Article #42-2 | Gutenberg Articles

Excerpt

Excerpt from The strange case of Dr. Jekyll and Mr. Hyde, by Robert Louis Stevenson

STORY OF THE DOOR

Mr. Utterson the lawyer was a man of a rugged countenance, that was
never lighted by a smile; cold, scanty and embarrassed in discourse;
backward in sentiment; lean, long, dusty, dreary, and yet somehow
lovable. At friendly meetings, and when the wine was to his taste,
something eminently human beaconed from his eye; something indeed which
never found its way into his talk, but which spoke not only in these
silent symbols of the after-dinner face, but more often and loudly in
the acts of his life. He was austere with himself; drank gin when he
was alone, to mortify a taste for vintages; and though he enjoyed the
theatre, had not crossed the doors of one for twenty years. But he had
an approved tolerance for others; sometimes wondering, almost with
envy, at the high pressure of spirits involved in their misdeeds; and
in any extremity inclined to help rather than to reprove. “I incline to
Cain’s heresy,” he used to say quaintly: “I let my brother go to the
devil in his own way.” In this character, it was frequently his fortune
to be the last reputable acquaintance and the last good influence in
the lives of down-going men. And to such as these, so long as they came
about his chambers, he never marked a shade of change in his demeanour.

No doubt the feat was easy to Mr. Utterson; for he was undemonstrative
at the best, and even his friendship seemed to be founded in a similar
catholicity of good-nature. It is the mark of a modest man to accept
his friendly circle ready-made from the hands of opportunity; and that
was the lawyer’s way. His friends were those of his own blood or those
whom he had known the longest; his affections, like ivy, were the
growth of time, they implied no aptness in the object. Hence, no doubt,
the bond that united him to Mr. Richard Enfield, his distant kinsman,
the well-known man about town. It was a nut to crack for many, what
these two could see in each other, or what subject they could find in
common. It was reported by those who encountered them in their Sunday
walks, that they said nothing, looked singularly dull, and would hail
with obvious relief the appearance of a friend. For all that, the two
men put the greatest store by these excursions, counted them the chief
jewel of each week, and not only set aside occasions of pleasure, but
even resisted the calls of business, that they might enjoy them
uninterrupted.

Explanation

Detailed Explanation of the Excerpt from The Strange Case of Dr. Jekyll and Mr. Hyde

This passage is the opening of The Strange Case of Dr. Jekyll and Mr. Hyde (1886) by Robert Louis Stevenson, a Gothic novella that explores duality, repression, and the hidden darkness within human nature. The excerpt introduces Mr. Gabriel John Utterson, a lawyer and one of the novel’s central characters, while establishing key themes and stylistic elements that will unfold throughout the story.

Context & Background

Stevenson’s novella was written during the Victorian era, a time marked by strict moral codes, scientific curiosity, and anxieties about human nature. The story reflects contemporary fears about:

The duality of man (inspired by evolutionary theory, Freud’s emerging ideas on the unconscious, and the era’s fascination with doomed gentlemen).
The hypocrisy of Victorian society, where respectable individuals often concealed scandalous secrets.
The dangers of unchecked scientific experimentation (Jekyll’s transformation into Hyde can be read as a warning about playing God).

Utterson serves as the narrative’s moral compass, a man who, despite his own flaws, represents rationality, restraint, and loyalty—qualities that contrast sharply with the monstrous Hyde and the tormented Jekyll.

Themes in the Excerpt

Duality & Repression
- Utterson is described as "cold, scanty, and embarrassed in discourse" yet "somehow lovable"—a man who hides his warmth beneath a stern exterior.
- His "silent symbols" (the humaneness in his eye) suggest unspoken depths, reinforcing the novel’s theme that people are not what they seem.
- His "approved tolerance for others" (even those engaged in "misdeeds") hints at his understanding of human frailty, foreshadowing his later role in Jekyll’s downfall.
Victorian Hypocrisy & Moral Ambiguity
- Utterson denies himself pleasures (theatre, fine wine) yet drinks gin in private—a small but telling hypocrisy.
- His quote, “I incline to Cain’s heresy… I let my brother go to the devil in his own way,” references the biblical Cain (who murdered Abel), suggesting a moral flexibility—he doesn’t judge others’ sins, even if he doesn’t partake in them.
- This non-judgmental attitude makes him the last "reputable" friend of "down-going men," positioning him as a confidant for Jekyll’s secrets.
Friendship & Isolation
- His friendship with Enfield is inexplicable to outsiders—they seem to have nothing in common, yet their silent walks are sacred.
- This wordless bond mirrors the novel’s unspeakable horrors—some truths (like Jekyll’s experiments) are too dark to articulate.
- The ivy metaphor (“affections… were the growth of time”) suggests deep but slow-forming relationships, contrasting with Hyde’s instant, destructive influence.
Foreshadowing & Suspense
- Utterson’s role as a lawyer (a profession built on secrets and discretion) foreshadows his involvement in Jekyll’s will and Hyde’s crimes.
- His tolerance for "down-going men" hints that he will eventually confront Hyde’s evil without fully condemning Jekyll.

Literary Devices & Style

Characterization Through Contrast
- Stevenson juxtaposes Utterson’s outer austerity with his inner humanity:
  - “never lighted by a smile” vs. “something eminently human beaconed from his eye”
  - “drank gin… to mortify a taste for vintages” (self-denial vs. hidden indulgence)
- This duality mirrors the Jekyll/Hyde split, suggesting that everyone has a hidden self.
Symbolism
- Gin vs. Vintage Wine: Gin (cheap, harsh) represents self-punishment; wine (refined, pleasurable) symbolizes temptation. Utterson denies himself luxury, much like Jekyll tries (and fails) to suppress Hyde.
- Ivy: Represents slow, enduring growth—Utterson’s friendships are steady but unremarkable, unlike Hyde’s sudden, violent impact.
- The Door (title of the chapter): Doors in Gothic literature symbolize secrets, thresholds between good and evil—Utterson will soon encounter Hyde’s door, a literal and metaphorical gateway to horror.
Irony & Paradox
- Utterson is “lovable” despite being “dreary”—a paradox that makes him relatable yet mysterious.
- His tolerance for others’ sins contrasts with his strictness toward himself, highlighting Victorian moral contradictions.
Foreshadowing
- “the last reputable acquaintance and the last good influence in the lives of down-going men”—this directly foreshadows Utterson’s role in Jekyll’s tragedy.
- The emphasis on silence (“they said nothing”) prepares the reader for the unspeakable nature of Hyde’s crimes.
Gothic Atmosphere
- Words like “rugged,” “dreary,” “dusty,” and “after-dinner face” create a somber, mysterious tone, typical of Gothic fiction.
- The lack of explicit emotion in Utterson’s demeanor heightens the unease—readers sense that something is being hidden.

Significance of the Passage

Introduces the Novel’s Central Concern: Duality
- Utterson’s hidden warmth and private vices suggest that no one is purely good or evil—a theme that Jekyll and Hyde will explore explosively.
Establishes Utterson as the Narrative’s Anchor
- Unlike the melodramatic Jekyll or monstrous Hyde, Utterson is grounded and rational, making him the ideal observer to uncover the truth.
- His legal profession (concerned with evidence and truth) contrasts with the supernatural horror of Hyde’s existence.
Sets Up the Novel’s Gothic Tone
- The mysterious, restrained prose creates suspense, making the reader anticipate the horror to come.
- The focus on doors, secrets, and silent bonds prepares for the shocking revelations about Jekyll and Hyde.
Critiques Victorian Society
- Utterson’s hypocrisy (gin in private, abstinence in public) reflects the Victorian era’s repressed desires.
- His tolerance for others’ sins (but not his own) mirrors the societal double standards that Stevenson critiques.

Conclusion: Why This Passage Matters

This excerpt is not just an introduction to a character—it’s a microcosm of the novel’s themes. Utterson’s duality, repression, and role as a confidant foreshadow the larger conflict between Jekyll and Hyde. His quiet, observant nature makes him the perfect witness to the horrors that unfold, while his own hidden depths remind us that no one is entirely what they seem.

Stevenson’s masterful use of contrast, symbolism, and Gothic atmosphere ensures that even in a seemingly mundane description of a lawyer, the reader senses the looming darkness—making the eventual revelation of Hyde all the more terrifying and inevitable.

Would you like a deeper analysis of any specific aspect, such as the biblical allusion to Cain or the significance of the "door" motif?

Questions

Question 1

The passage describes Utterson’s tolerance for others’ misdeeds as an “approved tolerance” that sometimes borders on “envy.” This psychological nuance most strongly suggests that Utterson’s relationship to morality is characterised by:

A. a performative adherence to Victorian propriety masking deep cynicism about human nature.
B. a repressed fascination with transgression that he sublimates into vicarious engagement with others’ lives.
C. an intellectual detachment from ethical judgments, treating them as social constructs rather than absolute truths.
D. a pragmatic recognition that moral failures are inevitable, thus rendering judgment futile.
E. a latent sadism that derives pleasure from witnessing the downfall of those he purportedly aids.

Question 2

The metaphor of Utterson’s affections growing “like ivy” serves a dual narrative function. Which of the following best captures its most paradoxical implication in the context of the novel’s themes?

A. It underscores the organic, inevitable nature of human connection, contrasting with Hyde’s artificial creation.
B. It symbolises the suffocating grip of long-term relationships, foreshadowing Utterson’s eventual entrapment in Jekyll’s secrets.
C. It reflects the Victorian ideal of patience in friendship, which the novel ultimately endorses as a virtue.
D. It implies that Utterson’s bonds, though slow to form, are resilient enough to withstand the revelation of monstrous truths.
E. It suggests that his relationships, like ivy, are parasitic—thriving only when attached to morally compromised individuals.

Question 3

Utterson’s statement, “I incline to Cain’s heresy… I let my brother go to the devil in his own way,” is best understood as:

A. a darkly ironic acknowledgment that his non-interventionism enables the very evils he claims to tolerate.
B. a rejection of biblical morality in favour of a utilitarian ethic that prioritises personal autonomy over collective good.
C. an expression of quiet despair at the inevitability of human corruption, aligning him with Milton’s Satan.
D. a veiled confession of his own complicity in the “misdeeds” of those he befriends.
E. a rhetorical flourish designed to distance himself from the hypocrisy of Victorian moralists.

Question 4

The passage’s description of Utterson and Enfield’s Sunday walks—where they “said nothing” and “looked singularly dull”—is most effectively read as:

A. a Gothic inversion of companionship, where silence and dullness become the preconditions for an unspoken, almost telepathic bond.
B. a critique of Victorian male friendship as emotionally stunted and devoid of meaningful exchange.
C. an illustration of the novel’s central theme that true understanding requires the absence of language.
D. a narrative device to heighten the mystery of their relationship, which will later be revealed as tied to Hyde.
E. a symbolic representation of the repression of the era, where even leisure is drained of vitality.

Question 5

The passage’s repeated emphasis on Utterson’s “silent symbols” (e.g., his after-dinner face, his acts rather than words) primarily serves to:

A. establish him as an unreliable narrator whose true thoughts are systematically withheld from the reader.
B. contrast his introspective depth with the superficiality of other characters, like Enfield.
C. create a sense of latent menace, suggesting that his unspoken qualities may align with the novel’s darker forces.
D. reinforce the Gothic trope of the ineffable, where meaning resides in what is omitted rather than stated.
E. highlight the limitations of language in conveying moral complexity, a meta-commentary on Stevenson’s own narrative strategy.

Solutions and Explanations

1) Correct answer: B

Why B is most correct: The passage explicitly notes Utterson’s tolerance is tinged with “envy” for the “high pressure of spirits” in others’ misdeeds, while his own suppressed indulgence (gin in private) and austere demeanour suggest a repressed fascination with transgression. This aligns with Freud’s concept of sublimation—where unacceptable impulses are redirected into socially acceptable outlets (here, vicarious engagement with others’ lives). The “envy” is the critical clue: it’s not mere detachment (C) or pragmatism (D), but a psychological investment in the lives of those who act on desires he denies himself.