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Dr Jekyll and Mr Hyde are the most important characters in the novella — and the most complex, because they are the same person. Understanding how Stevenson presents them, both individually and as two aspects of one identity, is essential for the exam.
| Feature | Detail |
|---|---|
| Profession | Doctor and scientist |
| Social status | Wealthy, respected, upper-class gentleman |
| Appearance | "a large, well-made, smooth-faced man of fifty" (3) |
| Key trait | A man who suppresses his darker desires |
| Motivation | To separate good and evil within himself |
Jekyll is a pillar of Victorian respectability — wealthy, charitable, sociable, and well-liked. But beneath this polished exterior, he has desires he considers shameful (Stevenson deliberately never specifies what these are).
Jekyll is not simply a good man who accidentally creates an evil alter ego. He is a man who has always been dual:
"I was in no sense a hypocrite; both sides of me were in dead earnest." (10)
This is crucial. Jekyll does not pretend to be good while secretly being evil. He genuinely is both good and evil — and the tension between these two sides is what drives the experiment.
Jekyll's fundamental error is not creating Hyde. It is his belief that he can control the experiment:
"the moment I choose, I can be rid of Mr Hyde." (3)
This line is deeply ironic. Jekyll's confidence that he can manage his dual nature is his hamartia — the fatal overconfidence that leads to his destruction.
| Stage | Jekyll's state | Key quote |
|---|---|---|
| Before experiment | Respectable but tormented by suppressed desires | "I concealed my pleasures" (10) |
| Early experiment | Liberated — enjoys the freedom of being Hyde | "I felt younger, lighter, happier in body" (10) |
| Middle | Increasingly uneasy — tries to stop being Hyde | "I chose the better part" (10) |
| Loss of control | Terrified — transforms involuntarily | "I had gone to bed Henry Jekyll, I had awakened Edward Hyde" (10) |
| Final stage | Desperate, trapped, hopeless | "this is my true hour of death" (10) |
| Quote | What it shows |
|---|---|
| "I concealed my pleasures" (10) | Victorian repression — Jekyll hides his true self |
| "man is not truly one, but truly two" (10) | Jekyll's central discovery — duality is fundamental |
| "I felt younger, lighter, happier in body" (10) | The seductive appeal of Hyde — freedom from conscience |
| "the moment I choose, I can be rid of Mr Hyde" (3) | Fatal overconfidence |
| "I have brought on myself a punishment and a danger" (6) | Jekyll accepts responsibility for his actions |
| "this is my true hour of death" (10) | Jekyll knows he is finished — his identity is dissolving |
Examiner's tip: When writing about Jekyll, always address the complexity. He is not simply a victim — he chose to create Hyde because he enjoyed the freedom. A Grade 9 response would argue that Jekyll's tragedy is not that he became Hyde, but that he wanted to be Hyde without consequences.
| Feature | Detail |
|---|---|
| Appearance | Small, pale, dwarfish, deformed — but indescribably so |
| Age | Younger than Jekyll — evil is "less exercised" |
| Behaviour | Violent, cruel, remorseless, savage |
| Effect on others | Inspires instinctive hatred, disgust, and fear |
| Symbolism | Jekyll's repressed evil given physical form |
One of Stevenson's most effective techniques is the way he describes Hyde. No one can quite say what is wrong with him:
"Mr Hyde was pale and dwarfish, he gave an impression of deformity without any nameable malformation." (2)
"There is something wrong with his appearance; something displeasing, something downright detestable." (1)
"He is not easy to describe. There is something wrong with his appearance ... I never saw a man I so disliked, and yet I scarce know why." (1)
This deliberate vagueness is central to Stevenson's technique. Hyde's horror comes not from a specific deformity but from an instinctive, primal revulsion that people feel in his presence.
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