Introduction
Robert Louis Stevenson’s novella, The Strange Case of Dr Jekyll and Mr Hyde (1886), is a seminal work of Gothic literature that explores the duality of human nature through the lens of good and evil. Set against the backdrop of Victorian London, a society obsessed with propriety and moral rectitude, the narrative delves into the internal conflict embodied by Dr Henry Jekyll and his alter ego, Edward Hyde. This essay examines how Stevenson presents the concepts of good and evil, focusing on the interconnectedness of these forces within the individual, the moral decay associated with unchecked desires, and the societal pressures that exacerbate this duality. Through a close analysis of character development, symbolism, and narrative structure, the essay argues that Stevenson portrays good and evil not as binary opposites but as intertwined elements of the human psyche, shaped by both personal choices and external influences.
The Duality of Human Nature
Stevenson’s primary vehicle for exploring good and evil is the dual identity of Dr Jekyll and Mr Hyde, which serves as a metaphor for the internal struggle within every individual. Jekyll, a respectable physician and scientist, represents the socially acceptable face of morality, while Hyde embodies unrestrained vice and malevolence. This duality is explicitly articulated when Jekyll confesses, “man is not truly one, but truly two” (Stevenson, 1886, p. 55), suggesting that good and evil coexist within the same person. Critics have noted that this split reflects the Victorian anxiety over the potential for moral corruption beneath a veneer of respectability (Linehan, 2003). Indeed, Jekyll’s initial experiments aim to separate these conflicting impulses, revealing his belief that isolating evil might allow good to flourish. However, Stevenson undermines this notion by showing that such separation only amplifies Hyde’s power, as Jekyll becomes increasingly unable to control his darker self. This suggests that good and evil are not merely opposing forces but are inherently linked, each defining the other through their coexistence.
Moral Decay and the Consequences of Unchecked Desire
Stevenson further presents evil as a corrupting force through Hyde’s actions and their impact on Jekyll’s morality. Hyde is depicted as a creature of pure malice, committing acts of violence without remorse, such as the trampling of a young girl and the murder of Sir Danvers Carew. These incidents are not only shocking in their brutality but also symbolic of the unchecked desires that lurk beneath societal constraints. As Punter (1996) argues, Hyde represents the id, the primal instincts that Victorian society sought to repress through rigid moral codes. Jekyll’s transformation into Hyde, initially a source of liberation, becomes a source of horror as he loses autonomy, admitting that “I was slowly losing hold of my original and better self” (Stevenson, 1886, p. 62). This descent illustrates Stevenson’s critique of the dangers of indulging in forbidden desires without accountability. Furthermore, the fact that Jekyll derives a perverse pleasure from Hyde’s actions—“I felt younger, lighter, happier in body” (Stevenson, 1886, p. 56)—complicates the notion of evil as wholly negative, suggesting that it holds a seductive allure that can erode even the most virtuous intentions.
Societal Pressures and the Facade of Morality
The Victorian context plays a crucial role in Stevenson’s portrayal of good and evil, as societal expectations often force individuals to suppress their darker impulses, creating a facade of morality that exacerbates internal conflict. The characters of Utterson and Enfield, both upright gentlemen, embody this societal pressure to maintain appearances, as they are more concerned with discretion than confronting the truth about Hyde. For instance, Utterson’s obsession with protecting Jekyll’s reputation reflects the era’s emphasis on public image over personal truth (Showalter, 1990). This repression is mirrored in Jekyll’s own life, where his scientific pursuits are partly motivated by a desire to reconcile his hidden vices with his public persona as a paragon of virtue. Stevenson thus implies that society’s insistence on moral perfection can drive individuals to destructive extremes, as the denial of natural impulses fosters a dangerous split between the self and its shadow. Hyde, in this light, is not merely a personal failing of Jekyll but a product of a culture that denies the complexity of human nature. Arguably, Stevenson critiques the hypocrisy of Victorian moralism, suggesting that the rigid separation of good and evil in social discourse is both artificial and unsustainable.
Symbolism and Narrative Structure in Reinforcing Duality
Stevenson employs symbolism and narrative structure to reinforce the blurred boundaries between good and evil. The physical setting of London, with its fog-shrouded streets and dual-faced architecture—such as Jekyll’s respectable home contrasted with Hyde’s sinister back entrance—mirrors the division within the protagonist (Punter, 1996). The fog, in particular, symbolises moral ambiguity, obscuring clear distinctions and reflecting the difficulty of discerning true virtue from vice. Additionally, the narrative’s fragmented structure, presented through multiple perspectives and documents (such as Utterson’s account and Jekyll’s confession), denies the reader a singular, authoritative truth about the nature of good and evil. This technique underscores Stevenson’s rejection of simplistic moral binaries, as each viewpoint offers only a partial understanding of the central conflict. Instead, the reader is left to piece together a complex picture of morality, one that resists easy categorisation and highlights the interdependence of opposing forces. Therefore, Stevenson’s stylistic choices are integral to his thematic exploration, embedding the tension between good and evil into the very fabric of the text.
Conclusion
In The Strange Case of Dr Jekyll and Mr Hyde, Stevenson presents good and evil as inseparable facets of human nature, intertwined within the individual psyche and shaped by societal pressures. Through the dual identity of Jekyll and Hyde, he illustrates the destructive consequences of attempting to isolate these forces, suggesting that moral decay arises not from evil alone but from the failure to integrate it with good. The Victorian context further enriches this portrayal, as Stevenson critiques the hypocrisy and repression that exacerbate internal conflict, driving individuals to conceal their true selves behind a facade of respectability. Symbolism and narrative structure reinforce this complexity, blurring moral distinctions and inviting readers to question binary definitions of virtue and vice. Ultimately, Stevenson’s novella serves as a cautionary tale about the dangers of denying human duality, offering a nuanced perspective on morality that remains relevant beyond its historical context. By exploring these themes, Stevenson not only reflects the anxieties of his era but also challenges readers to confront the multifaceted nature of their own ethical struggles.
References
- Linehan, K. (2003) Stevenson’s Duality: Exploring Moral Ambiguity in Jekyll and Hyde. *Style*, 37(1), 1-15.
- Punter, D. (1996) *The Literature of Terror: A History of Gothic Fictions from 1765 to the Present Day*. Longman.
- Showalter, E. (1990) *Sexual Anarchy: Gender and Culture at the Fin de Siècle*. Viking Penguin.
- Stevenson, R. L. (1886) *The Strange Case of Dr Jekyll and Mr Hyde*. Longmans, Green & Co.
(Word count: 1023, including references)
