quotes analysis Flashcards
(38 cards)
“If he be Mr Hyde, I shall be Mr Seek”
The very name “Hyde” reflects his hidden nature- both physically and psychologically- symbolising the repressed desires within Jekyll’s subconscious. In one sense he represents the id, kept far away from the judgement of the super-ego. In another sense, he represents the poor and dejected working class, who celebrated many of the things that Hyde also enjoyed, but are hidden away from civilised society. He is everything that exists, but which Victorian England wanted to turn away from. Essentially, ‘Hyde’ is a homophone for Jekyll’s darker, elusive side of his personality. At one point in the book, Utterson suggests that if Mr Hyde will remain hidden, that he will be “Mr Seek.” Through this pun and clever wordplay, Utterson is taking on the role of the detective, just like Scotland yard. This sets up a detective narrative, in which the search is not for the killer, but for the inner self; the monster at the heart of us all.
“O my poor old Harry Jekyll, if I ever read Satan’s signature upon a face, it is on that of your new friend”
Utterson claims that Hyde’s face contains “Satan’s signature.” Here, he is almost suggesting that Hyde is a work of evil art – as though Satan himself has signed off the creation. This is ironic, given the fact that it later turns out that the real creator of Hyde is, in fact, his “good friend Henry Jekyll”. Also, the alliteration here makes the phrase sound almost like an advertising gimmick, or a slogan, which infers that the evil in his “face” is so instantly recognisable to Utterson and the reader that it is almost branded on like a logo. This links to the Victorian concept of physiognomy- the belief that moral character could be judged by appearance. Hyde is also repeatedly described using images of “Satan” which makes it clear that he is a purest form of evil – a kind of symbolic, religious evil that normally only exists in theory, but which has now been created as flesh and bone. Alternatively, Stevenson’s use of the biblical allusion “Satan” reinforces Hyde’s alignment with religious notions of absolute evil. Interestingly, “Satan” was a fallen angel, an analogy to Jekyll, who transforms from a “respectable” man into something “hardly human”.
“primitive duality of man”
Jekyll’s realisation that there exists a “primitive duality of man” highlights Stevenson’s belief that every individual harbours both virtue and vice, constantly in conflict. The stative verb “duality” could be seen to represent the good and bad sides of each of us in a religious context; or the double lives that were being lived by Victorian gentlemen, as they balance their sordid pleasures with their desire to appear respectable; or even as a part of Freud’s structural theory where the Ego (Jekyll) contains both the Super-Ego (Victorian society) and the Id (Hyde). The adjective “primitive” also relates to original or basic, so here Stevenson is suggesting that at our most basic levels humans are inherently layered, with morality and instinct coexisting fundamentally.
“Edward Hyde, alone in the ranks of mankind, was pure evil”
By describing Hyde as “alone in the ranks of mankind” and “pure evil”, Stevenson removes Hyde of any semblance of humanity. The stark isolation implied in the adjective “alone” contrasts with the structured idea of “ranks,” reinforcing Hyde’s exclusion from conventional morality and civilized society, emphasising how unique and isolated he was. In some ways, this creates a similar sympathy for Hyde as we might feel for Frankenstein’s Monster, since neither asked to be created. However, Frankenstein’s Monster seeks acceptance, whereas in contrast Hyde actively revels in his evil. This highlights how his “evil” is not imposed- it is chosen, reinforcing his moral depravity. Furthermore, Stevenson’s description of Hyde as “pure evil” removes any possibility of redemption, presenting him as the embodiment of innate sin- an entity entirely beyond moral rehabilitation. This highlights his separation from “mankind” as he doesn’t fit into the “ranks” that define humanity, thus alienating him. This links to Victorian fears of degeneration, perhaps suggesting that Hyde is not just feared, but is entirely incompatible with humanity.
“man is not truly one, but truly two”
Here, Jekyll observes that there are, in fact, two people within each of us as “man is not truly one, but truly two”. The repetition of the adjective “truly” amplifies Jekyll’s certainty, emphasising duality as an indisputable fact rather than a mere theory. Meanwhile the “two” could refer to both the civilised side of humanity - which is represented by the upper class and very respectable Henry Jekyll - and the “beast within,” Hyde. It could also be Stevenson suggesting that there isn’t as much difference between the uncivilised rabble and gentlemen as many people would like to believe. This reflects the Manichean belief that Good and Evil exist as distinct, irreconcilable forces, suggesting that human nature itself is governed by perpetual moral conflict.
“pale and dwarfish”
Hyde is described as “pale and dwarfish.” These adjectives both relate to him being weak or deformed. Also, although “pale” relates to a lack of life or vigour, it also has horrific connotations which link him to vampires and the gothic genre, or anyone else who spends no time around sunlight. And “dwarfish” although linking him to being short, could also suggest that he is below other people socially as well as physically; that he is less developed – or less evolved – than the civilised “upstanding” gentlemen of Victorian England. Also, both words suggest that Hyde was not a significant part of Jekyll – that he was “underdeveloped.” Alternatively, Hyde’s “pale” complexion evokes something ghostly- a faint, insubstantial version of Jekyll- whilst “dwarfish” reinforces his status as a mere fragment of a greater whole.
“a murderous mixture of timidity and boldness”
The oxymoronic image of “a murderous mixture of timidity and boldness” perfectly describes Hyde’s state. His “timidity” could come from how Hyde has not experienced the outside world so much, given that he was always hidden while he was kept in Jekyll’s id, reinforcing Stevenson’s exploration of inner conflict and unpredictability. Hyde moves through the world with an unsettling unfamiliarity, his nervousness rooted in years of suppression within Jekyll’s psyche. However, he also displays a “boldness” which suggests a confidence. This could present Hyde as a child who was born into the world as a man, and has the child’s naivety combined with an adults confidence. He feels as though he has the freedom to act without moral constraint, however it could also suggest that deep down he knows that his actions are wrong and fears being discovered- hence this “timidity”. Yet, the fact that he has all this combined in a “murderous mixture” completes the image of Hyde as a real character of horror: he has no conscience, no civilised, learned state; he has only the selfishness of an angry toddler who sees only what makes him happy and pursues it ruthlessly.
“troglodytic”
The description of Hyde as “troglodytic” uses an adjective that literally means ‘cave dweller.’ This draws comparisons with Neanderthal man and evolutionary regression. It is as if Hyde looks so primitive and animalistic that he seems prehistoric. At the time, Darwin’s theory of evolution was still relatively new, so Stevenson’s use of this scientific terminology heightens the novel’s realism, making Hyde’s degeneration feel chillingly plausible to Victorian readers. It also relates Hyde to the era’s imperial anxieties, mirroring the way colonised people were perceived as ‘less evolved’ than the British, reinforcing Hyde’s portrayal as a figure of unchecked savagery and regression.
“clubbed/ trampling/ like a madman”
When Hyde attacks Sir Danvers, Stevenson uses a range of verbs that make his attack sound violent and out of control. “Clubbed” relates him to cavemen – or “troglodytes” – who used to carry clubs around to batter their prey. “Trampling” highlights Hyde’s indifference to human life, showing that he doesn’t just hurt his victim—he destroys him without thought or remorse. It is also a behaviour often associated with animals, particularly those that stampede or move without consideration, which further emphasises his animalistic qualities. He is described as doing this “like a madman,” a simile that makes it clear that Hyde has lost control. Here, Hyde’s unchecked violence starkly contrasts with Jekyll’s vision of himself as a refined gentleman, reinforcing Stevenson’s critique of Victorian repression. Madness was also still a loosely defined concept in Victorian society, so this description would have evoked fear to the reader due to its association with unpredictability and loss of rational control.
“ape-like fury”
Hyde’s “ape-like fury” can be seen as a reflection of Victorian fears of degeneration (atavism)- the idea that humans could regress or revert back to more primitive and less evolved forms. This is because the adjective “ape-like” aligns Hyde with Darwin’s evolutionary theory, presenting him as less evolved, and therefore, more dangerous This simile emphasises his animalistic nature, suggesting that Hyde’s violence is driven by raw, untamed impulses. His “fury” also infers an explosive and uncontrollable energy- one that isn’t premeditated but instead brutal and spontaneous, just like the behaviour of a wild animal.
“it seemed natural and human…a livelier image of the spirit”
When Jekyll first turns into Hyde he says that “it seemed natural and human.” Interestingly, Jekyll uses the pronoun “it” rather than him when describing Hyde, perhaps suggesting that Jekyll often struggles to draw a distinction between Hyde and himself, often struggling to accept that they are a part of the same person- he can’t even humanise Hyde with a “him” and instead objectifies Hyde by referring to “it.” Yet Jekyll then calls him “natural” – suggesting that he is normal, and acceptable – and “human,” which again shows Jekyll’s struggle to know how to define his new state.
He goes on to say that Hyde bore a “livelier image of the spirit.” The fact that Jekyll refers to the “spirit,” which is a kind of soul, infers that Jekyll is talking about something from deep inside him. He says it has a “livelier image” which suggests activity, excitement – even a childish wonder – that counters the more serious image that traditional Christian goodness entails. Hyde embodies an unrestrained, intoxicating exhilaration- offering Jekyll a seductive freedom that accelerates his moral descent. This conflict directly reflects broader Victorian anxieties about maintaining a respectable exterior, while suppressing dangerous inner impulses.
“younger, lighter, happier”
When Jekyll first turns into Hyde, he clearly has positive feelings for his new form. Using a tricolon, he says he feels “younger, lighter, happier.” The reference to him being “younger” suggests that he has metaphorically been reborn and feels renewed. The fact that he was “lighter” could suggest his size, but the connotations here might suggest that the weight that has been lifted is actually his conscience – he no longer feels the weight of responsibility that he once did and the pressure to maintain his reputation. This is supported by the fact that he is now “happier,” again – he has no conscience and no guilt, and is therefore physically and emotionally freed. This is especially relevant when considering thar many Victorian gentlemen led double lives, indulging in vices whilst attempting to maintain a respectable façade, reinforcing Stevenson’s critique of Victorian hypocrisy.
“the moment I choose, I can be rid of Mr Hyde”
Jekyll declares that he can be rid of Hyde at the ‘moment I choose.’ At this point, he remains convinced that he is in control- his ego dominates his darker instincts, believing restraint will triumph over temptation. However, this confidence is steeped in tragic irony. As Hyde grows stronger, Jekyll is no longer choosing transformation- Hyde seizes control, leeching off Jekyll’s indulgence, evolving from a mere temptation into an unstoppable force. His addiction to Hyde’s freedom spirals until the roles reverse entirely, with Jekyll powerless to stop his own descent. This mirrors the broader Victorian arrogance that believed repression could permanently suppress mankind’s primitive nature. Yet Stevenson dismantles this illusion- Hyde is not merely a creation but an inevitability, demonstrating that unchecked indulgence leads to total corruption.
“I stood already committed to a profound duality of life”
Jekyll acknowledges that even before the creation of Hyde he was “already” living a double life. The use of the word “committed” suggests that Jekyll was aware of this conflict within him and had made a conscious decision to embrace both sides of his personality: the respectable, moral side and the darker, more indulgent side. The phrase “profound duality” suggests that this division is a fundamental conflict between good and evil, and highlights the fact that this “duality” is not just part of his life, but at the very core of his existence. This reflects the repressive nature of Victorian society as they too felt compelled to hide their true desires and impulses to maintain their social standings.
“it wasn’t like a man; it was like some damned juggernaut”
Hyde is consistently dehumanised, which suggests that his physical and moral presence is so different from humanity that he cannot be identified as a “man”, only “some damned juggernaut”. A “juggernaut” refers to an unstoppable, destructive force, so comparing Hyde to one (through the use of a simile) conveys that Hyde is ruthless and brutal. Yet beyond this savagery, Hyde is also cold and mechanical- an unfeeling force of devastation that further strips him of any trace of humanity, almost as if destruction is his sole function.
“like a man restored from death”
When Lanyon witnesses Jekyll’s transformation from Hyde back into his original form, it evokes a clear image of reincarnation, as he appears “like a man restored from death.” This phrase carries religious connotations, alluding to resurrection, yet Stevenson’s depiction suggests something far darker. Hyde is intrinsically linked to death and decay, embodying the horror of the grave, making Jekyll’s fleeting recovery less a triumph and more a forewarning of inevitable doom. This moment also manipulates Gothic symbolism, reinforcing the illusion of salvation. Just as Hyde gave Jekyll fleeting relief before dragging him deeper into moral and physical decay, his transformation back into Jekyll offers only a temporary escape and salvation- ultimately foreshadowing inevitable ruin.
“my devil had been long caged, he came out roaring”
The “devil” represents the darker, primal side of human nature. It isn’t just evil, but embodies all suppressed desires and forbidden urges that a Victorian society would look down upon. Here, Jekyll views Hyde as the personification of everything he has repressed. The fact that it had been “long caged” highlights Jekyll’s lifelong struggle to maintain a respectable facade- he had metaphorically locked away his instincts to meet these social expectations. This provides an image of forced restraint and denial. Finally, it “came out roaring” which evokes imagery of an animal or a monster, emphasising that Hyde, like an untamed creature acts impulsively. The adjective “roaring” has connotations of aggression and an explosive release, thus inferring how unnatural it is to “cage” one’s true identity.
“he was perfectly cool and made no resistance, but gave me one look, so ugly that it bought out the sweat on me like running”
Hyde’s “perfectly cool” demeanour suggests a terrifying calmness, which implies that he feels no guilt or fear. This detachment of empathy and conscience further dehumanises him and demonstrates his defiance of social norms and authority, especially due to his lack of “resistance”. His ugliness also causes physical reactions: sweating “like running” highlights the involuntary fear that Hyde elicits from others. It triggers the fight or flight response, adding the horror and mystery of his character. This aligns with Lombroso’s theory of the ‘borne criminal’, where criminals could be identified by physical characteristics.
“the other snarled aloud into a savage laugh”
Hyde is consistently distanced from human identity, as he is never referred to by name or even as a person- he is simply “the other”. This depersonalised label reinforces his role as Jekyll’s darker alter ego, stripping him of any individuality and aligning him with something unnatural and foreign, perhaps even evoking Gothic notions of the supernatural and the uncanny. The verb “snarled” also invokes predatory imagery, further setting him apart from human society with this animalistic behaviour. Meanwhile the phrase “savage laugh” suggests that Hyde not only embodies brutality, but actively revels in it. The adjective “savage” reinforces this inhumanity, portraying him as a creature of raw, primal instincts, untethered from civilised morality. Moreover, the oxymoronic phrase- juxtaposing amusement with savagery- not only strips Hyde of human restraint but warps his very nature, making him more beast than man. The use of sound imagery heightens his unnatural presence; even his laughter distorts the familiar, turning amusement into something grotesque and unsettling. This cements Hyde as an entity beyond human comprehension- neither fully man nor fully beast, but something that defies classification.
“rather there was something abnormal and misbegotten in the very essence of the creature that now faced me- something seizing, surprising and revolting”
The terms “abnormal” and “misbegotten” suggest that Hyde’s very existence defies natural order. This emphasises that Hyde is not merely flawed or sinful but is fundamentally wrong in his “very essence”. He is a mistake in creation and an unintended consequence of Jekyll’s experiment. The words “seizing, surprising and revolting” show the immediate instinctual reactions due to Hyde. “Seizing” suggests his presence is both inescapable and suffocating, trapping those around him in an almost hypnotic state of horror, “surprising” suggests that his appearance and manner shocks people to their core, and “revolting” captures the disgust he elicits. Together, the tricolon compounds the sense of revulsion, portraying Hyde as something so fundamentally unnatural that human instinct rejects him outright.
“hence it came about that I concealed my pleasures”
By concealing his “pleasures”, Jekyll is forced to live a double life, separating his respectable self from his indulgent side. It suggests that Jekyll’s repression is not solely due to the immorality of his desires, but rather the fear of societal condemnation in a rigid Victorian world obsessed with respectability. The word “pleasures” suggests that Jekyll’s indulgences bring him enjoyment, yet they simultaneously burden him with guilt. This duality implies an awareness of wrongdoing, yet also an inability to resist temptation- mirroring the conflict between his respectable persona and his darker instincts.
“if each, I told myself, could be housed in separate identities, life would be relieved of all that was unbearable”
Jekyll’s wish to “house” each part of himself in separate identities reflects his desire to escape the internal conflict between his respectable, socially acceptable self and his darker, more impulsive desires. The idea of “relieving life” of what is “unbearable” implies that Jekyll finds the pressure to conform, and the repression of his desires, intolerable. It suggests that he believes he can control each identity separately. Stevenson critiques this belief, implying that fragmentation of the self leads not to peace but to instability.
“that’s not Jekyll’s voice- it’s Hyde’s! Down with the door, Poole”
The distinction Utterson makes between Jekyll’s and Hyde’s voices emphasizes the complete separation Jekyll has achieved in his transformation. However, this moment also reveals that the separation of his personalities has led to chaos rather than control. Stevenson’s choice to highlight Hyde’s voice, rather than Jekyll’s, symbolizes the way Hyde has now overtaken Jekyll entirely. ‘‘Doors’’ also represent secrecy and boundaries throughout the novella; ‘‘Down with the door’’ symbolizes the collapse of the barrier Jekyll has maintained between his respectable identity and his darker impulses through Hyde. Breaking down the door is not just a physical act but also a metaphor for uncovering hidden truths and exposing the terrifying duality and evil within Jekyll. This is also key as in Victorian society, a man’s home and privacy were sacred, therefore forcing entry into Jekyll’s lab would have been seen as a transgression.
“if I am the chief of sinners, I am the chief of sufferers also”
Because of Hyde, Jekyll becomes a ‘‘sinner’’, acting against his moral code and the expectations of Victorian society. However, he is also the ‘‘chief of sufferers’’ because he cannot escape the psychological impact of his actions. This paradox suggests that ultimately no one can escape the consequences of their true nature. Moreover, ‘‘chief’’ has connotations of being the most important or main, so by saying that he is the ‘‘chief’’ of both ‘‘sin’’ and ‘suffering’’ suggests that Jekyll has become the ultimate embodiment of both sin and suffering- no one surpasses his mastery of self-destruction. This internal torment is further emphasised through the symmetrical structure of the phrase, subtly mirroring Jekyll’s divided self. By pairing “sin” and “suffering” he suggests that one cannot exist without the other as they are intrinsically linked- indulgence inevitably invites torment, ensuring his descent into ruins is unavoidable.
