soho, he could have done so; if he had intended it to be read as a Scottish story, he would have made it one. After all, he had written plenty of others. He had even written an early study of the split personality in the form of a play, Deacon Brodie or the Double Life, in collaboration with his friend WE Henley. It is based on the career of William Brodie, who lived in Edinburgh's old town in the late 18th century, and was one of its more colourful criminals. In Stevenson and Henley's play, Brodie is a respectable cabinet-maker and deacon of the Incorporation of Wrights and Masons by day. At night he dons a mask and burgles the houses of well-to-do Edinburgh citizens. In 1788, the deacon was caught and hanged on a scaffold that had been designed according to his own technical specifications.

It is, of course, possible to think of "Dr Jekyll and Mr Hyde" as a study of the Scottish character - or of any of the other topics mentioned. All are reasonable suggestions, and most can be supported to some extent by textual evidence. The author himself (not necessarily the most reliable guide) stated that the central problem was Jekyll's hypocrisy. In his letter to the New York Sun on the subject of Mansfield's sexual interpretation, he wrote that it was Jekyll's "selfishness and cowardice" that had let out the beast Hyde, "not this poor wish to have a woman".

Above all, however, Stevenson was against simplicity. He might have agreed with Fanny that his original attempt had "missed the allegory", but he did not wish to have the allegory rigidly defined. "Everything is true," he told Sidney Colvin, "only the opposite is true too; you must believe both equally or be damned." Jekyll is a true type, but no more so than Hyde; truer than either is Jekyll-and-Hyde, that combination we all recognise. As Stevenson's friend the poet and folklorist Andrew Lang recalled: "He told me once he meant to write a story about a fellow who was two fellows, which did not, when thus stated, seem a fortunate idea." They are often the best ones.

Dr Jekyll and Mr Hyde, directed by Rouben Mamoulian, is at the BFI, London SE1 until December 30. Box office: 020 7928 3232.

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mong the many screen adaptations of Robert Louis Stevenson's novella "Strange Case of Dr Jekyll and Mr Hyde" is a seven-minute Tom and Jerry film made by Hanna-Barbera in 1947. Here, a saucer of milk spiked with moth balls and bug powder is enough to transform an ordinary, decent soul - the mouse - into a monster.

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Writer Ian Rankin investigates The Strange Case of Dr Jekyll and Mr Hyde, tracing Robert Louis Stevenson's story back to events in Stevenson's childhood. Crime writer Ian Rankin investigates The Strange Case of Dr Jekyll and Mr Hyde. Starting with Robert Louis Stevenson's nightmare in September 1885, Rankin traces the roots of this story, which stretches back to Stevenson's childhood.

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