Dr Jekyll and Mr Hyde

Explore how specific literary elements may serve to challenge the ideologies of a particular culture. Consider this statement with reference to The Strange Case of Dr Jekyll and Mr Hyde

The Strange case of Dr Jekyll and Mr Hyde, written by Robert Louis Stevenson in 1886, is a gothic novella set in 19th century Victorian London. It follows the investigation of lawyer Mr Utterson, looking into the strange connection between respectable Dr Henry Jekyll and violent Edward Hyde. As the story unfolds, it reveals that Edward Hyde is the physical version of Jekyll's darker side, created through experimentation. Stevenson uses literary elements of symbolism, imagery and characterisation, to challenge the social propriety, religious and scientific ideals apparent within the Victorian culture, revealing human nature as unstable, divided and impossible to control

Stevenson first challenges the ideological expectations of social behaviour, through the symbolic characterisation of Hyde as an embodiment of repressed emotions. In a society that valued outward propriety and moral discipline, Hyde represents the "other self" than Victorian individuals sought to conceal. The description of Hyde giving an impression of "something troglodytic" reflects contemporary fears of degeneration, drawing on Darwin’s theory to suggest beneath the veneer of civilisation lies a primitive core. The word troglodytic is Greek, meaning cave dwelling, mirroring Darwin’s theory that suggested humans developed from apes, who lived in caves.  Stevensons use of animalist imagery and simile, such as Hydes "ape like fury", is utilised to reinforce this regression, implying the humanity is not as evolved or morally superior as Victorians believed.  Adding to this implication, Stevenson also used auditory imagery, to further the animalistic descriptions describing Hydes’s sound as "a dismal screech, as of mere animal terror". This simile likens Hyde to an animal with the use of the word 'mere' suggesting the raw sounds as basic instinct. Through these literary elements, Stevenson critiques the illusion of etiquette in the 1980s, suggesting that repression does not eliminate impulses but intensifies them. He challenges this system of belief asking society to acknowledge the scientific discoveries that they disagree with, showing them the reality of their truths that are apparent within society.

Stevenson continues his critique of the ideological social propriety, through his exploration of the decided self, reflecting emerging psychological theories that questioned belief in unified, rational identity. Victorians assumed moral respectability, thinking that evil could be supressed through discipline and religion. However, through paradox in Jekyll's confession that "man is not truly one but "truly two", Stevenson directly challenges this belief, suggesting that identity is naturally divided. His admission that he was "radically both" reinforces that good and evil coexist within every person.  The immerging theories of Sigmund Freud, who suggests that individuals are driven by 3 sides of themselves, the id, ego and superego, are reflected in the characterisation of Hyde (id) and Jekyll (ego). Id is the pleasure principle, with actions decided from primitive needs and impulses, while ego is the reality principle, considering the demands of id and the effects it would have in the real world. The superego is represented by the Victorian society along with characters like Mr Utterson, imposing rigid societal standards and the social presser that forces Jekyll to repress his darker desires. Jekyll, as the supposed respectable man, describes himself as "slowly losing hold of my original and better self", showing the overpowering irrational identity that comes through after attempting to repress emotions. Ultimately, by employing literary elements of characterisation and paradox, Stevenson challenges the ideology of propriety, exposing the inherent duality and instability within human identity.

Stevenson also critiques reliance on religion and moral certainty by exposing the limits of both faith and science. Victorian culture viewed Christianity as the source of morality, but Jekyll attempts to replace this with scientific control, believing he can separate good from evil. His discover described as "profound" and "singular" showing his pride and God-like confidence in science. However, he later admits he was "slowly losing hold of my original and better self", revealing failure in both scientific ambition and religious self-discipline. This loss of control eventually leads Jekyll to confess “I bring the life of that unhappy Henry Jekyll to an end,” where the finality of this statement emphasises death as a consequence of his moral and scientific transgression. His suicide acts as both a personal punishment and a broader warning to Victorian society about the dangers of attempting to overside natural human duality. Jekyll's downfall becomes Stevensons critique, asking Victorian culture to reconsider both faith in religious certainty and confidence in scientific progress.

Ultimately, The Strange case of Dr Jekyll and Mr Hyde serves as a powerful critique of Victorian culture, exposing the fragility of its moral and social ideologies. Through Hyde’s animalistic symbolism, Jekyll’s divided identity, and the failure of both religion and science to control human nature, Stevenson challenges the belief that civilisation can suppress humanity’s darker instincts. Instead, he suggests that repression only strengthens these impulses, leading to destruction. By confronting Victorian fears of degeneration, psychological instability, and moral uncertainty, Stevenson reveals that beneath the respectable surface of society lies an inescapable and deeply divided self.