In this didactive novella, Stevenson presents the individual struggles between characters such as Jekyll/Hyde and Utterson to emphasise the inherent conflict between both good and evil sides of human nature. Through Jekyll’s experimentation, Stevenson suggests that the desire for superior, scientific knowledge fuels characters to discover knowledge beyond their understanding regarding the duality of man, acts as a driving force to their eventual downfall.
In the extract, Stevenson presents the stark contrast in both Hyde and Jekyll to criticise the strict societal expectations in Victorian society. Stevenson suggests that the immense pressure placed on individuals in the novel perpetuate their deaths, as a result, lead to the breakdown of relationships. The phrase ‘man is not truly one, but truly two’ explores the dual nature of man, reinforces the idea that both immoral and moral sides are natural and cannot be repressed. Stevenson evidently mocks/satirises the need to uphold Victorian expectations of respectability and outward appearances through the final chapter, written in epistolary narrative, to highlight the dangers of emotional suppression and secrecy. The repetition ‘truly’ conveys a philosophical tone suggesting that Jekyll despite maintaining his reputation as a Victorian gentleman falls ill to the temptations for superior, scientific knowledge. Jekyll purposely presents himself as a victim to his own experimental methods by avoiding moral responsibility for playing god and acting on his deep,dark pleasures through the use of Hyde himself – physical representation of evil and wrongdoings. Furthermore, Stevenson evokes a sense of disgust and shock from a contemporary audience by victimising Jekyll, through his attempt Stevenson projects the hypocrisy of upper-class men who make moral compromises and disregard the repercussion that follow after. Stevenson constructs Jekyll as the metaphorical representation of inner turmoil and individual conflict between one’s soul, suggesting that his experimental ways had led to the permanent fragmentation of soil – evident as Hyde grows in stature and dominance.
Moreover, the struggles between good and evil is evident through the use of setting description throughout the novella. Stevenson presents the dangers of undergoing a physical and emotional metamorphosis, through Jekyll, he creates an everlasting impression on the audience and urges for societal change. The phrase at the beginning of the play acts as a warning to both the audience and characters in the novella regarding the omnipotence of evil ‘black winter morning’ and ‘as empty as a church’. Enfield’s description of Hyde’s first appearance ‘trampled calmly’ is reflected in the setting through ‘black winter morning’. The use of colour imagery, monochrome colour palette, suggests that Stevenson utilises setting as a moral battleground to highlight the difference between good and evil; this foreshadows the inevitable demise of Jekyll, whose repressed desires and secrets expose the vulnerability and moral failing in Victorian society. The use of the season ‘winter’ connotes decay and struggle; this foreshadows the destruction and pain that has been inflicted onto those vulnerable by Hyde. A Victorian audience would fear Hyde’s spontaneous and primitive actions, further emphasising Stevenson’s beliefs that without change and acceptance society will remain stagnant and divided. The simile ‘as empty as a church’ builds an atmosphere of isolation, whilst highlighting the rise in science in comparison to religion. Stevenson use of religious elements evokes a sense of fear and anxiety amongst a Victorian audience who would link the character of Hyde to moral degradation; the idea that man would regress to its primitive and animalistic state. The adjective ‘empty’ may be reflective and mirror the emotional drainage of characters such as Hyde and his incapability to feel human emotions (regret and guilt). Stevenson presents the forceful separation of both sides through scientific experiments to emphasise the disruption within the natural balance of the soul, urges his readership to view through an objective lens and acknowledge the need for individual freedom and emotional expression.
In addition, Stevenson presents the struggle between good and bad, right and wrong, though the breakdown of relationships within the novella. Stevenson purposely constructs the characters: Utterson, Lanyon and Jekyll as highly contrasting individuals to present those strong friendships to collapse under stressful circumstances. Through Lanyon’s statement ‘Jekyll became too fanciful for me…unscientific balderdash’ Stevenson highlights the difference between science and religion and its inability to co-exist with each other. Stevenson creates both character of Jekyll and Lanyon to act as opposites to each other. Stevenson presents Lanyon as the logical, rationalistic scientist that is influenced by religious/traditionalist values whereas, Jekyll is presented as the experimental, curiosity-driven scientist who becomes full of desire to escape his life build of the foundations of moral ethics, logic and order. Additionally, the use of fricative indicated in the adjective ‘fanciful’ suggests that characters like Lanyon provides a moral lesson to Steveson’s readership by presenting the consequences and condemnation experienced by individuals who are unable to redeem themselves/repent. The phrase ‘unscientific balderdash’ highlights the rigidity and unwavering uncertainty regarding Lanyon’s beliefs suggesting that differences within the self act as a catalyst that fuels the deaths later throughout the novella. Lanyon purposefully demonises and presents Hyde as a satanic figure who wreaks havoc and chaos across Victorian London. Stevenson reinforces the weaknesses within Victorian society and its inability to accept change/new discoveries through Lanyon’s dramatic exclamation ‘O God! O God!’ – evidently highlights the breakdown of sanity in which, characters call upon heavenly powers to be free of the hidden secrets and emotions that are supressed within. Stevenson demonstrates the detrimental impact on others derived from one’s immoral actions; perhaps Stevenson encourages his audience to embrace both sides, good and evil, as natural and a universal experience that can be endured with caution.
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