Benthamism
Benthamism, also referred to as utilitarianism, emerged as a significant ideology in Victorian society. This term is linked to the philosophy of Jeremy Bentham, articulated in his Introduction to the Principles of Morals and Legislation. It was embraced by a substantial segment of the Victorian middle class, influencing their customs and beliefs. By the 1820s, Benthamism had garnered a number of adherents who championed his theories in intellectual discussions. Its proponents gained political influence in the 1830s when around one hundred followers were elected to the first reformed Parliament in England.

Central to this philosophy was the principle of "the greatest happiness for the greatest number," a phrase borrowed from Joseph Priestley, an eighteenth-century Unitarian theologian. This belief was based on the idea that self-interest should be the primary focus and that happiness could be achieved by avoiding pain and seeking pleasure. In Victorian People and Ideas, Richard D. Altick explains that "utilitarianism was ... wholly hedonistic; it made no allowance for the promptings of conscience, or for ... the forces of generosity, mercy, compassion, self-sacrifice, love. Benthamite ethics had nothing to do with Christian morality."

Evangelicalism
Another equally significant movement during the Victorian era was Evangelicalism, a form of Protestant pietism. Evangelicalism emphasized less on doctrine and more on the daily lives and ultimate salvation of its followers. It established strict behavioral guidelines for its adherents to follow to achieve atonement for their sins. Altick notes that "the Evangelical's anxious eye was forever fixed upon the 'eternal microscope' which searched for every moral blemish and reported every motion of the soul." This religion is also recognized for inspiring humanitarian efforts during the Victorian age.

London at the End of the Nineteenth Century
Michael Sadler depicts London in the latter part of the nineteenth century in his Forlorn Sunset (1947):

London in the early sixties was still largely untamed. Aside from the residential and shopping areas, few districts were truly "public" in the sense that ordinary people frequented them. There was no telling what peculiar area you might encounter, what dead-end you might stumble upon, or what embarrassment, insult, or even danger you might face. Consequently, the conventional middle class stuck to the main thoroughfares, aware that just behind the facades on either side lived a million hidden lives, but uninterested in their nature, and scarcely acknowledging that those residents were also Londoners.

Irving S. Saposnik, in his article on Stevenson, observes that during this era, London was:

much like its residents, a microcosm of the unavoidable fragmentation that Victorian individuals found inescapable. It represented that division-within-essential-unity which is the very essence of The Strange Case of Dr. Jekyll and Mr. Hyde. As both a geographic and symbolic center, London epitomized what Stevenson called it in New Arabian Nights, "the great battlefield of mankind."

Reverend William Tuckniss describes London at the close of the nineteenth century as a place where:

The seeds of both good and evil reach their fullest maturity, and virtue and vice develop most quickly under the abundant influences present everywhere. London, therefore, can be seen as the primary hub of these activities, simultaneously serving as the marketplace of crime and the stronghold of Christianity. Indeed, it is the major battlefield where the forces of darkness and the agents of heaven clash. Here, they engage in close combat, striving for dominance.

Set against the backdrop of 1870s London, "The Strange Case of Dr. Jekyll and Mr. Hyde" immerses readers in a world that is both vividly realistic and eerily speculative. The city is depicted in all its historical authenticity, bustling with the constant flow of foot traffic and a diverse populace. From the opulent residences to the dilapidated buildings, the setting captures the social hierarchy and urban life of the period with precision, suggesting the author's own familiarity with such environments.

Urban Landscape and Social Dynamics

London in the 19th century serves not only as a mere backdrop but as a character in its own right within the narrative. The city's streets, teeming with life at all hours, mirror the novel's themes of duality and deception. Each corner, each façade of London reflects the stark contrast between the burgeoning progress of the Industrial Age and the shadows of its socio-economic challenges. This dynamic offers a fitting stage for the story's exploration of human nature's complexities, with characters navigating a world caught between advancement and decay.

Architectural Contrast

The architecture described in the novel further enhances the setting's role. Homes and buildings range from meticulously maintained to remarkably rundown, symbolizing the duality at the heart of Dr. Jekyll's tale. This juxtaposition highlights the era's reality, where progress and neglect coexist, much like the dual identities of Jekyll himself. Whether through the grand designs of modernity or the crumbling remnants of older structures, the setting vividly portrays the variances in wealth and status, painting a comprehensive picture of Victorian society.

Historical Accuracy and Fantastical Elements

While the novel remains grounded in the historical reality of its time, it introduces a singular fantastical element through Dr. Jekyll's scientific experimentation. This experimentation, involving the use of mineral salts, aligns with the burgeoning field of pharmacology in the late 19th century. During this era, scientific exploration was pushing boundaries, with researchers delving into the potential of various substances, albeit without modern oversight. This blend of history and fantasy lends a layer of plausibility to the story, as even the most imaginative elements are rooted in the scientific curiosity of the age.

Scientific Exploration and Societal Perception

The author's depiction of Dr. Jekyll's research reflects the period's burgeoning interest in medical science and pharmacology. The 1880s were a time of significant scientific strides, with personal researchers playing a pivotal role. Ether, for example, transitioned from an experimental curiosity to a staple in medical practices, despite its initial misuse. This context enriches the narrative, underscoring the tension between scientific ambition and ethical restraint—a core theme that resonates through Jekyll's transformative experiments.

The Interplay of Fact and Fiction

The novel's setting, while grounded in reality, skillfully incorporates elements of the fantastical, a testament to the author's imaginative prowess. The streets of London, with their authenticity, provide a stark contrast to the surreal unfolding of Jekyll's metamorphosis. This interplay between fact and fiction enhances the tension and intrigue, inviting readers to ponder the limits of scientific endeavor and the dual nature inherent in humanity.

In sum, the setting of "The Strange Case of Dr. Jekyll and Mr. Hyde" is intricately woven into the narrative, offering a richly detailed canvas that enhances the story's exploration of identity, morality, and transformation. By grounding the fantastical elements in the reality of its time, the novel invites readers into a world that feels both authentic and otherworldly, challenging them to consider the boundaries between science and self, progress and peril.

Given the multitude of parallel narratives across various mediums such as print, cinema, television, and stage, it might be intriguing to compare some of these portrayals of dual identity with Stevenson's work.

1. Is there any rationale at all for Jekyll engaging in the audacious experiment?

2. Several notable readers, including Henry James, found the use of drugs perplexing and somewhat difficult to believe. Does this aspect of the plot seem implausible? Could Stevenson have employed a different method to address the transformation?

3. Although Hyde commits only one murder, does the author effectively convey a sense of overwhelming evil in this character?

4. Did knowing the basic outline of the plot before reading the text diminish the impact of the climax for you in any way?

5. Aside from the transformation itself, which is clearly in the realm of science fiction, is there any other element of the narrative that stretches believability? For instance, are the behaviors of all the characters plausible?

6. Is the tone of the story consistently maintained throughout the text? Could more have been done to heighten it?

"The Strange Case of Dr. Jekyll and Mr. Hyde" by Robert Louis Stevenson offers a fascinating glimpse into the literary style and techniques of its time. While its prose might seem archaic to modern readers, it represents a significant piece of literature that captures the essence of Victorian horror and ethics. This narrative not only showcases Stevenson's storytelling prowess but also reflects the broader influences of his literary predecessors.

Understanding Victorian Prose

For contemporary readers, particularly those in middle school, Stevenson's novel can serve as a challenging yet rewarding reading exercise. The language, typical of an older style, benefits greatly from being read aloud, allowing the rhythmic and formal nature of the prose to resonate. While many expressions, such as "his blood ran cold in his veins," have become literary clichés, they also provide insight into the passage of time and the evolution of language. These phrases, although seen as antique today, once contributed to the book's contemporary, topical allure.

Influences and Literary Connections

Stevenson's exposure to the works of renowned authors like Fyodor Dostoevsky and Edgar Allan Poe left a noticeable imprint on "Dr. Jekyll and Mr. Hyde." The chilling elements reminiscent of Poe's work, particularly "The Imp of the Perverse," are woven into the narrative, infusing it with a haunting psychological depth. Stevenson might have also benefited from the humor of authors like Mark Twain, as his own attempts at humor in the novel appear sparse and underdeveloped. While the novel exudes the horror characteristic of its era, it lacks the self-deprecating humor that might have offered a reprieve from its intense themes.

Echoes of Mary Shelley's Influence

The narrative of "Dr. Jekyll and Mr. Hyde" seems to bear the indelible mark of Mary Shelley's seminal work, "Frankenstein." Though it’s impossible to pinpoint every book Stevenson read during his life, the thematic resemblance to Shelley's story of a scientist who creates a monster is striking. In Stevenson's tale, however, the horror is internalized; it’s the story of a scientist who turns himself into a monster. This internal transformation reflects Stevenson's childhood lessons about the torment associated with sin and the inadequacy of mere regret for redemption.

Thematic Resonance and Psychological Depth

In its exploration of duality, the novel delves into the complexities of human nature, presenting a world where the boundaries between good and evil blur. Stevenson's portrayal of these themes parallels contemporary explorations of identity and morality, as seen in modern works like the 1999 film "The Matrix." Just as "The Matrix" examines a dystopian reality with self-reflective undertones, "Dr. Jekyll and Mr. Hyde" explores the moral conflicts and hidden desires lurking within the human psyche. However, the novel’s lack of humor distinguishes it from other works of its time, which often utilized satire to amplify their messages.

Enduring Legacy

Despite its stylistic challenges, "The Strange Case of Dr. Jekyll and Mr. Hyde" remains a significant literary work that has captured the imagination of readers and scholars alike. Its influence is visible in countless adaptations and interpretations, cementing its place in the canon of classic horror literature. Stevenson's ability to weave a narrative that is both a product of its time and a timeless examination of human nature ensures that his work continues to resonate, offering readers a glimpse into the moral and existential questions that pervade even the most contemporary narratives.

For a contemporary reader, well-acquainted with the Jekyll/Hyde dual identity, it's challenging to grasp the shock experienced by those in Stevenson's era. These readers, unaware of the phenomenon, believed until nearly the end of the story that two distinct individuals were involved. The social standing of the main characters holds importance. They are all "gentlemen," with the sole exception being Jekyll's servant, Poole. This distinction allows Hyde, who dresses like an upper-class individual and possesses sufficient funds, to act freely and independently in his malicious deeds.

The refinement of Mr. Utterson, Dr. Lanyon, Mr. Enfield, and Dr. Jekyll himself establishes the novella's tone: society expects the highest moral conduct from individuals of this class. Consequently, the disgrace that Jekyll strives to avoid becomes even more catastrophic, ultimately driving him to suicide at the story's conclusion. Furthermore, the social class of the main characters highlights Hyde's degradation when he ventures into lower-class areas to carry out his heinous acts.

This novel offers a refreshing change for those used to stories featuring self-indulgent and licentious characters. It is currently unfashionable for authors to write from the perspective of characters who value self-restraint and courtesy over personal ambition. Readers unfamiliar with the works of Dickens or Tolstoy may find this short novel a good introduction to classic literature.

Although the story centers on an educated, upper-class snob who discovers to his horror that he has shameful, base impulses like anyone else, the author rises above his own elitist culture. There is no suggestion that the child trampled by Hyde, or the witness to Hyde's murder, are anything less than our fellow humans, deserving respect despite being female, lower-class, and poor.

Mr. Hyde's physical appearance resembles the racist depictions of stereotypical "Irish" individuals in newspapers and political tracts of the late 1800s, as well as non-British Caucasians. In this aspect, the author does not surpass his own elitist upbringing. Mr. Hyde is meant to embody the "base drives" from which Dr. Jekyll wishes to free himself, and thus he has the physical traits that racists derided in the so-called "lower orders." Social Darwinists viewed the Irish and non-British Caucasians as less evolved than the British and Northern Europeans. (Fortunately for fiction readers, this particular form of racism has become less common in English-language literature since World War II.)

It is also notable that the story lacks a single person of color, foreign-born character, or native speaker of a language other than English. This is just barely plausible for a story set in London in the 1870s. At the very least, one of Jekyll's friends could have been born and raised in India under the British Raj. Though Stevenson describes a very circumscribed society, men of wealth and power walked the same grimy streets at the same time of day as the workers and prostitutes of London.

During his 1879 trip to America, Stevenson traveled in a second-class cabin and made several visits to the steerage, where he was both appalled and fascinated by the passengers and their conditions. He meticulously recorded his observations in a journal that later became the basis for a non-fiction book. Stevenson integrated his observations and insights into much of his writing, though few autobiographical elements appeared in his fiction.

1886: Following the Anglo-Burmese war, Britain annexes Upper Burma. However, revolutionary groups will continue to attempt to reclaim control for several years.

Today: The British Empire now holds sway over only a few remaining colonies, protectorates, or trust territories.

1886: Karl Marx's Das Kapital is published in English.

1887: "Bloody Sunday," a Socialist demonstration, breaks out in Trafalgar Square.

1926: Joseph Stalin becomes the dictator of the Soviet Union, initiating a reign of terror that will last twenty-seven years.

1991: On December 17, President Mikhail Gorbachev orders the dissolution of the Soviet Union, leading to the formation of the Commonwealth of Independent States by the former USSR countries.

1882: The Married Woman's Property Act is enacted in England, providing women with several significant rights.

Today: Women are assured equal rights under the law.

1901: Queen Victoria passes away, marking the end of the Victorian Age. She is succeeded by Edward VII, heralding the start of the Edwardian Age.

Today: The British monarchy has been marred by numerous scandals, including the reported infidelities of Prince Charles and Lady Diana, their subsequent divorce, and her tragic death.

Arguably, the most significant influence was Edgar Allan Poe, whose story "William Wilson" explores the theme of dual identity. Nonetheless, the immediate inspiration for Dr. Jekyll and Mr. Hyde, as Stevenson recounted, came from a dream in which the basic plot took shape. This kind of dark narrative is also evident in his outstanding short stories "Markheim," which features a protagonist with an alter ego, and "Thrawn Janet," a story about demonic possession.

Additionally, the Faust legend, which Stevenson was familiar with, may have also had some impact. Furthermore, the folk tales and eerie myths narrated to a young Stevenson by Alison Cunningham, aimed at entertaining the ailing child, significantly influenced the formation of such themes in the author's subconscious. These elements later emerged in his impressive literary works.

At least ten film adaptations of the novel exist, with no fewer than four versions available for rental or purchase in stores and libraries. The most critically acclaimed adaptation is the 1931 Paramount version directed by Rouben Mamoulian. However, the 1920 version starring Lon Chaney is notable for its extraordinary transformation scenes achieved without the use of heavy makeup or special effects.

Since Stevenson's copyright lapsed, numerous variations of the story have been created, including short stories, novels, made-for-television movies, feature films, and TV show episodes. Cataloging all these adaptations is impossible. Generally, these works are considered successful only to the extent that they are derivative.

This novella has inspired more adaptations than any other work by Stevenson, or nearly anyone else. The semi-Faustian nature of the story has "charmed" numerous producers. A musical adaptation, staged in 1995, even found moderate success. An early stage version written by T. R. Sullivan served as the foundation for several film adaptations. The first of these was the 1908 Vitagraph silent film, directed and written by Sidney Olcott. Four years later, Independent produced another silent version with James Cruze both directing and starring in the lead role.

One of the most acclaimed silent interpretations was the 1920 film featuring John Barrymore, directed by John S. Robertson and produced by Famous Players-Lasky. Twelve years later, Paramount released what many critics consider the finest adaptation, earning Fredric March an Oscar for his leading role. This version also starred Miriam Hopkins and Rose Hobart, who added a more sensual dimension to the film. Rouben Mamoulian directed and produced this Paramount version.

In 1941, Metro-Goldwyn-Mayer released another highly praised adaptation, directed by Victor Fleming and starring Spencer Tracy, Ingrid Bergman, and Lana Turner. A British adaptation titled The Two Faces of Dr. Jekyll (also known as House of Fright) was produced by Hammer and directed by Terence Fisher in 1959. In 1972, a television film featured Jack Palance as Jekyll/Hyde, while Anthony Perkins took on the role in a 1989 film titled Edge of Sanity.

The 1996 film adaptation, titled Mary Reilly, placed a greater emphasis on a female character and starred Julia Roberts alongside John Malkovich.

• Numerous adaptations of The Strange Case of Dr. Jekyll and Mr. Hyde have been made for film, television, and audio. Between 1908 and 1920, six silent films based on the novel were produced. The most notable among these is the 1920 version by Famous Players-Lasky Corporation, featuring John Barrymore and Nita Naldi. In 1932, Paramount Publix Corp. released a version starring Fredric March and Miriam Hopkins. The most renowned film adaptation is the 1941 Metro-Goldwyn-Mayer production, starring Spencer Tracy and Ingrid Bergman. In 1959, Sterling Educational Films released an educational version.

• There have been four television adaptations: a 1968 version directed by Charles Jarrott with Jack Palance playing Jekyll/Hyde; a 1973 musical adaptation directed by David Winters and starring Kirk Douglas; a 1981 version by Alastar Reed featuring David Hemmings; and a version by Michael Lindsay-Hogg starring Anthony Andrews. Additionally, Hollywood produced an animated adaptation.

• Various audio versions have been released on cassette, both abridged and unabridged. Naxos Audio Books also produced a complete audio compact disc of the novel.

The Complete Short Stories of Robert Louis Stevenson, edited by Charles Nieder, was published in New York by Doubleday in 1969. This collection features Dr. Jekyll and Mr. Hyde along with a comprehensive introduction by the editor.

Rouben Mamoulian's Dr. Jekyll and Mr. Hyde, edited by Richard J. Anobile, was released by Avon in New York in 1975. This book reconstructs the 1931 Paramount film, presenting over 1,500 sequential frame blow-up photos paired with the full dialogue from the original soundtrack. It is a must-read for enthusiasts of film adaptations of classic literature, especially this story. The introduction is highly informative, and the editor clearly states that this film is the only adaptation worthy of being called a "classic film."

Stevenson, Robert Louis. Greenwich Unabridged Library Classics: Treasure Island, The Master of Ballantrae, Dr. Jekyll and Mr. Hyde, Kidnapped. Published by Chatham River Press in 1983, this edition includes illustrations and a foreword by Karen Burke.

Sources

Altick, Richard D., Victorian People and Ideas: A Companion for the Modern Reader of Victorian Literature, Norton, 1973. Gwynn, Stephen, Robert Louis Stevenson, Macmillan, 1939.

Halevy, Elie, England in 1815, Barnes and Noble, 1968.

James, Henry, "Robert Louis Stevenson," in The Century, Vol. XXXV, No. 6, April 1888, pp. 868-79.

Kiely, Robert, "Robert Louis Stevenson," in Dictionary of Literary Biography, Volume 18: Victorian Novelists after 1885, Gale, 1983, pp. 281-97.

Nabokov, Vladimir, "Robert Louis Stevenson," in Reference Guide to English Literature, 2nd ed., edited by D. L. Kirkpatrick, St. James Press, 1991.

Noble, James Ashcroft, Review, in The Academy, Vol. XXIX, No. 716, January 23, 1886, p. 55.

Sadler, Michael, Forlorn Sunset, Constable, 1947.

Sanderson, Stewart F., "Dr. Jekyll and Mr. Hyde: Overview," in Lectures on Literature, edited by Fredson Bowers, Harcourt, 1980.

Saposnik, Irving S., "Robert Louis Stevenson, Chapter 6: The Anatomy of Dr. Jekyll and Mr. Hyde," in Twayne's English Authors Series Online, G. K. Hall & Co., 1999.

Smith, Curtis C., "Robert Louis Stevenson," in Supernatural Fiction Writers Vol. 1, Scribner's, 1985, pp. 307-13.

Stephen, Leslie, "Robert Louis Stevenson," in Studies of a Biographer, Duckworth and Co., 1902, pp. 206–46.

Stern, G. B., Robert Louis Stevenson, British Writers Vol. 5, British Council, 1982, pp. 383-98.

Tuckniss, Reverend William, Introduction to London Labour and the London Poor Volume IV, 1862.

For Further Study

Charyn, Jerome, "Afterword: Who Is Hyde," in The Strange Case of Dr. Jekyll and Mr. Hyde, Bantam, 1981.
Charyn provides a psychological analysis of Jekyll/Hyde and concludes that the character remains ambiguous.

Daiches, David, Robert Louis Stevenson, 1947.
An early work on Stevenson. Daiches offers an in-depth examination of several of Stevenson's works, including The Strange Case of Dr. Jekyll and Mr. Hyde, emphasizing the author's technique.