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The Strange Case of Dr. Jekyll and Mr. Hyde and Other Stories, by Robert Louis Stevenson
Download PDF The Strange Case of Dr. Jekyll and Mr. Hyde and Other Stories, by Robert Louis Stevenson
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About the Author
Jenny Davidson is Assistant Professor of eighteenth-century literature and culture in the Department of English and Comparative Literature at Columbia University. Her novel Heredity appeared from Soft Skull Press in 2003.
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Excerpt. © Reprinted by permission. All rights reserved.
From Jenny Davidson’s Introduction to The Strange Case of Dr. Jekyll and Mr. Hyde and Other Stories Robert Louis Stevenson’s novella The Strange Case of Dr. Jekyll and Mr. Hyde is at once a sharply conceived allegory about the psychological costs of living the respectable life and a thrilling page-turner as compelling as anything written by such modern masters of horror as Clive Barker and Stephen King. Published in January 1886, Stevenson’s story quickly became a best-seller on both sides of the Atlantic. The American actor-manager Richard Mansfield purchased the copyright to Stevenson’s novella with the goal of maintaining exclusive rights for theatrical adaptation, but the copyright laws failed to prevent a host of other impresarios from mounting competing productions; one producer touring in New England advertised that his Mr. Hyde was so terrifying that he had to be kept chained in a boxcar on the way to the theater. Though the text of the adaptation, by playwright Thomas Russell Sullivan, would seem dated and melodramatic to modern readers—as does the trick photograph in which Mansfield’s Hyde crouches behind his Jekyll, ready to spring—the actor’s performance brought to life for his contemporaries all the most terrifying aspects of Stevenson’s story. First acted at the Boston Museum on May 9, 1887, as Mansfield’s biographer Paul Wilstach recounts, Jekyll and Hyde had immensely powerful effects on its audience: “Strong men shuddered and women fainted and were carried out of the theatre. . . . People went away from ‘Dr. Jekyll and Mr. Hyde’ afraid to enter their houses alone. They feared to sleep in darkened rooms. They were awakened by nightmare. Yet it had the fascination of crime and mystery, and they came again and again” (Richard Mansfield, the Man and the Actor, pp. 146–147; see “For Further Reading”). Spectators found it difficult to believe that Mansfield transformed himself without chemical assistance, and he was charged with using acids, phosphorus, or even an inflatable rubber suit to facilitate the transformation from Jekyll to Hyde. The truth of the matter, Wilstach goes on to say, was that “his only change was in the muscles of his face, the tones of his yielding voice, and the posture of his body” (pp. 147–148). The account of Mansfield’s friend and fellow actor De Wolf Hopper confirms the effectiveness of the performance. As the two men sat one evening in a darkened room at the Continental Hotel in Philadelphia, Hopper asked Mansfield what he did and how he did it: “‘And then and there, only four feet away, under the green light, as that booming clock struck the hour—he did it—changed to Hyde before my very eyes—and I remember that I, startled to pieces, jumped up and cried that I’d ring the bell if he didn’t stop!’” (Wilstach, p. 155).The great Victorian actor Henry Irving soon invited Mansfield to bring his production to the Lyceum Theatre in London, and Jekyll and Hyde opened there on August 4, 1888. On the last day of August, however, an event took place that would transform the significance of Mansfield’s production and, indeed, of Stevenson’s story as well. The mutilated corpse of a prostitute was discovered in the East End of London, the first in a series of five or more murders attributed to the terrifying figure who would come to be known as Jack the Ripper. The Ripper cut his victims’ throats, sliced open their torsos, and removed their organs; he was suspected of having trained as either a butcher or a medical man. As subsequent bodies were discovered, London went wild with fear. Reporters drew public attention to the extraordinary poverty and squalor of Whitechapel in the East End, where most of the murders took place, and pointed to the hypocrisy of a society that allowed such neighborhoods to exist in the face of the nation’s great prosperity, thereby encouraging the emergence of a monster like the Ripper. Amid riots and public frenzies, many citizens wrote letters to the newspapers and the police suggesting precautions that might be taken to prevent more murders. These suggestions ranged from providing better street lighting and giving policemen whistles as a rapid warning system, to arming prostitutes with revolvers, or even dressing up police officers as prostitutes and protecting their throats and torsos with metal corsets, perhaps attached to batteries that would electrocute the unwary attacker. Many of these letters singled out prominent members of society as suspects in the Ripper murders. At the peak of the frenzy the police received more than a thousand letters a week, and the actor Richard Mansfield was among those charged with being responsible for the Whitechapel murders. As Donald Rumbelow relates in his history of the crimes, “The writer accusing Mansfield had not been able to rest for a day and a night after seeing the performance, claiming that no man could disguise himself so well and that, since Mansfield worked himself up to such a frenzy on stage, he probably did the real life murders too” (The Complete Jack the Ripper, p. 124).
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Product details
Paperback: 304 pages
Publisher: Barnes & Noble Classics; 1 edition (June 25, 2004)
Language: English
ISBN-10: 1593081316
ISBN-13: 978-1593081317
Product Dimensions:
5.2 x 0.8 x 8 inches
Shipping Weight: 9.6 ounces (View shipping rates and policies)
Average Customer Review:
4.3 out of 5 stars
1,263 customer reviews
Amazon Best Sellers Rank:
#116,824 in Books (See Top 100 in Books)
This is not the actual book Dr.Jekyll and Mr.Hyde. It is actually a collection of speeches and essays about the REAL book and a summary of Dr.Jekyll and Mr.Hyde. That fact wasn't stated anywhere on the selling page.
It's presumptuous for Amazon to ask someone to "review" a classic of literature ... but I'd simply like to point out that in my opinion Stevenson is one of the great masters of light, elegant Entertainment Lit during its last great blossoming: Victorian England. Of course even the greatest classic English lit (ie Shakespeare's plays) were designed as entertainment: the more pompous, formal, ponderous moralistic stuff (like Johnson) survives only in academic circles and was probably endured rather than enjoyed even back in the day. But Stevenson is as pure an entertainer as Fred Astaire: breathtaking, charming, playful, he's chock full of of small, masterful asides but, like Stephen King's, they thrill and amuse but in no way distract as the tale races along -- they're like white water in the rapids. See for yourself: just find the first page of Jekyll and Hyde anywhere online and skim it -- you'll find it just feels like skimming, you'll be in a whole new world with a witty genius for a guide..
I love a good story of a mad scientist. It is told from the third person perspective of Dr. Jekyll's close friend Mr. Utterson. It's funny to me how long it took for him to put the idea together, though having heard of this story long before I read it, I imagine the thought of someone being two different people is hard to fathom.Still, I enjoyed the surmounting evidence piling up for the real story and especially found it funny that Mr. Utterson had in his possession a letter that would explain things (even a little) very early on from Lanyon.I expected the book to be told from Dr. Jekyll's point of view but I really liked that it focused on a concerned friend trying to understand what was going on with a mysterious will.
I am reading Stevenson's complete tales chronologically, so this is my second volume, after _New Arabian Nights_. In this review, I will focus on the tales included in _The Merry Men and Other Tales and Fables_, as the book is in fact titled. For general comments on Stevenson, please see my review of _New Arabian Nights_, in which I comment, among other things, on Stevenson's ability to entertain his readers, a gift that so many writers, even so many popular writers, lack._The Merry Men_ (1887), a collection of 6 tales, is a worthy successor to _New Arabian Nights_ (1882). I do not find either one to be "better" or "worse" than the other; they are both equally pleasing and entertaining, and both are excellent examples of Stevenson's seductive narrative voice, a voice that combines suspense with vivid descriptions and a touch of humor. This mixture results in some of the most readable stories in the English language, as authors such as G. K. Chesterton, Jorge Luis Borges, Jack London, and Ernest Hemingway have remarked. The two collections are, furthermore, equally wide in scope, including elements of adventure, satire, parody, allegory, and the supernatural. I will comment on the stories included:* The Merry Men: The title, as has been observed, refers to a particularly dangerous group of waves. The story takes place in an island, to which the protagonist, Charlie, retires. Aros, a farm on the island, is the property of Charlie's uncle Gordon, whose daughter, Mary, Charlie wishes to marry. Aros is famous for the shipwrecks that take place nearby, due to the "merry men," so Charlie is not only pursuing Mary, he also hopes to find the treasure of the sunken Spanish ship Espirito [sic, should be "Espíritu"] Santo. A great story, reminiscent of "The Pavilion on the Links," from _New Arabian Nights_.* Will o' the Mill: A story in three parts, this is one of those narratives that cover the entirety of a character's life. Will lives in the country, and wishes to see the world. His life is changed when he notices Marjory, the parson's daughter. I found this to be an excellent story, and I must say it is not as predictable as may appear from the description. The good thing about "life-stories" is that they allow you to observe the destiny of a character, and Stevenson lets you draw your own conclusions from Will's life journey.* Markheim: Borges included this story, along with the entire _New Arabian Nights_ collection, in one of the volumes of his "biblioteca personal." This is one of Stevenson's most famous stories, on the same level as "A Lodging for the Night" and "The Bottle Imp." I cannot say much about it without giving away the plot. Let me just say the story relies on the unexpected, and by reading the first two or three pages you would never expect what's coming. One of the gems in Stevenson's oeuvre.* Thrawn Janet: A rare piece, as it is written in Scots! I understand there is only one other story that Stevenson wrote in this language, but it appears to be an uncollected tale. "Thrawn Janet" is a creepy ghost story, not a very profound one, but very entertaining nevertheless. The language may pose a slight challenge, but I am an ESL student and I had no trouble at all understanding the story. (The reason why I call myself an ESL student, by the way, is that I believe one does not simply stop being an ESL student; learning a second language is a wonderful life-long process, no matter how advanced one may be.)* Olalla: According to Borges, Stevenson got the idea for this story from a dream. "Olalla" takes place in Spain, and this tale is another achievement in setting construction. A convalescing soldier stays at the estate of a very strange Spanish family, composed of a very basic son, his mother, and his mysterious, elusive sister, Olalla. The ominous presence of an uncanny portrait is an excellent addition to the plot. A compelling read, this was my favorite story in the collection.* The Treasure of Franchard: Stevenson ended _New Arabian Nights_ on a lighter note with "Providence and the Guitar." He follows the same effective formula in this collection, with "The Treasure of Franchard," and in this case, with much greater success. This is a simply hilarious story about a family that adopts a boy who has the reputation of being a thief. The tale is mainly about the effects that wealth can have on a family. The story points to--and even lampoons, though respectfully--the work of Edgar Allan Poe._New Arabian Nights_ inspired me to read all of Stevenson's tales. _The Merry Men_ has increased my enthusiasm for the work of the immortal Tusitala, or "Teller of Tales," as the Samoans called Stevenson. Both of these works will fascinate lovers of the traditional short story. I look forward to reading _Island Nights' Entertainments_ (1893), the last collection of Stevenson stories to appear in the author's lifetime, and will share my reaction to it in a review.Thanks for reading, and enjoy the book!
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