peas

• 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."
• Utterson


  • He is 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
  • He is the detective who guides the reader through a journey of discovery
• Back entrance to the laboratory


  A 'sinister block of building' with 'prolonged and sordid negligence'. The door was 'blistered and distained'.
• Contrast between the façade of London and the back entrance to Jekyll's laboratory


  The thriving, 'busy quarter' of London with 'glistening' shop fronts that look as inviting as 'smiling saleswomen' contrasts with the dark reality of the poverty stricken and hidden backstreets
• Hyde trampling the young girl


  Savage, malevolent and unsettling. The adverb 'calmly' is incongruous with the act of trampling an innocent child. Hyde is described as an immoveable force with an excess of strength and paucity of self-control, like a 'damned Juggernaut'.
• Hyde appears from the laboratory door with a cheque to pay the trampled girl's family compensation, but the name on the cheque is not mentioned
• Enfield's sense of unease about Hyde


  He gives a 'strong feeling of deformity', although Enfield 'couldn't specify the point'. This unsettling feeling is repeated with all characters who interact with Hyde.
• Lanyon's view of Jekyll's work


  He describes Jekyll as 'too fanciful' and his work as 'unscientific balderdash'. Lanyon symbolises the rational, viewing science and religion as separate, and anything within science that transcends the rational as blasphemous.
• Utterson's dream of a dark image of Jekyll with a 'figure to whom power was given' standing beside him


  The image foreshadows the constant presence of Hyde within the psyche of Jekyll, implying that evil is a perpetual and predatory threat to the relatively vulnerable and weak moral side of human nature.
• Utterson's determination to discover the truth about Hyde and his control over Jekyll


  His commitment to investigating Mr Hyde could be seen as subversive as it goes against Victorian Values, but we can forgive this as Utterson is the epitome of the Victorian gentleman.
• Utterson's first encounter with Hyde


  He is described as 'pale and dwarfish' with an impression of 'deformity without any nameable malformation', causing Utterson to regard him with 'disgust, loathing and fear'.
• Utterson's fear that Hyde has inserted himself into Jekyll's life to punish him for sins of the past


  The idea of punishment is introduced, reminding the reader that deviating from a righteous path condemns one to be imprisoned by the inevitability of consequence.
• Jekyll's willingness to speak openly about his disagreements with Lanyon


  It reveals that, up until Hyde's unforgivable sin of murder, Jekyll shows a paucity of regret for his creation, instead conveying an excess of arrogance and self-importance.
• Jekyll's vulnerability when questioned about Hyde


  The very mention of Hyde's name causes a physical reaction in Jekyll, turning him 'pale to the very lips', creating a link between the two characters.
• Jekyll's statement that he can be 'rid of Mr Hyde' at any moment


  The fact that Jekyll uses the word 'choose' suggests that, at this point, he is still the dominant of the two characters and has time to liberate himself from Hyde.
• Hyde's murder of Sir Danvers Carew


  The juxtaposition of Danvers and Hyde highlights the duality of human nature. Danvers is described as 'beautiful' and 'innocent', while Hyde's outburst is described as 'ape-like fury' and causing Carew's 'bones to break loudly'.
• Utterson recognises the cane used to murder Carew as belonging to Jekyll
• The atmosphere created by the 'first fog of the season' and the 'chocolate-coloured pall'


  The concrete image of the fog emphasises the abstract concepts of good and evil, with the darkness 'lowered over heaven' as if the savage murder has cast a shadow over benevolence.
• The ransacked rooms in Soho

  The chaos amongst the symbols of wealth and class highlights that moral fortitude is not a prerequisite of privilege, and that the morally bankrupt can hide behind the façade of respectability.
• Jekyll's swearing to Utterson that he will not see Hyde again


  For the first time, Jekyll is presented as vulnerable and emotional, quite the opposite to his previously determined and rational persona. Any remaining innocence in Jekyll has been irreversibly corrupted, and any attempts to find salvation in God will prove fruitless now that he is imprisoned within the malevolence of Hyde's shadow.
• The façade of privilege is the hiding place for the morally bankrupt, but without tangible rules, those with a dark and unchecked persona will metaphorically 'ransack' their own status quo
• Jekyll: 'I swear to God I will never set eyes on him again'
• Jekyll's attitude


  • Vulnerable and emotional, quite the opposite to his previously determined and rational persona
• 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
• Poole reveals that nothing had come except by post, leaving Utterson with his fears renewed
• Utterson


  • A dogmatic pursuit of the truth, unable to trust in Jekyll's explanation, must investigate to find a clue to Hyde's whereabouts
• Guest tells Utterson that Jekyll's handwriting has a rather singular resemblance to that of Hyde, creating an unsettling connection between the two
• The sloping of the letters


  Reinforces the idea that these two characters are opposing sides of a singular entity, each pulling the soul in a different direction
• Utterson is fearful because he suspects Jekyll of forging for Hyde, causing his blood to run cold in his veins
• Lanyon is visibly changed both physically and mentally, with his death-warrant written legibly on his face
• Lanyon


  • Cryptically alludes to his death being a consequence of knowledge not meant to be shared
• Utterson struggles to decide what to do with Lanyon's letter, between a great curiosity and his stringent obligations
• Utterson and Enfield look at each other with an answering horror in their eyes after seeing Jekyll slam his window shut, unable to verbalise what they have witnessed
• The wild night with trees lashing themselves along the railings


  Foreshadows the discovery that the body 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
• Poole and Utterson break into the cabinet and find the body of Edward Hyde, sorely contorted and still twitching, dressed in clothes of the doctor's bigness
• The image of Hyde's twisted body in the doctor's clothing


  • Reflects the psychoanalytic theories of Freud and Jung, 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 is confused to find that he is now named as the beneficiary of Jekyll's will, exclaiming 'my head goes around'
• 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
• Lanyon's choice


  Reject the truth or discover 'a new province of knowledge…to stagger the unbelief of Satan'
• Jekyll's 'impatient gaiety of disposition'


  His desire for liberation and excitement outside the bonds imposed by society, in direct conflict with his desire to be seen as respectable and admirable by his peers