Jekyll and Hyde: The Most Revealing Moments
Moment
1. Stevenson introduces Mr
Utterson. On the surface,
he is depicted as the
epitome of Victorian
Values. However, his
“austere” façade is
juxtaposed by the allusion
to the, “eminently
human” light that,
“beaconed” from his eyes
on occasions when the,
“wine was to his taste.”
2. Utterson describes the
back entrance to the
laboratory as a, ‘sinister
block of building.’
‘Prolonged and sordid
negligence.’
‘The door, which was
equipped with neither bell
nor knocker, was
blistered and distained.’
This is a direct contrast to
the façade of London
described in the preceding
lines with inviting ‘shop
fronts…like rows of
smiling saleswomen.’
3. Enfield describes Hyde
trampling, ‘calmly over
the young girls body…
like some damned
Juggernaut.’
4. Displaying his duplicitous
nature, Hyde appears
from the laboratory door
with a cheque to pay the
trampled girl’s family
compensation.
Mysteriously Enfield
describes that the cheque
is, ‘signed with a name
that I can’t mention.’
5. Enfield senses that there
is something unnatural
about Hyde, but he has no
concrete reason for this
feeling. He describes that,
What is revealed
Utterson is immediately revealed to be a physical representation of the duality of
human nature. He is dogmatic in his pursuit to portray an exterior of
respectability and restraint. He is morally superior to those who choose to
allow themselves the freedom to pursue their darker desires, but his humanity is
evident despite his austere nature. The metaphorical reference to his humanity,
‘beaconing’ from his eyes, gives the impression that warmth, moral substance
and honesty radiate from within this character. This is interesting because, a
proxy for the reader, Utterson is the detective who guides use to a journey of
discovery through the novella. This initial description gives him the
respectability demanded by Victorian society whilst also presenting the potential
flaws that exist in all of us, making Utterson a character we can relate to and
therefore trust.
Stevenson develops the theme of duality through his description of setting. On
their Sunday walk, Utterson and Enfield initially pass through a, ‘busy quarter’
of London that drives a thriving trade during the week. The metaphorical
descriptions of the ‘glistening’ shop fronts that look as inviting as, ‘smiling
saleswomen’ serve as a point of contrast to the later description of the back
entrance to Jekyll’s laboratory. The façade of the thriving area of London hides
the dark reality of the poverty stricken and hidden backstreets that lie behind
what is outwardly presented to the world. This links to the idea, later explored in
more depth by Carl Jung’s psychoanalytic theory, that human beings have a
persona that is presented to the world and that this persona serves to disguise
the shadow or true nature that we hide beneath the surface for fear that it will be
deemed questionable by wider society.
This moment reveals the savage, malevolent and unsettling nature of Hyde.
The adverb, ‘calmly’ is immediately unsettling as it is incongruous when
applied to the act of trampling an innocent child. If we consider the Victorian
religious assertion that children are born of God; innocent and malleable to be
moulded into morally respectable adults, this cold act of savagery becomes all
the more significant as an act of evil perpetrated against a child of God. A
Juggernaut is an imposing and heavy vehicle used to transport cargo. This
metaphor implies that Hyde is an immoveable force with an excess of strength
and paucity of self-control.
Stevenson begins to develop the sense of mystery by including unanswered
questions. The Victorian code of etiquette meant that gentlemen would consider
it vulgar to ask probing questions about other people’s business- this adds to the
sense of mystery as Enfield says he ‘can’t mention’ the name on the cheque. In
other words, convention dictates that he must not mention the name. This serves
to reinforce for the reader the perpetual sense of obligation felt by respectable
Victorians. This is reinforced at the end of the chapter which includes a rather
tense exchange between these two friends with Utterson admitting, ‘If I do not
ask you the name of the other party, it is because I know it already.’ No names
are used, but tension rises between the two characters as they skirt around the
boundaries of what is acceptable to discuss.
This unsettling feeling that is experienced by Enfield is repeated throughout the
story with all characters who interact with Hyde reporting a feeling of unease
around the character of Hyde. The feeling of, ‘deformity’ alludes to his
unnatural and atavistic nature- a reflection of the Victorian fear that if
evolution was possible- so then must the possibility of devolution. Hyde
 ‘He gives a strong feeling
of deformity, although I
couldn’t specify the
point.’
6. Lanyon tells Utterson
Jekyll has become over-
imaginative and
unrealistic, describing
Jekyll as, ‘too fanciful’
and his work as,
‘unscientific balderdash.’
7. Utterson’s mind becomes,
‘enslaved’ by a
frightening dream in
which he sees a dark
image of his friend Jekyll
in bed asleep whilst a,
‘figure to whom power
was given,’ stands beside
his bed, commanding
Jekyll to, ‘rise do its
bidding.’
8. Utterson is determined to
discover the truth about
Hyde and his control over
Jekyll stating, ‘If he be
Mr Hyde…I shall be Mr
Seek.’
9. Utterson’s first encounter
of Hyde solidifies the
sense of Hyde’s unnatural
nature. ‘Mr Hyde was
pale and dwarfish…he
gave an impression of
deformity without any
nameable malformation.’
Utterson regards him
with‘disgust, loathing and
fear’
10. After visiting Poole,
Utterson’s is worried that
Jekyll is in trouble of
some kind. He comments,
‘my mind misgives.’ He
also refers to his fear that
Hyde has inserted himself
into Jekyll’s life to punish
him for sins of the past,
‘Pede Claudo.’
11. Jekyll confirms his
scientific differences with
represents the Victorian fear that the gentlemanly ideal could devolve into a
celebration of the base desires that they tried so hard to deny. This uneasy
feeling around Hyde is also a reference to his supernatural creation and the fact
that he is a product of transcendental science not a child of God.
Lanyon symbolises the rational. To him, science and religion are separate and
anything within science that transcends the rational is blasphemous. Lanyon’s
rejection of Jekyll’s work symbolises the opposition between science and
religion. The word, ‘fanciful’ implies that Lanyon views Jekyll’s work as self-
indulgent rather than a progressive and valid exploration of the scientific. It also
alludes to the idea that Jekyll is flawed- his hamartia being his desire to be a
leading name in his field, despite the potential risks of transcendental
exploration.
The dark and malevolent image of a faceless Hyde standing above Jekyll is both
horrifying and symbolic. The image foreshadows the constant presence of
Hyde within the psyche of Jekyll, implying, even at this early stage of the
novella that evil is a perpetual and predatory threat to the relatively vulnerable
and weak moral side of human nature. To be, ‘enslaved’ means to be under the
control of something. The fact that Utterson is, ‘enslaved’ by this dream shows
that the idea of Hyde’s corruption of Jekyll has already begun to consume him.
This is a playful use of language, but it is also a highly significant moment in the
text. Utterson’s commitment to investigating Mr Hyde could be seen as
subversive as it goes against Victorian Values. This is where structure becomes
highly significant. We can forgive this subversion because of who Utterson is.
In chapter one, we learned that as an ‘austere’ lawyer, the epitome of the
Victorian gentleman therefore, we can forgive his intentional intrusion into
Hyde’s life as an act of benevolence. Utterson is also assuming the role of
detective here- becoming the lens through which the secret of Mr Hyde is
revealed.
The description, ‘pale and dwarfish’ create the impression that Hyde is
malformed. It is interesting that this image creates an unsettling and malevolent
impression of him rather than one of weakness. Again, there is a recurrence of
the idea that the presence of Hyde has a negative impact on those around him as
if his very existence has the potential to corrupt innocence. Hyde’s intangible
evil seems to seep into the souls of those around him, serving as a warning to the
reader that evil is ever-present and that we must be vigilant in order to preserve
our innocence.
Stevenson introduces the idea of punishment in this chapter. Victorian Values
were followed as a means to maintain respectability and preserve one’s soul. In
this chapter, Utterson’s internal evaluation of the case serves to remind the
reader that deviating from a righteous path condemns one to be imprisoned by
the inevitability of consequence.
Pede Claudo is an abbreviated reference to the Latin phrase "pede poena claudo"
which translates to punishment comes limping. Mr. Utterson walks home with "a
very heavy heart" and considers what information Mr. Hyde must have in order
to be able to blackmail Dr. Jekyll. Mr. Utterson comments that, "in the law of
God, there is no statute of limitations." It, thus, must be some old disgrace or sin
that Mr. Hyde is dragging up, resulting in the "punishment coming, PEDE
CLAUDO." No one—not even Dr. Jekyll—may escape retribution, no matter
how slow it may be to arrive.
Jekyll’s willingness to speak openly about his disagreements with Lanyon reveal
that, up until Hyde’s unforgivable sin of murder, Jekyll shows a paucity of
 Lanyon. He relays their regret for his creation, instead his attitude conveys and excess of arrogance and
feelings for each other to self-importance. It appears that Jekyll considers himself to be the intellectual
Utterson, ‘that hide- superior to his peers, a position that he later confesses was part of his internal
struggle, partially responsible for his dogmatic pursuit of a ground-breaking
bound pedant, Lanyon…
scientific discovery.
what he called my
scientific heresies.’
12. Jekyll turns, ‘pale to the Jekyll’s vulnerability becomes evident when questioned about Hyde. The very
very lips’ when Utterson mention of Hyde’s name, causes a physical reaction in Jekyll. More specifically,
mentions Hyde. Jekyll’s exterior transformation to, ‘pale’ reflects earlier descriptions of Hyde,
creating a link between the two characters.
13. Jekyll tells Utterson, ‘… The fact that Jekyll uses the word, ‘choose’ suggests that, at this point in the
the moment I choose, I novella, Jekyll is still the dominant of the two characters. At this point, there is
can be rid of Mr Hyde.’ still time for Jekyll to liberate himself from the malevolent force of Hyde
before he becomes imprisoned by his dark desires.
14. Hyde murders, the The juxtaposition of Danvers and Hyde in this chapter serve to highlight the
‘beautiful gentleman with duality of human nature. Danvers is described as, ‘beautiful’ with ‘white hair’
white hair’, Sir Danvers both symbolic of benevolence and innocence. Hyde’s outburst is excessive
suggesting that whatever happened during their exchange caused him to
Carew with unimaginable
transgress the rules of society and break out of the, ‘bounds’ or rules of law that
savagery. The murderous stop ordinary human beings from committing acts of extreme violence or
outburst is described murder. The description of, ‘ape-like fury’ present Hyde as savage and
using the phrases: ‘Broke animalistic, the ferocity of the attack causing Carew’s bones to break loudly. In
out of all bounds.’ ‘Ape- this moment we see Hyde as a predatory force destroying not just the literal
like fury.’ ‘Bone audibly figure of Danvers, but metaphorically destroying the values that Danvers
shattered’ represents.
15. Utterson realises that the The cane, an expensive and material representation of upper-class wealth and
cane used to murder respectability is broken by the force of the attack, reminding us of the fragility
Carew is the one he have of human nature. The fact that Utterson recognises it as belonging to Jekyll
to Jekyll. ‘…he could further builds the case that the connection between the characters of Jekyll and
doubt no longer…he Hyde is deeper and more significant than he first feared.
recognised it for one that
he had himself presented
many years before to
Henry Jekyll.’
16. Utterson travels to Hyde’s This is one of many significant uses of pathetic fallacy placed very deliberately
address in Soho in the to reinforce the unsettling atmosphere created as a result of Hyde’s malevolent
‘first fog of the season…a act. Fog lingers in the atmosphere and the heaviness of the mood is emphasised
by the darkness of the ‘chocolate-coloured pall’. Here the concrete and the
great chocolate-coloured
abstract are woven together by Stevenson to emphasise a feeling of
pall lowered over imprisonment and fear. The concrete image of the fog caused by the ever-
heaven.’ present pollution of Victorian London emphasises the abstract concepts of good
and evil. The darkness is, ‘lowered over heaven’ as if the savage murder of
Carew has cast a shadow over the benevolence of heaven, reminding us that evil
is ever-present and has the ability to penetrate innocence.
17. Utterson sees that Hyde’s The idea of wealth and class is reinforced by the references to ‘luxury’ and
rooms in Soho are well ‘good taste,’ but the fact the these material symbols of Victorian respectability
‘furnished with luxury have been, ‘ransacked’ symbolises the disruption of the status quo caused by
and good taste,’ but have the brutal murder of Danvers Carew. The presence of chaos amongst the
been, ‘ransacked.’ symbols of wealth and class highlight that moral fortitude is not a prerequisite
of privilege. Moral superiority happens despite privilege, not as a result of it.
The iconography of privilege is the façade behind which the morally bankrupt
can hide, but, without tangible rules, those with a dark and unchecked persona,
will metaphorically, ‘ransack’ their own status quo.
18. Jekyll swears to Utterson There is a sense that Jekyll is dogmatic in his determination that Hyde is no
that he will not see Hyde longer to be a presence in his life. It is interesting that Jekyll chooses to, “swear
again. ‘I swear to God I to God” considering his previous attitude towards Lanyon, the God fearing
will never set eyes on him scientist who dared to question his methods. For the first time, Jekyll is
again.’ presented as vulnerable and emotional, quite the opposite to his previously
determined and rational persona. Here we see the beginning of the end for
 Jekyll. Hyde’s act of murder transgresses both the laws of God and of Man. The
immoral act is permanent and unforgivable – any remaining innocence in
Jekyll has been irreversibly corrupted and any attempts to find salvation in God
will prove fruitless now that Jekyll is imprisoned within the malevolence of
Hyde’s shadow.
19. After Jekyll shares his At this point, the true detective within Utterson is revealed. His dogmatic
story about Hyde’s letter pursuit of the truth will not allow him to trust in Jekyll’s explanation that Hyde
and how it arrived by is ‘safe’ and will not return. Jekyll explains that he has a letter proving this and
that this letter was delivered via messenger; thus without a postmark to trace.
messenger, Poole reveals
Utterson is unable to accept this and must investigate in the hope of finding a
that, ‘…nothing had come clue to Hyde’s whereabouts. An early blueprint for the detective story,
except by post.’ This Stevenson’s novella introduces the idea of the perpetrator of the crime
leaves Utterson with, ‘his seemingly convincing the detective through use of duplicitous behaviour, only
fears renewed.’ to find that the veil of deceit is quickly lifted by the tenacity and intelligence of
the dogmatic detective.
20. Guest tells Utterson that Utterson and Guest investigate “Hyde’s” letter, just as an invitation arrives from
Jekyll’s handwriting has Jekyll. Guest reveals that the two documents are written in hands that, ‘are in
‘…a rather singular many points identical: only differently sloped.’ This is more concrete evidence
resemblance’ to that of of a connection between the two characters. The sloping of the letters reinforces
Hyde, creating an the idea that these two characters are opposing sides a singular entity, each
unsettling connection pulling the soul in a different direction. Despite the mounting evidence, the truth
between the two. that Jekyll and Hyde are the same person is as yet intangible due to the
supernatural nature the fact. Instead of coming to this conclusion, Utterson
instead wonders whether it is possible for Henry Jekyll to, ‘forge for a
murderer!’
21. Utterson’s is fearful The unsettling nature of the idea that Jekyll would cover for a murderous
because he suspects villain causes a physical reaction in Utterson. The metaphorical image of his
Jekyll of forging for blood running, ‘cold’ echoes the reaction felt by characters who encounter Mr
Hyde. ‘His blood ran cold Hyde, reinforcing the constant presence of evil that lies like a fog over the truth
in his veins.’ that Utterson is yet to see clearly.
22. Utterson visits Lanyon The description of Lanyon’s face during this visit highlights that the happy and
who is revealed to be healthy character that we met at the start of the novella has been replaced by a
visibly changed both man close to death. The word, “legibly” is interesting as it suggests that his
physically and mentally- approaching demise is inevitable and clear. More specifically, it suggests that
‘…his death-warrant his death is ‘written’ as fate is written. Lanyon cryptically alludes to his death
written legibly on his being a consequence of knowledge not meant to be shared when he tells
face.’ Utterson, ‘I sometimes think, if we knew all, we should be more glad to get
away.’ In his final letter, Lanyon reveals that Hyde gave him the choice to learn
the truth or return to a life without that knowledge. Although Utterson does not
know it yet, this could be considered Lanyon’s final confession. His sin was
being tempted to learn a truth better left undiscovered.
23. Interestingly, we see Stevenson reminds us constantly of the fallibility of man through his description
perpetual inner struggle of Utterson’s constant inner struggle. Utterson remains a reliable narrator
of man presented through throughout because he is in constant conflict with himself, revealing that he is
human. His inner battle and strict code of behaviour reinforce that morality is
Utterson who struggles to
earned through a struggle to master one’s flaws. Duality is presented as a
decide what to do with universal constant- we all struggle with inner conflict-it is how we deal with that
Lanyon’s letter. He struggle that separates the benevolent from the malevolent or the moral from
struggles between, ‘a the immoral.
great curiosity’ and his,
‘stringent obligations.’
24. Utterson and Enfield walk This moment exemplifies the idea that some horrors are unspeakable. The
on silently after seeing understanding of what is right and wrong or what is good or evil is a truth that is
Jekyll slam his window known and need not be spoken. Our society creates the rules by which we live,
we become part of the fabric of that construct. What Enfield and Utterson have
shut, unable to verbalise
seen is disruptive to the status quo- both unsettling and malevolent. The
what they have witnessed reaction of, ‘horror’ experienced by both Utterson and Enfield demonstrate what
yet sharing a sense of happens when our rationality is challenged and replaced by the idea that what we
horror at what they understand as truth could be incorrect. This reaction could be seen as a reference
believe they have to the science vs religion debate that was gaining momentum during the
 witnessed. They look at
each other with, ‘…an
answering horror in their
eyes.’
25. After a visit from Poole,
Utterson accompanies the
butler to Jekyll’s house to
investigate Poole’s
suspicion of, ‘foul play.’
They walk through the
‘wild’ night whilst trees
are, ‘lashing themselves’
along the railings of
surrounding gardens.
26. Poole and Utterson break
into the cabinet surprised
at first to find a most,
‘commonplace’ and quiet
scene before noticing, the
body of Edward Hyde,
‘sorely contorted and still
twitching,’ dressed in
clothes of, ‘the doctor’s
bigness.’
27. Utterson is confused to
find that he is now named
as the beneficiary of
Jekyll’s will, exclaiming,
‘my head goes around.’
28. In his narrative, Lanyon
describes his
correspondence from
Jekyll imploring him to
complete a series of tasks
which culminate in Hyde
triumphantly drinking his
potion and transforming
in front of Lanyon’s eyes.
Significantly, Lanyon is
warned before Hyde
drinks: ‘As you decide,
you shall be left as you
were before, neither
richer nor wiser…Or, if
you shall so prefer to
choose, a new province of
knowledge…to stagger
the unbelief of Satan.’
29. Jekyll admits that the
worst of his faults had
always been, ‘a certain
impatient gaiety of
disposition’ that he found
hard to reconcile with his,
Victorian era. When faced with evidence that dismantles our understanding of
the truth, the consequence is a sense of fear and vulnerability.
Stevenson’s use of pathetic fallacy creates tension and fear building to the
eventual discovery of Hyde’s body in the cabinet. The night is described as,
‘wild’ reinforcing the idea that Hyde is no longer a force that can be controlled.
This image of the trees, ‘lashing themselves’ along the railings foreshadows the
discovery that the body discovered in the cabinet is one of a, ‘self-destroyer.’
Jekyll’s only way to take control from Hyde is to commit suicide, punishing
himself and destroying Hyde simultaneously.
Stevenson juxtaposes the, ‘commonplace’ scene with the image of the,
‘contorted…twitching’ body of Hyde. The word, ‘contorted’ creates a grotesque
image of Hyde’s twisted body that seems incongruous and almost comical lying
within the oversized clothing of Dr. Jekyll. This is a powerful image as it creates
a silhouette of sorts reflecting what was later explained through the
psychoanalytic theories of Freud and Jung. At the heart of the silhouette lies
Hyde- the personification of the Id (Freud) or the Shadow (Jung). The outer
layer represented by the doctor’s clothing represents the Super Ego (Freud) or
the Persona (Jung). Either way, the animalistic core that lies at the heart of all of
us is loosely veiled by the much more vulnerable façade that we construct in
order to exist successfully within the bounds of society.
Utterson’s theories about Hyde are thrown into question here, creating a sense of
confusion. At this point, dramatic irony plays a part as the reader may very well
have understood from the image of Hyde’s body in Jekyll’s clothes along with
Poole’s description of events to Utterson, that Jekyll and Hyde are in fact the
same person. Utterson’s shock and confusion reinforce that for him, the truth is
as yet intangible due its supernatural and abnormal nature. It is at this point
the narrative shifts- the truth is too much for Utterson to discover alone- he must
instead discover it through the narrative of Lanyon and then finally from Jekyll
himself.
Lanyon recounts his discovery of the truth about Jekyll and Hyde by sharing a
letter he received from Jekyll before then being visited by Hyde himself. It is
significant that Jekyll chooses to reveal himself to Lanyon- the man who
questioned his work. At this point of the story, we can assume that Jekyll was
imprisoned by Hyde with a paucity of control of his Hyde’s malevolent
presence. With that it in mind, it would be safe to assume that the choice to
reveal himself to Lanyon was orchestrated by Hyde as an act of vengeance
against the sceptic who rejected his work as, ‘unscientific balderdash.’ The
original plea in Jekyll’s letter suggesting that he was at Lanyon’s ‘mercy’ could
be viewed as a duplicitous attempt to secure Lanyon’s cooperation. The fact that
Hyde arrives as himself with the intention of transforming into Jekyll rather than
the other way around suggests that this is a situation engineered by Hyde rather
than Jekyll. The final reveal is delivered in the form of temptation not unlike
Satan’s temptation of Eve. Lanyon is given a choice to reject the truth or
discover ‘a new province of knowledge…to stagger the unbelief of Satan.’
Despite the direct reference to Satan himself, Lanyon is seduced by the promise
of knowledge, a promise that appeals to his sense of rationality.
In his final confession, Jekyll reveals that his vulnerability has always dwelt in
his duality of nature. His, ‘impatient gaiety of disposition’ describes his desire
for liberation and excitement outside the bonds imposed by society. This side of
his nature exists in direct conflict with his desire to be seen as respectable and
admirable by his peers. It could be argued that Stevenson is alluding to the
dangers of an overly oppressive society through his presentation of Jekyll here.
 ‘imperious desire’ to
carry his head high
amongst his fellow-men.
30. Jekyll reveals that his
work brought him to the
discovery of the, ‘truth’
that ‘man is not truly one,
but truly two.’
31. Jekyll feels intoxicated
when transformed into
Hyde, describing that the
transformation, ‘braced
and delighted me like
wine.’
32. Ultimately, Jekyll admits
that his transcendental
work led him to a life
plagued by fear- ‘no
longer the fear of the
gallows, it was the horror
of being Hyde that racked
me’
Victorian Values were strict, forcing men and women to suppress any desires
that could be viewed unfavourably. In Utterson’s case, we saw a rejection of
simple pleasures such as attending the theatre and drinking more than a highly
rationed amount of good wine. For Jekyll, his constant struggle to remain
respectable became an unbearable one, forcing him to undertake a dogmatic
quest for liberation.
The core theme of the novella in one quotation. Jekyll’s discovery of the duality
of human nature highlights the ever-present struggle that humankind faces. Life
is a perpetual struggle to balance our conflicting natures in order to exist as
civilised beings. This struggle is influenced by the societal structure in which the
individual exists with pressure being applied constantly from a range of external
factors. Ultimately, human beings have the free will to choose their own path,
but the consequences of those choices are ultimately out of our control. Life is
difficult and our duality is a constant; it cannot be rejected. It is because we are
both good and evil that we have the capacity to decipher between the moral and
immoral.
It is important that Jekyll acknowledges the delight and liberation he felt when
first released from, ‘the bonds of obligation.’ He describes a feeling of ‘heady
recklessness’ not unlike being drunk. The reference to intoxication serves as a
warning of the inconstant nature of this freedom. Hyde can enjoy this feeling
because of his paucity of conscience. Jekyll however feels both the freedom and
the consequences of Hyde’s behaviour. Like most human beings, he can only
appreciate freedom having known the misery of imprisonment. The initial
feeling of freedom was powerful and intoxicating like a drug, but didn’t last
because of the fact that Jekyll was always present to endure the chaos left when
Hyde relinquished control.
Jekyll admits finally that law and order is much less frightening than
relinquishing one’s soul to its savage and predatory instincts. Our humanity
exists in our ability to make moral decisions. Without order, there is chaos.