Department of English

Faculty of Arts, Chulalongkorn University


 

Strange Case of Dr. Jekyll and Mr. Hyde

(1886)

 

Robert Louis Stevenson

(November 13, 1850 – December 3, 1894)


 

Notes


Dedication:

dedication
  • Katharine Elizabeth Alan Stevenson de Mattos (1851–1939) was RLS’s cousin and Bob Stevenson’s sister. RLS and Katharine played together when they were children. (The Letters of Robert Louis Stevenson)
  • Katharine de Mattos: the sister of R.L.S.'s cousin and close friend, Bob Stevenson. She caused a family scandal by marrying and later divorcing Sydney de Mattos, a 'Cambridge Atheist'. R.L.S. dedicated two of the poems in Underwoods to her as well as Jekyll and Hyde. (Letley 211)
  • "Letter: To Mrs. de Mattos," The Complete Works of Robert Louis Stevenson (Delphi Classics, 2015)
    [Skerryvore, Bournemouth] January 1st, 1886.
    Dearest Katharine,—Here, on a very little book and accompanied with lame verses, I have put your name. Our kindness is now getting well on in years; it must be nearly of age; and it gets more valuable to me with every time I see you. It is not possible to express any sentiment, and it is not necessary to try, at least between us. You know very well that I love you dearly, and that I always will. I only wish the verses were better, but at least you like the story; and it is sent to you by the one that loves you—Jekyll, and not Hyde.
    R. L. S.
    Ave!
    Bells upon the city are ringing in the night;
    High above the gardens are the houses full of light;
    On the healthy Pentlands is the curlew flying free;
    And the broom is blowing bonnie in the north countrie.

    We cannae break the bonds that God decreed to bind,
    Still we'll be the children of the heather and the wind;
    Far away from home, O, it's still for you and me
    That the broom is blowing bonnie in the north countrie.
    R. L. S.



14  Cain's heresy...I let my brother go to the devil in his own way


25  troglodytic:


 

 



A Chapter on Dreams


And then, while he was yet a student, there came to him a dream-adventure which he has no anxiety to repeat; he began, that is to say, to dream in sequence and thus to lead a double life—one of the day, one of the night—one that he had every reason to believe was the true one, another that he had no means of proving to be false. I should have said he studied, or was by way of studying, at Edinburgh college, which (it may be supposed) was how I came to know him. Well, in his dream-life, he passed along the day in the surgical theatre, his heart in his mouth, his teeth on edge, seeing monstrous malformations and the abhorred dexterity of surgeons. [...] Time went quicker in the life of dreams, some seven hours (as near as he can guess) to one; and it went, besides, more intensely, so that the gloom of these fancied experiences clouded the day, and he had not shaken off their shadow ere it was time to lie down and to renew them. I cannot tell how long it was that he endured this discipline; but it was long enough to send him, trembling for his reason, to the doors of a certain doctor; whereupon with a simple draught he was restrored to the common lot of man.

[...]

And the point of interest for me lies partly in that very fact: that having found so singular an incident, my imperfect dreamer should prove unable to carry the tale to a fit end and fall back on indescribable noises and indiscriminate horrors. It would be different now; he knows his business better!

For, to approach at last the point: This honest fellow had long been in the custom of setting himself to sleep with tales, and so had his father before him; but these were irresponsible inventions, told for the teller's pleasure, with no eye to the crass public or the thwart reviewer: tales where a thread might be dropped, or one adventure quitted for another, or fancy's last suggestion. So that the little people who manage man's internal theatre had not as yet received a very rigorous training; and played upon their stage like children who should have slipped into the house and found it empty, rather than like drilled actors performing a set piece to a huge hall of faces. But presently my dreamer began to turn his former amusement of storytelling to (what is called) account; by which I mean that he began to write and well his tales. Here was he, and here were the little people who did that part of his business, in quite new conditions. The stories must now be trimmed and pared and set upon all fours, they must run from a beginning to an end and fit (after a manner) with the laws of life; the pleasure, in one word, had become a business; and that not only for the dreamer, but for the little people of his theatre. These understood the change as well as he. When he lay down to prepare himself for sleep, he no longer sought amusement, but printable and profitable tales; and after he had dozed off in his boxseat, his little people continued their evolutions with the same mercantile designs.

[...]

Hereupon, with a pang of wonder and mercantile delight, the dreamer awoke. His mercantile delight was not of long endurance; for it soon became plain that in this spirited tale there were unmarketable elements [...] It was not his tale; it was the little people's! [...] the story was told with really guileful craftsmanship. the conduct of both actors is (in the cant phrase) pyschologically correct, and the emotion aptly graduated up to the surprising climax. [...] Who are the Little People? They are near connections of the dreamer's, beyond doubt; they share in his financial worries and have an eye to the bank-book; they share plainly in his training; they have plainly learned like him to build the scheme of a considerate story and to arrange emotion in progressive order; only I think they have more talent [...] they are but just my Brownies, God bless them! Who do one-half my work for me while I am fast asleep, and in all human likelihood, do the rest for me as well, when I am wide awake and fondly suppose I do it for myself. [...] by that account, the whole of my published fiction should be the singlehanded producted of some Brownie, some Familiar, some unseen collaborator, whom I keep locked in a back garret, while I get all the praise and he but a share [...] I pull back and I cut down; and I dress the whole in the best words and sentences that I can find and make; I hold the pen, too; and I do the sitting at the table, which is about the worst of it; and when all is done, I make up the manuscript and pay for the registration; so that, on the whole, I have some claim to share, though not so largely as I do, in the profits of our common enterprise.

I can but give an instance or so of what part is done sleeping and what part awake, and leave the reader to share what laurels there are, at his own nod, between myself and my collaborators; and to do this I will first take a book that a number of persons have been polite enough to read, the Strange Case of Dr. Jekyll and Mr. Hyde. I had long been trying to write a story on this subject, to find a body, a vehicle, for that strong sense of man’s double being which must at times come in upon and overwhelm the mind of every thinking creature. I had even written one, The Travelling Companion, which was returned by an editor on the plea that it was a work of genius and indecent, and which I burned the other day on the ground that it was not a work of genius, and that Jekyll had supplanted it. Then came one of those financial fluctuations to which (with an elegant modesty) I have hitherto referred in the third person. For two days I went about racking my brains for a plot of any sort; and on the second night I dreamed the scene at the window, and a scene afterward split in two, in which Hyde, pursued for some crime, took the powder and underwent the change in the presence of his pursuers. All the rest was made awake, and consciously, although I think I can trace in much of it the manner of my Brownies. The meaning of the tale is therefore mine, and had long pre-existed in my garden of Adonis, and tried one body after another in vain; indeed, I do most of the morality, worse luck! and my Brownies have not a rudiment of what we call a conscience. Mine, too, is the setting, mine the characters. All that was given me was the matter of three scenes, and the central idea of a voluntary change becoming involuntary. Will it be thought ungenerous, after I have been so liberally ladling out praise to my unseen collaborators, if I here toss them over, bound hand and 189 foot, into the arena of the critics? For the business of the powders, which so many have censured, is, I am relieved to say, not mine at all, but the Brownies’.


—Robert Louis Stevenson, "A Chapter on Dreams," Across the Plains with Other Memories and Essays (London: Chatto and Windus, 1892): 229–52.





Composition of Jekyll and Hyde

There could be no pretense he was not an invalid and a very sick man. He had horrifying hemorrhages, long spells when he was doomed to lie motionless on his bed lest the slightest movement should restart the flow, when he would speak in whispers, and one sat beside him and tried to be entertaining—in that room he was only too likely to leave in his coffin.

How thus handicapped he wrote his books is one of the marvels of literature—books so robustly and aboundingly alive that it is incredible they came out of a sick-room; and such well-sustained books with no slowing down of their original impetus, nor the least suggestion of those intermissions when their author lay at the point of death. Those years in "Skerryvore" were exceedingly productive. The "Strange Case of Dr. Jekyll and Mr. Hyde" was written here; so was "Kidnapped"; so was "Markheim," and any number of his best short stories; so too, as the "Life of Fleeming Jenkin."

One day he came down to luncheon in a very preoccupied frame of mind, hurried through his meal—an unheard-of thing for him to do—and on leaving said he was working with extraordinary success on a new story that had come to him in a dream, and that he was not to be interrupted or disturbed even if the house caught fire.

For three days a sort of hush descended on "Skerryvore"; we all went about, servants and everybody, in a tiptoeing silence; passing Stevenson's door I would see him sitting up in bed, filling page after page, and apparently never pausing for a moment. At the end of three days the mysterious task was finished, and he read aloud to my mother and myself the first draft of "The Strange Case of Dr. Jekyll and Mr. Hyde."

I listened to it spellbound. Stevenson, who had a voice the greatest actor might have envied, read it with an intensity that made shivers run up and down my spine. When he came to the end, gazing at us in triumphant expectancy and keyed to a pitch of indescribable self-satisfaction—as he waited, and I waited, for my mother's outburst of enthusiasm—I was thunderstruck at her backwardness. Her praise was constrained; the words seemed to come with difficulty; and then all at once she broke out with criticism. He had missed the point, she said; had missed the allegory; had made it merely a story—a magnificent bit of sensationalism—when it should have been a masterpiece.

Stevenson was beside himself with anger. He trembled; his hand shook on the manuscript; he was intolerably chagrined. His voice, bitter and challenging, overrode my mother's in a fury of resentment. Never had I seen him so impassioned, so outraged, and the scene became so painful that I went away, unable to bear it any longer. It was with a sense of tragedy that I listened to their voices from the adjoining room, the words lost but fraught with an emotion that struck at my heart.

When I came back my mother was alone. She was sitting, pale and desolate before the fire, and staring into it. Neither of us spoke. Had I done so it would have been to reproach her, for I thought she had been cruelly wrong. Then we heard Louis descending the stairs, and we both quailed as he burst in as though to continue the argument even more violently than before. But all he said was: "You are right I have absolutely missed the allegory, which, after all, is the whole point of it—the very essence of it." And with that, as though enjoying my mother's discomfiture and her ineffectual start to prevent him, he threw the manuscript into the fire! Imagine my feelings—my mother's feelings—as we saw it blazing up; as we saw those precious pages wrinkling and blackening and turning into flame.

My first impression was that he had done it out of pique. But it was not. He really had been convinced, and this was his dramatic amend. When my mother and I both cried out at the folly of destroying the manuscript he justified himself vehemently. "It was all wrong," he said. "In trying to save some of it I should have got hopelessly off the track. The only way was to put temptation beyond my reach."

Then ensued another three days of feverish industry on his part, and of a hushed, anxious, and tiptoeing anticipation on ours; of meals where he scarcely spoke; of evenings unenlivened by his presence; of awed glimpses of him, sitting up in bed, writing, writing, writing, with the counterpane littered with his sheets. The culmination was the "Jekyll and Hyde" that every one knows; that, translated into every European tongue and many Oriental, has given a new phrase to the world.

The writing of it was an astounding feat from whatever aspect it may be regarded. Sixty-four thousand words in six days; more than ten thousand words a day. To those who know little of such things I may explain that a thousand words a day is a fair average for any writer of fiction. Anthony Trollope set himself this quota; it was Jack London's; it is—and has been—a sort of standard of daily literary accomplishment. Stevenson multiplied it by ten; and on top of that copied out the whole in another two days, and had it in the post on the third!


—Lloyd Osborn, An Intimate Portrait of R. L. S. (New York: Charles Scribner's Sons, 1924)



The People of the Abyss


Chapter 1: The Descent


`BUT YOU can't do it, you know,' friends said, to whom I applied for assistance in the matter of sinking myself down into the East End of London. `You had better see the police for a guide,' they added, on second thought, painfully endeavoring to adjust themselves to the psychological processes of a madman who had come to them with better credentials than brains.

`But I don't want to see the police,' I protested. `What I wish to do, is to go down into the East End and see things for myself. I wish to know how those people are living there, and why they are living there, and what they are living for. In short, I am going to live there myself.'

`You don't want to live down there!' everybody said, with disapprobation writ large upon their faces. `Why, it is said there are places where a man's life isn't worth tu'pence.'

`The very places I wish to see,' I broke in.

[...]

Nowhere in the streets of London may one escape the sight of abject poverty, while five minutes' walk from almost any point will bring one to a slum; but the region my hansom was now penetrating was one unending slum. The streets were filled with a new and different race of people, short of stature, and of wretched or beer-sodden appearance. We rolled along through miles of bricks and squalor, and from each cross street and alley flashed long vistas of bricks and misery. Here and there lurched a drunken man or woman, and the air was obscene with sounds of jangling and squabbling. At a market, tottery old men and women were searching in the garbage thrown in the mud for rotten potatoes, beans, and vegetables, while little children clustered like flies around a festering mass of fruit, thrusting their arms to the shoulders into the liquid corruption, and drawing forth morsels, but partially decayed, which they devoured on the spot.


Chapter 21: The Precariousness of Life


The figures are appalling; 1,800,000 people in London live on the poverty line and below it, and another 1,000,000 live with one week's wages between them and pauperism. In all England and Wales, eighteen per cent of the whole population are driven to the parish for relief, and in London, according to the statistics of the London County Council, twenty-one per cent of the whole population are driven to the parish for relief. Between being driven to the parish for relief and being an out-and-out pauper there is a great difference, yet London supports 123,000 paupers, quite a city of folk in themselves. One in every four in London dies on public charity, while 939 out of every 1000 in the United Kingdom die in poverty; 8,000,000 simply struggle on the ragged edge of starvation, and 20,000,000 more are not comfortable in the simple and clean sense of the word.

[...]

In the West End eighteen per cent of the children die before five years of age; in the East End fifty-five per cent of the children die before five years of age. And there are streets in London where, out of every one hundred children born in a year, fifty die during the next year; and of the fifty that remain, twenty-five die before they are five years old.


Chapter 24: A Vision of the Night


Late last night I walked along Commercial Street from Spitalfields to Whitechapel, and still continuing south, down Leman Street to the docks. And as I walked I smiled at the East End papers, which, filled with civic pride, boastfully proclaim that there is nothing the matter with the East End as a living place for men and women.

It is rather hard to tell a tithe of what I saw. Much of it is untellable. But in a general way I may say that I saw a nightmare, a fearful slime that quickened the pavement with life, a mess of unmentionable obscenity that put into eclipse the `nightly horror' of Piccadilly and the Strand. It was a menagerie of garmented bipeds that looked something like humans and more like beasts, and to complete the picture, brass-buttoned keepers kept order among them when they snarled too fiercely.

I was glad the keepers were there, for I did not have on my `seafaring' clothes, and I was what is called a `mark' for the creatures of prey that prowled up and down. At times, between keepers, these males looked at me sharply, hungrily, gutter-wolves that they were, and I was afraid of their hands, of their naked hands, as one may be afraid of the paws of a gorilla. They reminded me of gorillas. Their bodies were small, ill-shaped, and squat. There were no swelling muscles, no abundant thews and wide-spreading shoulders. They exhibited, rather, an elemental economy of nature, such as the cave-men must have exhibited. But there was strength in those meagre bodies, the ferocious, primordial strength to clutch and gripe and tear and rend. When they spring upon their human prey they are known even to bend the victim backward and double its body till the back is broken. They possess neither conscience nor sentiment, and they will kill for a half-sovereign, without fear or favor, if they are given but half a chance. They are a new species, a breed of city savages. The streets and houses, alleys and courts, are their hunting grounds. As valley and mountain are to the natural savage, street and building are valley and mountain to them. The slum is their jungle, and they live and prey in the jungle.

The dear soft people of the golden theatres and wonder-mansions of the West End do not see these creatures, do not dream that they exist. But they are here, alive, very much alive in their jungle. And woe the day, when England is fighting in her last trench, and her able-bodied men are on the firing-line! For on that day they will crawl out of their dens and lairs, and the people of the West End will see them, as the dear soft aristocrats of Feudal France saw them and asked one another, `Whence came they?' `Are they men?'

But they were not the only beasts that ranged the menagerie. They were only here and there, lurking in dark courts and passing like gray shadows along the walls; but the women from whose rotten loins they spring were everywhere. They whined insolently, and in maudlin tones begged me for pennies, and worse. They held carouse in every boozing ken, slatternly, unkempt, bleary-eyed, and tousled, leering and gibbering, overspilling with foulness and corruption, and, gone in debauch, sprawling across benches and bars, unspeakably repulsive, fearful to look upon.


—Jack London, The People of the Abyss (New York: Grosset and Dunlap, 1907)



 

 

Comprehension Check


Story of the Door

  • Why is it odd that Mr. Utterson and Mr. Enfield are friends? (1)
Search for Mr. Hyde
  • What does Mr. Utterson think of Dr. Jekyll's will? (15)
  • What does Dr. Lanyon think of Dr. Jekyll at the point in their acquaintance when Utterson asks about him? (17)
Dr. Jekyll Was Quite at Ease
  •  
The Carew Murder Case
  • Who is the "aged and beautiful gentleman with white hair" (36)?
  • What does Utterson recognize about the broken stick? (39)
Incident of the Letter

Remarkable Incident of Dr. Lanyon

Incident at the Window

The Last Night

Dr. Lanyon's Narrative

Henry Jekyll's Full Statement of the Case

         

 

Study Questions

  • What types of information are used to identify characters?
  • What qualities make Mr. Hyde repellent to others and what qualities evoke sympathy and fascination?

            

 


 

Review Sheet

Characters

Henry Jekyll born "to a large fortune, endowed besides with excellent parts, inclined by nature to industry, fond of the respect of the wise and good among my fellow-men" (106); "a large, well-made, smooth-faced man of fifty, with something of a slyish cast perhaps, but every mark of capacity and kindness" (30–31);  "the worst of my faults was a certain impatient gaiety of disposition" (106); "both sides of me were in dead earnest; I was no more myself when I laid aside restraint and plunged in shame, than when I laboured, in the eye of day, at the furtherance of knowledge or the relief of sorrow and suffering" (107); medical doctor (15); "'he began to go wrong, wrong in mind'" (17)
Edward Hyde "There is something wrong with his appearance; something displeasing, something downright detestable. I never saw a man I so disliked, and yet I scarce know why. He must be deformed somewhere; he gives a strong feeling of deformity, although I couldn’t specify the point. He’s an extraordinary-looking man, and yet I really can name nothing out of the way...And it’s not want of memory; for I declare I can see him this moment" (12); according to Jekyll's first will, his "friend and benefactor" (15); lives "in Soho" (24); "extraordinary quickness" (24); "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 [Utterson] with a sort of murderous mixture of timidity and boldness, and he spoke with a husky, whispering and somewhat broken voice" (25); "'seems hardly human! Something troglodytic" (25); "Hyde broke out of all bounds and clubbed him [Carew] to the earth. And next moment, with ape-like fury, he was trampling his victim under foot and hailing down a storm of blows, under which the bones were audibly shattered and the body jumped upon the roadway" (37)
Gabriel John Utterson
, Mr. Utterson "Mr. Utterson the lawyer was a man of a rugged countenance that was never lighted by a smile; cold, scanty and embarrassed in discourse; backward in sentiment; lean, long, dusty, dreary and yet somehow lovable [...] when the wine was to his taste, something eminently human beaconed from his eye [...] He was austere with himself; drank gin when he was alone, to mortify a taste for vintages; and though he enjoyed the theater, had not crossed the doors of one for twenty years" (1); "of Gaunt Street" (23)
Poole Dr. Jekyll's "well-dressed, elderly" (26) butler ();
Mr. Richard Enfield Mr. Utterson's "distant kinsman, the well-known man about town" (3)
Dr. Hastie Lanyon "Cavendish Square, that citadel of medicine, where his [Utterson's] friend, the great Dr. Lanyon, had his house and received his crowding patients" (16); "hearty, healthy, dapper, red-faced gentleman, with a shock of hair prematurely white, and a boisterous and decided manner" (16); "old mates [with Utterson] both at school and college" (16); "'it is more than ten years since Henry Jekyll became too fanciful for me'" (17); "'hide-bound...ignorant, blatant pedant'" (31);
Sir Danvers Carew "M.P." murdered by Hyde;
Inspector Newcomen "of Scotland Yard" (41)
Mr. Guest Utterson's "head clerk"; "There was no man from whom he [Utterson] kept fewer secrets than Mr. Guest"; "a great student and critic of handwriting";
Hyde's woman servant – "ivory-faced and silvery-haired old woman" (41); "had an evil face, smoothed by hypocrisy; but her manners were excellent" (41); "A flash of odious joy appeared upon the woman’s face. 'Ah!' said she, 'he is in trouble!'" (41)


 

 



Vocabulary

genre

novel, novella

crime fiction

science fiction

narrative, narration

narrator

story

plot

conflict

suspense

tension

revelation

denouement, resolution

setting

character

protagonist

antagonist

foil

characterization

dialog

point of view

diction

wordplay

pun

allusion

imagery

irony

metaphor

simile

epistolary

dystopia

theme

double, doubling

doppelganger

duality

dualism

self, other

paradox

class

urban consciousness

psychology

subconscious

plausibility

unity 

 



Sample Student Responses to Stevenson's Strange Case of Dr. Jekyll and Mr. Hyde 


   

Response 1:

Study Question:

 

 

 

 

 

Student Name

2202234 Introduction to the Study of English Literature

Acharn Puckpan Tipayamontri

June 12, 2010

Reading Response 1

  

Title

 

Text.

 

 

 

 

 



 

 


 

Reference


Stevenson, Robert Louis. Strange Case of Dr Jekyll and Mr Hyde. London: Longmans, Green, and Co., 1886. Print.


 

 

Links
Critical Articles
The Victorian Era

 


Media




  • Jekyll and Hyde: The True Story, dir. Christopher Rowley (2004)

  • Lost Worlds
    • Season 2, Episode 14: Jekyll and Hyde, dir. Rowan Deacon (2007)

  • Dr. Jekyll and Mr. Hyde, dir. Maurice Phillips, perf. John Hannah, David Warner, and Gerard Horan (2003 TV movie; 1 h. 36:51 min.)

  • Dr. Jekyll and Mr. Hyde, dir. John S. Robertson, perf. John Barrymore, Martha Mansfield, and Brandon Hurst (1920 silent film; 1 h. 23:27 min.)


  • Dr. Jekyll and Mr. Hyde, dir. Rouben Mamoulian, perf.  Fredric March, Miriam Hopkins, and Rose Hobart (1931)

  • Dr. Jekyll and Mr. Hyde (1986 animation; 48:46 min.)

  • Jekyll and Hyde: The Musical, dir. Don Roy King, perf. David Hasselhoff (2000)




Robert Louis Stevenson

 

Further Reading


Boyd, Kelly, and Rohan McWilliam, eds. The Victorian Studies Reader. Abingdon: Routledge, 2007. Print.

 

Butler, Samuel. The Way of All Flesh. New York: E. P. Dutton, 1916. Print.


Gilmour, Robin. The Victorian Period: The Intellectual and Cultural Context of English Literature, 1830–1890. London: Longman, 1993. Print.


Houghton, Walter E. The Victorian Frame of Mind, 1830–1870. New Haven: Yale UP, 1957. Print.


Seidman, Steven. "The Power of Desire and the Danger of Pleasure: Victorian Sexuality Reconsidered." Journal of Social History 24.1 (1990): 47–67.





 


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