essay on dr jekyll and mr 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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Dr. Jekyll and Mr. Hyde

By robert louis stevenson, dr. jekyll and mr. hyde essay questions.

Discuss Jekyll's progression throughout the novel and his fall from grace. What key moments and decisions determine Jekyll's fate? Identify these specific moments and analyze the aspects of Jekyll's character that force him to continue with his experiments.

Discuss the physical descriptions of Dr. Jekyll and Mr. Hyde and their respective homes (Jekyll's main house vs. Hyde's neglected laboratory cabinet) as they relate to major themes of the novel.

Stevenson creates a balance of realism and the supernatural. How does he integrate these concepts?

Discuss the concept of control in regard to Jekyll's relationship with Hyde. Is absolute control possible? Can one choose when to be completely good or evil? What does Stevenson's conclusion appear to be?

Discuss the novel's most violent events, including the trampled girl, Carew's murder, and Jekyll/Hyde's ultimate demise. What if any progression arises here and how does it parallel the progression of the novel?

Discuss the role of the city throughout the novel, both during the day and at night. How does the city contribute to the novel's progression? What role does it play?

Clearly, Dr. Jekyll and Mr. Hyde is an examination of the duality of human nature. Discuss the duality expressed in not only Dr. Jekyll and Mr. Hyde, but also Utterson, Poole, and the city of London.

How does the notion of loyalty contribute to the novel? Discuss this in reference to Utterson, Lanyon, and Dr. Jekyll. Upon close examination, does loyalty help prevent or expedite violence and tragedy?

Discuss the possible meanings and relevance on the names Utterson, Jekyll, and Hyde in the context of the novel.

Compare and contrast Dr. Lanyon and Dr. Jekyll's approaches to scientific pursuits and manipulation of natural laws.

Dr. Jekyll and Mr. Hyde Questions and Answers

The Question and Answer section for Dr. Jekyll and Mr. Hyde is a great resource to ask questions, find answers, and discuss the novel.

What is the story of Cain and Abel? What does it mean that Mr. Utterson says he inclines to Cain’s heresy in his dealings with others? Explain why you agree or disagree with this way of dealing with your acquaintances.

In the story of Cain and Abel, Cain murders his brother. In the above line, Utterson is citing his belief that one should stay out of other people's business.

3. Look back at chapter 3 (pg 26) – how has Jekyll changed since then?

Jekyll has become unsure of himself, sickly, faint, and desperate. He is not the self-assured, smooth faced man we met at the dinner party in the third chapter.

Sequence the events that happened in Chapter 8 “The Last Night” 1. 2. 3. 4. 5. 6. 7. 8.

You can check this out in chapter 8 summary below:

https://www.gradesaver.com/dr-jekyll-and-mr-hyde/study-guide/summary-chapters-7-8

Study Guide for Dr. Jekyll and Mr. Hyde

Dr. Jekyll and Mr. Hyde study guide contains a biography of Robert Louis Stevenson, literature essays, a complete e-text, quiz questions, major themes, characters, and a full summary and analysis.

• About Dr. Jekyll and Mr. Hyde
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Essays for Dr. Jekyll and Mr. Hyde

Dr. Jekyll and Mr. Hyde literature essays are academic essays for citation. These papers were written primarily by students and provide critical analysis of Dr. Jekyll and Mr. Hyde.

• Dr. Jekyll and Mr. Frankenstein
• The Collective Mr. Hyde
• The Limitations of Language in The Strange Case of Dr. Jekyll and Mr. Hyde
• The Supernatural and Its Discontents in Frankenstein and The Strange Case of Dr Jekyll and Mr Hyde
• The Good Mr. Hyde

Lesson Plan for Dr. Jekyll and Mr. Hyde

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• Common Core Standards
• Introduction to Dr. Jekyll and Mr. Hyde
• Relationship to Other Books
• Bringing in Technology
• Notes to the Teacher
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E-Text of Dr. Jekyll and Mr. Hyde

Dr. Jekyll and Mr. Hyde E-Text contains the full text of Dr. Jekyll and Mr. Hyde

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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.

Dr. Jekyll confesses to Utterson that he has for a long time been fascinated by the duality of his own nature and he believes that this is a condition that affects all men. His obsession with his own darker side gives the novel its plot but also its profound, psychological implications. Even before the climax of the story in which it is revealed that Hyde and Jekyll are the same person, the duality of their personalities creates a tension between the good, social Jekyll and Hyde who seems to revel in causing harm and mayhem, and it looks like it is Jekyll who will be overtaken somehow by Hyde.

One of the most interesting things about Jekyll’s transformation is its psychological aspect. Hyde is portrayed as an evil-looking dwarfed man with a violent temper, while Jekyll is a respected man of science, good-natured and leader of his circle of friends. Not only are these men two halves of the same person, but Jekyll describes them as polar opposites, one good and the other evil. What does it mean, then, that once Hyde exists that he slowly seems to take over, to destroy Jekyll. Is Jekyll’s theory of good and evil too neat and clean? Hyde's takeover of Jekyll seems to suggest a less clear-cut explanation, in which the human condition is not in fact double but rather one of repression and dark urges, and that once the repression of those dark urges eases or breaks it becomes impossible to put back into place, allowing the "true", dark nature of man to emerge.

Jekyll’s disorder also reflects on the other characters, and raises the question of just how upright, moral, and governed by reason they truly are. Utterson for example is introduced as a lawyerly, kind man, and seldom seems to stray from that description. But his character is so rigid and unmoving, and even impersonal, that one could imagine he too is strenuously repressing a world of darker urges.

The Duality of Human Nature ThemeTracker

The Duality of Human Nature Quotes in Dr. Jekyll and Mr. Hyde

"He is not easy to describe. There is something wrong with his appearance; something displeasing, something down-right 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 began to go wrong, wrong in mind; and though of course I continue to take an interest in him for old sake's sake, as they say, I see and I have seen devilish little of the man. Such unscientific balderdash," added the doctor, flushing suddenly purple, "would have estranged Damon and Pythias."

"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."

And then all of a sudden he broke out in a great flame of anger, stamping with his foot, brandishing the cane, and carrying on (as the maid described it) like a madman.

An ivory-faced and silvery-haired old woman opened the door. She had an evil face, smoothed by hypocrisy: but her manners were excellent.

The fire burned in the grate; a lamp was set lighted on the chimney shelf, for even in the houses the fog began to lie thickly; and there, close up to the warmth, sat Dr. Jekyll, looking deathly sick. He did not rise to meet his visitor, but held out a cold hand and bade him welcome in a changed voice.

"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…

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!"

With every day, and from both sides of my intelligence, the moral and the intellectual, I thus drew steadily nearer to that truth, by whose partial discovery I have been doomed to such a dreadful shipwreck: that man is not truly one, but truly two.

I looked down; my clothes hung formlessly on my shrunken limbs; the hand that lay on my knee was corded and hairy. I was once more Edward Hyde.

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.

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Was Dr. Jekyll and Mr. Hyde Inspired by a Real Murder Case?

Robert louis stevenson was acquainted with eugène chantrelle, a seemingly-upstanding teacher who later killed his wife..

Everyone knows Robert Louis Stevenson’s classic 1886 novella, The Strange Case of Dr Jekyll and Mr Hyde. It’s the story of a respectable, wealthy doctor who transforms into a murderous alter-ego and commits terrible crimes around London.

Stevenson’s life offers many possible inspirations. Born into a family of devoutly Presbyterian lighthouse designers, his young adult life saw a movement away from the conservative, Calvinist tenets of his upbringing, towards an extremely bohemian lifestyle. Dr Jekyll and Mr Hyde is a fascinating, subversive text about the urges, desires, and darknesses of ordinary people throughout London. As Vladimir Nabokov wrote in his essay on the novel , Mr. Hyde isn’t simply the “evil” version of the “good” Dr. Jekyll, but the part of him that is evil. Jekyll himself is a composite of his good and bad parts, and this way, the story isn’t so much about “good” versus “evil,” but how people are made up of countless, unknowable qualities that all balance each other out.

Stevenson’s interest in the different components of the human psyche certainly parallels currents of Victorian science, from phrenology (the now-defunct Victorian “science” that sought to explain how physiognomy relates to mental capacity) to alienism (the progenitor of “psychology”), that sought to understand “deviance” and difference in the human mind and speculate as to its causes.

But these matters were not abstract questions, for Stevenson. He encountered some of these issues rather directly, and most likely became inspired for the themes of The Strange Case of Dr Jekyll and Mr Hyde , when his own acquaintance, Eugène Chantrelle, suddenly murdered his own wife.

Chantrelle was a Frenchman who came to Edinburgh, Scotland, where Stevenson lived, to teach French at the exclusive Newington Academy. In 1866, when he was 32, Chantrelle began a relationship with one of his students, the 15-year-old Elizabeth Dyer. They were married in 1868, with Elizabeth giving birth to their child two months after the wedding. Stevenson met Chantrelle at the home of Victor Richon, his former French teacher.

According to an article in The Spectator from 1906 , looking back on the case,

From the first the marriage was most unhappy ; the husband was repeatedly and ostentatiously unfaithful to his child-wife. He ‘beat her, kicked her, caned her, cursed her.’ More than once she had to invoke the protection of the law, and she was only restrained from petitioning for a divorce by dread of the scandal and exposure. Chantrelle sank into habitual intoxication. His classes fell off, and pecuniary difficulties were added to the wife’s other miseries.

Things came to a head in December of 1877. According to The Spectator,

On New Year’s Eve, 1877, Madame Chantrelle was in the usual good health which she bad enjoyed in spite of her wretched life. Her husband’s behaviour had been less brutal since the birth of the youngest child. The family dined happily together at their house in George Street, and a bottle of champagne was opened in honour of the festive season. On New Year’s Day she was unwell, but from purely natural causes. She had no appetite, suffered from sickness, and retired early to bed. … Article continues after advertisement The next morning [the servant, Mary] Byrne came down shortly before seven, and while she was tidying up the kitchen she beard moans proceeding from her mistress’s bedroom upstairs. Hastily entering, for the door was about a foot open, she found Madame lying in bed with the bed-clothes partially off her, unconscious, “awfully pale-looking, her eyelids closed,” and now and again “moaning very heavily.” The girl roused her master, and between them they tried, though without success, to awaken the sleeper. At last, after considerable delay, Chantrelle went off to summon Mr. Carmichael, a general practitioner in the neighbourhood, who arrived at 8.30, to find Madame Chantrelle “profoundly and completely unconscious.”

Chantrelle had taken out a £1000 life insurance policy against his wife’s accidental death the year before. When the maid and the doctor arrived, there was a strong smell of gas in the room. But when Elizabeth passed away shortly thereafter, and her body was autopsied, the examiner determined that she had died of narcotic poisoning, not from a gas leak.

But, knowing the reputation of the Chantrelle household as one of abuse, Littlejohn did his duedilligence. The article continues,

The relations between Chantrelle and his wife were sufficiently notorious in Edinburgh, and immediately on quitting the house in George Street, Dr. Littlejohn, who was surgeon to the Police Office, had sent to request the gas company to inspect the premises. One of the gasfitters noticed in the architrave of the window in Madame Chantrelle’s bed- room a place from which a gas-bracket had been removed, and on opening the shutter he discovered a pipe loose between the architrave and the wall. On inspection the pipe was found to be broken, and from the hole the gas, when turned on at the meter, escaped freely;’ a piece of piping about two inches long was on the ledge at the foot of the shutter, and had evidently been wrenched off by bending backwards and forwards. … Both’ on the nightgown of the deceased and on the sheets of the bed were certain stains caused apparently by vomited matter. These were cut out and submitted to examination, but not until the police had discovered, locked up in one of the-rooms; enough drugs to stock a surgery, including various preparations of chloral and extracts of opium, both fluid’ and solid.

And so, on January 5th, 1879, at Elizabeth’s funeral, Eugene was arrested for her murder. He pleaded not guilty. The trial, which lasted four days, found him guilty, and sentenced him to death by hanging.

According to Historian Jeremy Hodges, Stevenson attended the trial. While he was known in some circles to behave monstrously to his wife, he was also known as a loving father. The article notes, “The only redeeming feature in her husband’s conduct was his uniform kindness to the children, two little boys ten and eight years old at the time of Madame Chantrelle’s death, and a baby born a few months before that event.” Certainly, this inkling of duality would have intrigued Stevenson.

Hodges has found, in Stevenson’s notes, a rumination on Chantrelle: “ I should say, looking back from the unfair superior ground of subsequent knowledge that Chantrelle bore upon his brow the most open marks of criminality; or rather, I should say so if I had not met another man who was his exact counterpart in looks, and who was yet, by all that I could learn of him, a model of kindness and good conduct.”

In other words, as Jekyll says in his final letter, in the novel, “ man is not truly one, but truly two.”

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Olivia Rutigliano

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