at least three quotes from Saposnik’s work that explain how Victorian-period morality is expressed through the duality of Jekyll and Hyde.? at

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Source = Robert Louis Stevenson by G. K. Chesterton

Chapter III. Youth and Edinburgh

It is the suggestion of this chapter that when Stevenson first stepped out of his early Edinburgh home, he slipped upon the step. It may have been nothing worse, to begin with, than the ordinary butter-slide of the buffoonery of youth; such buffoonery as makes up the typical Edinburgh tale called The Misadventures of John Nicholson. But that tale alone would suggest that there was something a little greasy or even grimy about the butter. It is an odd story for Stevenson to have written; and no Stevensonian has any particular desire to dwell on those few of his works that might almost have been written by somebody else. But it has a biographical importance that has hardly been properly estimated, even in connection with this rather overworked biography. It is a curiously unlovely and uncomfortable comedy, not even uncomfortable enough to be a tragedy. The hero is not only not heroic, but he is hardly more amusing than attractive; and the fun that is made of him is not only not genial, but is not particularly funny. It is strange that such misadventures should come from the mind that gave us the radiant harlequinade of The Wrong Box. But I mention it here because it is full of a certain atmosphere, into which Stevenson was plunged too abruptly, as I believe, when he passed from boyhood into youth. It is true to call it the atmosphere, or one of the atmospheres of Edinburgh; yet it is the very reverse of so much that we rightly associate with the arid dignity of the Modern Athens. There is something very specially sordid and squalid in the glimpses of low life given in the dissipations of John Nicholson; and something of the same kind comes to us like a gust of gas from the medical students of The Body Snatcher. When I say that this first step of Stevenson led him rather abruptly astray, I do not mean that he did anything half so bad as multitudes of polite persons have done in the most polished centres of civilisation. But I do mean that his city was not, in that particular aspect, very polite or polished or even particularly civilised. And I notice it because it has been noticed too little; and some other things have been noticed too much.

It is an obvious truth that Stevenson was born of a Puritan tradition, in a Presbyterian country, where still rolled the echoes, at least, of the theological thunders of Knox; and where the Sabbath was sometimes more like a day of death than a day of rest. It is easy, only too easy, to apply this by representing Stevenson's father as a stern old Covenanter who frowned down the gay talents of his son; and such a simplification stands out boldly in black and white. But like many other black and white statements, it is not true; it is not even fair. Old Mr. Stevenson was a Presbyterian and presumably a Puritan, but he was not a Pharisee; and he certainly did not need to be a Pharisee in order to condemn some parts of the conduct of his son. It is probably true that almost any other son might have offended equally; but it is also true that almost any other father would have been equally offended. The son would have been the last to pretend that the faults were all on one side; the only thing that can concern posterity in the matter is certain social conditions which gave to those faults a particular savour, which counted for something even when the faults themselves have been long left behind. And while people have written rather too much about the shadow of the Kirk and the restrictions of a Puritan society, there is something that has not been seen about what may be called the underside of such a Puritan city. There is something strangely ugly and ungracious not merely about the virtues but about the vices, and especially the pleasures, of such a place. It can be felt, as I say, in Stevenson's own stories and in many other stories about Edinburgh. Blasts of raw whisky come to us on that raw wind: there is sometimes something shrill, like the skirl of the pipes, about Scottish laughter; occasionally something very nearly insane about Scottish intoxication. I will not connect it, as did a friend of mine, with the

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hypothesis that the heathen Scots originally worshipped demons; but it is probably connected with the same rather savage intensity which gave them their theological thoroughness. Anyhow, it is true that in such a world even temptation itself has something terrifying as well as tempting; and yet something at the same time undignified and flat. It was this that cut across the natural poetic adventure or ambition of a young poet; and gave to the early part of his story a quality of frustration, if not of aberration.

What was the matter with Stevenson, I fancy, in so far as there was ever anything much the matter with him, was that there was too sharp a contrast between the shelter and delicate fancies of his childhood and the sort of world which met him like the wind on the front door-step. It was not merely the contrast between poetry and Puritanism; it was also the contrast between poetry and prose; and prose that was almost repulsively prosaic. He did not believe enough in Puritanism to cling to it; but he did believe very much in a potential poetry of life, and he was bewildered by its apparently impossible position in the world of real living. And his national religion, even if he had believed in his religion as ardently as he believed in his nation, would never have met that particular point at issue.

Puritanism had no idea of purity. We might almost say that there is every other virtue in Puritanism except purity; often including continence, which is quite a different thing from purity. But it has not many images of positive innocence; of the things that are at once white and solid, like the white chalk or white wood which children love. This does not detract at all from the noble Puritan qualities: the republican simplicity, the fighting spirit, the thrift, the logic, the renunciation of luxuries, the resistance to tyrants, the energy and enterprise which have helped to give the Scot his adventurous advantage all over the world. But it is none the less true that there has been in his creed, at best, negative rather than positive purity: the difference between the blank white window and the ivory tower. I know that a Victorian prejudice still regards this interpretation of history by theology as a piece of most distressing bad taste. I also know that this taboo on the main topic of mankind is becoming an intolerable nuisance; and preventing anybody, from the Papist to the atheist, from saying what he really thinks about the most real themes in the world. And I will take the liberty of stating, in spite of the taboo, that it is really relevant here to remember this Puritan defect. It is as much a fact that the Kirk of Stevenson's country had no cult of the Holy Child, no feast of the Holy Innocents, no tradition of the Little Brothers of St. Francis, nothing that could in any way carry on the childish enthusiasm for simple things, and link it up with a lifelong rule of life—this is as much a fact as that the Quakers are not a good military school or the good Moslem a good wine-taster. Hence it followed that when Stevenson left his home, he shut the door on a house lined with fairy gold, but he came out on a frightful contrast; on temptations at once attractive and repulsive, and terrors that were still depressing even when they were disregarded. The boy in such surroundings is torn by something worse than the dilemma of Tannhäuser. He wonders why he is attracted by repellent things.

I will here make what is a mere guess in the dark; and in a very dark matter of the mind. But I suspect that it was originally out of this chasm of ugly division that there rose that two-headed monster, the mystery of Jekyll and Hyde. There is indeed one peculiarity about that grim grotesque which I have never seen noted anywhere; though I dare say it may have been noted more than once. It will be realised that I am not, alas, so close a student of Stevensoniana as many who seem to think much less of Stevenson. But it seems to me that the story of Jekyll and Hyde, which is presumably presented as happening in London, is all the time very unmistakably happening in Edinburgh. More than one of the characters seem to be pure Scots. Mr. Utterson, the lawyer, is a most unmistakably Scottish lawyer, strictly occupied with Scots Law. No modern English lawyer ever read a book of dry divinity in the

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evening merely because it was Sunday. Mr. Hyde indeed possesses the cosmopolitan charm that unites all nations; but there is something decidedly Caledonian about Dr. Jekyll; and especially something that calls up that quality in Edinburgh that led an unkind observer (probably from Glasgow) to describe it as "an east-windy, west-endy place." The particular tone about his respectability, and the horror of mixing his reputation with mortal frailty, belongs to the upper middle classes in solid Puritan communities. But what is especially to the point of the present argument, there is a sense in which that Puritanism is expressed even more in Mr. Hyde than in Dr. Jekyll. The sense of the sudden stink of evil, the immediate invitation to step into stark filth, the abruptness of the alternative between that prim and proper pavement and that black and reeking gutter—all this, though doubtless involved in the logic of the tale, is far too frankly and familiarly offered not to have had some basis in observation and reality. It is not thus that the ordinary young pagan, of warmer climes, conceives the alternative of Christ and Aphrodite. His imagination and half his mind are involved in defending the beauty and dignity of the joy of gods and men. It is not so that Stevenson himself came to talk of such things, when he had felt the shadow of old Athens fall on the pagan side of Paris. I allow for all the necessary horror of the conception of Hyde. But this dingy quality does not belong only to the demon antics of Hyde. It is implied, somehow, in every word about the furtive and embarrassed vices of Jekyll. It is the tragedy of a Puritan town; every bit as much as that black legend which Stevenson loved, in which the walking-stick of Major Weir went walking down the street all by itself. I hope to say something in a moment about the very deep and indeed very just and wise morality that is really involved in that ugly tale. I am only remarking here that the atmosphere and setting of it are those of some tale of stiff hypocrisy in a rigid sect or provincial village; it might be a tale of the Middle West savagely dissected in the Spoon River Anthology. But the point about it is that the human beauty which makes sin most dangerous hardly appears by a hint; this Belial is never graceful or humane; and in this there seems to me to be something suggestive of the inverted order and ugly contrast with which licence presents itself in a world that has frowned on liberty. It is the utterance of somebody who, in the words of Kipling, knew the worst too young; not necessarily in his own act or by his own fault, but by the nature of a system which saw no difference between the worst and the moderately bad. But whatever form the shock of evil might take, I think it jerked him out of the right development of his romantic nature; and was responsible for much that seemed random or belated in his life.

I do not mean to imply that the morality of the story itself has anything of weakness or morbidity; my opinion is very much the other way. Though the fable may seem mad, the moral is very sane; indeed, the moral is strictly orthodox. The trouble is that most of those who mention it do not know the moral, possibly because they have never read the fable. From time to time those anonymous authorities in the newspapers, who dismiss Stevenson with such languid grace, will say that there is something quite cheap and obvious about the idea that one man is really two men and can be divided into the evil and the good. Unfortunately for them, that does not happen to be the idea. The real stab of the story is not in the discovery that the one man is two men; but in the discovery that the two men are one man. After all the diverse wandering and warring of those two incompatible beings, there was still one man born and only one man buried. Jekyll and Hyde have become a proverb and a joke; only it is a proverb read backwards and a joke that nobody really sees. But it might have occurred to the languid critics, as a part of the joke, that the tale is a tragedy; and that this is only another way of saying that the experiment was a failure. The point of the story is not that a man can cut himself off from his conscience, but that he cannot. The surgical operation is fatal in the story. It is an amputation of which both the parts die. Jekyll, even in dying, declares the conclusion of the matter; that the load of man's

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moral struggle is bound upon him and cannot be thus escaped. The reason is that there can never be equality between the evil and the good. Jekyll and Hyde are not twin brothers. They are rather, as one of them truly remarks, like father and son. After all, Jekyll created Hyde; Hyde would never have created Jekyll; he only destroyed Jekyll. The notion is not so hackneyed as the critics find it, after Stevenson has found it for them thirty years ago. But Jekyll's claim is not that it is the first of such experiments in duality; but rather that it must be the last.

Nor do I necessarily admit the technical clumsiness which some have alleged against the tale, merely because I believe that many of its emotions were first experienced in the crude pain of youth. Some have gone into particular detail in order to pick it to pieces; and Mr. E. F. Benson has made the (to me) strange remark that the structure of the story breaks down when Jekyll discovers that his chemical combination was partly accidental and is therefore unrecoverable. The critic says scornfully that it would have done just as well if Jekyll had taken a blue pill. It seems to me odd that any one who seems to know so much about the devil as the author of Colin should fail to recognise the cloven hoof in the cloven spirit called up by the Jekyll experiment. That moment in which Jekyll finds his own formula fail him, through an accident he had never foreseen, is simply the supreme moment in every story of a man buying power from hell; the moment when he finds the flaw in the deed. Such a moment comes to Macbeth and Faustus and a hundred others; and the whole point of it is that nothing is really secure, least of all a Satanist security. The moral is that the devil is a liar, and more especially a traitor; that he is more dangerous to his friends than his foes; and, with all deference to Mr. Benson, it is not a shallow or unimportant moral. But although the story ultimately emerged as a gargoyle very carefully graven by a mature master-craftsman, and was moreover a gargoyle of the greatest spiritual edification, eminently suited to be stuck on to the most sacred edifice, my point for the moment is that the stone of which it was made was originally found, I think, by Stevenson as a boy, kicking about the street, not to mention the gutter. In other words, he did not need to leave the respectable metropolis of the north to find the weaknesses of Jekyll and the crimes of Hyde.

I deal with these things in general terms, not merely out of delicacy, but partly out of something that I might almost call impatience or contempt. For the quarrels between the Victorian whitewashers and the Post-Victorian mudslingers seem to me deficient in the ordinary decent comprehension of the difficulties of human nature. Both the scandalised and the scandalmonger seem to me to look very silly beside the sensible person in the Bible, who confined himself to saying that there are things that no man knows, such as the way of a bird in the air and the way of a man in his youth. That Stevenson was in the mature and sane sense a good man is certain, without any Victorian apologetics; that he never did anything that he thought wrong is improbable, even without any elaborate cloacan researches; and the whole thing is further falsified by the fact that, outside a certain religious tradition, very few either of the whitewashers or the mudslingers really believe in the morality involved. The former seek to save nothing better than respectability; the latter even when they slander can hardly condemn. Stevenson was not a Catholic: he did not pretend to have remained a Puritan; but he was a highly honourable, responsible and chivalrous Pagan, in a world of Pagans who were most of them considerably less conspicuous for chivalry and honour. I for one, if I may say so, am ready to defend my own standards or to judge other men by theirs. But the Victorian pretence that every well-dressed hero of romance with over five hundred a year is born immune from the temptations which the mightiest saints have rolled themselves in brambles to control—that does not concern me and I shall not discuss it again.

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But what does concern me, at this particular stage of the story, is not the question of what Stevenson thought right or wrong when he had become consciously and consistently a Pagan, but the particular way in which right and wrong appeared to him at this crude and groping age when he was still by tradition a Puritan. And I do think there was something tail-foremost, to use one of his own favourite words, in the way in which evil crept into his existence, as it does into everybody else's. He saw the tail of the devil before he saw his horns. Puritanism gave him the key rather to the cellars than the halls of Babylon; and something thus subterranean, suffocating and debased rolls like a smoke over the story of Jekyll and Hyde. But I only mention these matters as part of a general unfolding of his mind and moral nature, which seems to me to have had a great deal to do with the latter development of his destiny. The normal, or at least the ideal, development of a man's destiny is from the coloured chamber of childhood to an even more romantic garden of the faith and tryst of youth. It is from the child's garden of verses to the man's garden of vows. I do not think that time of transition went right with Stevenson; I think that something thwarted or misled him; I think it was then that the east wind of Edinburgh Puritanism blew him out of his course, so that he returned only long after to anything like a secure loyalty and a right human relation. In a word, I think that in his childhood he had the best luck in the world, and in his youth the worst luck in the world; and that this explains most of his story.

Anyhow, he found no foothold on those steep streets of his beautiful and precipitous city; and as he looked forth over the litter of little islands in the large and shining estuary, he may have had some foreshadowing of that almost vagabond destiny which ended in the ends of the earth. There seemed in one sense no social reason why it should not end in Edinburgh as it had begun in Edinburgh. There seemed nothing against a normal successful career for one so brilliant, so graceful and essentially so humane; his story might have been as comfortable as a Victorian three-volume novel. He might have had the luck to marry an Edinburgh lady as delightful and satisfactory as Barbara Grant. He might have presided over the revels of a new bunch of Stevensons, coming home from Leith Walk laden with the gay portfolios of Skelt. They also might have bought Penny Pickwicks or gone about girt with lanterns; and his own view of these things might have altered, though not necessarily weakened, with the responsibility of one who sees them reproduced in others. But among these early Edinburgh pranks, which he has left on record, was one which is something of a symbol. He speaks somewhere of a special sort of apples which he gathered by the seashore, which were such as might well be gathered from the salted and crooked trees that grow by the sea. I do not know what it was; or what form it took; or whether it ever took any definable form at all. But somehow or other, in thought or word or deed, in that bleak place he ate the apple of knowledge; and it was a crab apple.

I think it was partly the pains of youth that afterwards made so vivid to him the pleasures of childhood. The break in his life was of course partly due to the break in his health. But it was also due, I think, to something ragged and unseemly in the edge of life he laid hold of when he touched the hem of her garment; to something unsatisfactory in all that side of existence as it appears accidentally to the child of Puritan conventions. The effect on him was that, during those years, he grew up too much out of touch with his domestic and civic, if not his national traditions; knowing at once too much and too little. He was never denationalised; for he was a Scotsman; and a Scotsman never is, even when he is in theory internationalised. But he did begin to become internationalised, in the sense that he gained a sort of indiscriminate intimacy with the culture of the world, especially the rather cynical sort of culture which was then current. The local and domestic conventions, which were in many ways wrong, lost their power to control him even when they were right. And in all that retrospect nothing remained so real as

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the unreal romances of the first days. In the Puritan creeds there was nothing that he could believe, even as much as he had believed in make-believe. There was nothing to call him back half so clearly as the call of that childish rhyme of which he afterwards wrote, in the touching dedication that has the burden, "How far is it to Babylon?" Unfortunately it is not very far to Babylon. That cosmopolitan market of the arts, which is in his story perhaps best represented by Paris, called to him more and more to live the life of the complete artist, which in those days had something like a touch of the complete anarchist. He passed into it, ultimately in person and already in spirit; there was nothing to call him back but the thin and tiny cry of a tin trumpet; that sounded once and was mute.

I say there was nothing to call him back; and very little to restrain him; and to any one who really understands the psychology and philosophy of that time of transition, it is really rather a wonder that he was so restrained. All his after adventures will be misunderstood if we do not realise that he left behind him a dead religion. Men are misled by the fact that he often used the old national creed as a subject; which really means rather that it had become an object. It was a subject that had ceased to be subjective; he worked upon it and not with it. He and the inheritors of his admirable tradition, like Barrie and Buchan, treated that national secret genially and even tenderly; but their very tenderness was the first soft signal that the thing was dead. At least they would never have so fondled the tiger-cat of Calvinism until, for them, its teeth were drawn. Indeed this was the irony and the pathos of the position of Scottish Calvinism: to be rammed down people's throats for three hundred years as an unanswerable argument and then to be inherited at the last as an almost indefensible affection; to be expounded to boys with a scowl and remembered by men with a smile; to crush down all human sentiments and to linger at last in the sentimental comedy of Thrums. All that long agony of lucidity and masterful logic ended at last suddenly with a laugh; and the laugh was Robert Louis Stevenson. With him the break had come; and it follows that something in himself was broken. The whaups were crying round the graves of the martyrs, and his heart remembered, but not his mind; great Knox blew thrice upon the trumpet, and what thrilled him were no words but a noise; Old Mortality seemed still to be tinkering on his eternal round to preserve the memorials of the Covenant, but a bell had already tolled to announce that even Old Mortality was mortal. When Stevenson stepped into the wider world of the Continent, with its more graceful logic and even its more graceful vice, he went as one emptied of all the ethics and metaphysics of his home, and open to all the views and vices of a rationalistic civilisation. All the deeper lessons of his early life must have seemed to him to be dead within him; nor did he himself know what thing within him was yet alive.

TheA natomyo f Dr. Jekylla nd Mr. Hyde IRVING S. SAPOSNIK Although Stevenson's The Strange Case of Dr. Jekyll and Mr. Hyde is the most popular of his stories, it has paid the price of its popularity. Originally written as a fable of Victorian anxieties, it has been distorted into a myth of good-evil antithesis, a simplistic dichotomy rather than an imaginative exploration of social and moral dualism. The story is actually the most sophisticated of Stevenson's narratives. London is the geographical location because it best represents the center of the norma-tive Vietorian world. The major characters are all professional gentle-men because their respectability provides the facade behind which their essential selves are allowed to masquerade. The central issue is the neces-sity for moral and social flexibility in a society which dictates rigidity. Henry Jekyll's experiment to free himself from the burden of duality results in failure because of his moral myopia, because he is a victim of society's standards even while he would be free of them. Jekyll attempts to unleash the Hyde in him not because he wishes to give all of himself free expression, but because he wishes to live more comfortably with his peccadilloes. By carefully juggling the literal and the symbolic, Stevenson details the emerging influence of Hyde, the amoral abstraction who takes possession not only of Jekyll's being but of many a reader's imagination. Hyde so dominates the popular mind that Jekyll's role has been all but obscured. In order for the story to become fully meaningful again, their true identities must be restored. No WORK OF STEVENSON'S has been so popular or so harmed by its popularity as (to give it its full name) The Strange Case of Dr. Jekyll and Mr. Hyde (1886). As pulpit oratory, as starring vehicle on stage and screen, as colloquial metaphor for the good-evil antithesis that lurks in all men, it has become the victim of its own success, allowing subsequent generations to take the translation for the original, to see Jekyll or Hyde where one should see Jekyll-Hyde. A photograph of Richard Mansfield as he played the dual role in T. R. Sullivan's play illustrates the conventional attitude: Jekyll appears as the epitome of goodness-eyes upraised to heaven and one arm lifted in allegiance to heaven's direction-lacking only a halo to complete his beatitude, while Hyde crouches menacingly-hairy, grimacing, unkempt-eager to pounce from within his Jekyllian confines and spread the foul juices of his subversive glands.l 'In Paul Willstach, Richard Mansfield: The Man and the Actor (New York, 1909), facing p. 146. Mansfield played Hyde as a manifestation 7R. D.JEKYLL ANlrD MR. HYDE While such a view is clearly oversimplified, it is annoyingly persistent (much as the mispronunciation of Jekyll's name).2 Only a careful reading of the story reveals its formal com-plexity and moral depth. As a narrative, it is the most intri-cately structured of Stevenson's stories; as a fable, it repre-sents a classic touchstone of Victorian sensibilities. It is clearly difficult today to detail each of the responsive chords which the story struck in the Victorian mind, but its use of duality as both a structural and thematic device suggests that its application goes beyond a simple antithesis of moral opposites or physical components. Present evidence

indicates that Vic-torian man was haunted constantly by an inescapable sense of division.3 As rational and sensual being, as public and private man, as civilized and bestial creature, he found himself necessarily an actor, playing only that part of himself suitable to the occasion. As both variables grew more predictable, his of Jekyll's lust, a creature of infinite sexual drive who "unable by reason of his hideous shape to indulge the dreams of his hideous imagination," proceeds to satisfy his cravings in violence (quoted from Mansfield's notes in the Huntington Library). The transfer from stage to screen only confirmed Mansfield's interpretation. John Barrymore (1920) played Hyde as the essence of a lust-ridden fiend, eyeing his victims with rapacious lubricity. A latter-day Dorian Gray, he is more Wilde's man than Stevenson's and his pleasure-seeking forays into the shadowy world of Soho are clearly echoes from Wilde's novel. Rouben Mamoulian's 1932 version with Frederic March in the dual role in-creased the sexual overtones. Not content with suggestive pleasure haunts, Mamoulian inserted the character of Ivy, the attractive bar-maid whose charms so affect the pent-up Jekyll that he must indulge in sexual atrocities in order to satisfy his cravings. Later versions- 1941, 1968-with Spencer Tracy and Jack Palance in the respective title roles followed the standard pattern with little ingenuity. What emerges from all this is a portrait of Hyde with a decidedly modern veneer: released by the intemperate tastes of Jekyll he exists in order to allow his double to gratify his wanton lusts. As Edwin Eigner remarks: "It is perhaps unfortunate . . . that all four of the important stage and screen productions of Jekyll and Hyde were made in America, where the popular mind is especially apt to regard sex and evil as synonymous terms," [Robert Louis Stevenson and Romantic Tradition, (Princeton, 1966), p. 150]. 'Stevenson's attempt to convince people that Jekyll is pronounced with a long "e" [see J. C. Furnas, Voyage to Windward, (New York, 1951), p. 304] may be ranked with his unsuccessful efforts to withstand Hyde's equation with sexuality. 'See Masao Miyoshi, The Divided Self (New York, 1969). I am also indebted to Mr. Miyoshi for some suggestive ideas contained in his article "Dr. Jekyll and the Emergence of Mr. Hyde," College English, XXVII, 470-480. 716 IRVING S. SAPOSNIK role became more stylized and what was initially an occasional practice became a way of life. By 1886 the English could already be described as "Masqueraders" (as Henry Arthur Jones was to call them eight years later), and it is to all aspects of this existential charade that Jekyll and Hyde addresses itself. With characteristic haste, it plunges immediately into the center of Victorian society to dredge up a creature ever present but submerged; not the evil opponent of a contentious good but the shadow self of a half-man. I Because its morality lies at the center of the Victorian world, no detail in the story is as vital as its location. Critics, especially G. K. Chesterton,4 have been quick to point out that the morality is actually more Scottish than English and that the more proper setting would have been Edinburgh. Yet although Chesterton and others are right in thinking that

Stevenson can no more put aside his Scottish heritage here than he can in other stories, they fail to recognize that only London could serve as the locus classicus of Victorian behavior. An enigma composed of multiple layers of being, its confines held virtually all classes of society conducting what were essentially independent lives. In the '80s it could not have been much differe

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