Dr. Jekyll and Mr. Hyde (Compass Classic Readers Book 60)

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Maixner, p. The following section looks at formal elements punctuation, lexis and discourse structure, as well as larger textual units from the point of view of two basic techniques: repetition and heterogenerous juxtaposition. The first of these takes many forms: the echoing between conversational turns, the repetition, diffused through the text, of similar spatial configurations, the repetition of verbal formulas, passages of dense alliteration, densely-patterned word- repetitions, and the distribution through the text of references to mirrors, doubling, devils and death--these all give us the uncanny feeling of repeatedly returning to something familiar and already experienced.

As in fables, we find the repetition of verbal formulas used to underline a series of parallel situations. The repeated sounds of alliteration characterise passages of heightened description. Tension is created as Naugrette observes by associating the second example of these repeated situations with greater complexity or anxiety. Characters near a fire: Utterson pp. Utterson visits Lanyon to ask for advice about Jekyll, i p.

The drinking of wine: by Lanyon p. Horrifying scenes and windows: i a horrifying scene involving two men in the street is observed from above by a female witness at a window, pp. Transformation scenes: i Hyde transforms into Jekyll 3rd-person narrative , ch. A transformed Jekyll crosses the courtyard: i after the first voluntary transformation, Hyde crosses the courtyard at night from the cabinet to his Document1: p.

Certain of these situations are combined in a kind of spiral structure Utterson and Enfienld stand in front of the door in ch. In addition, where single episodes start and end in the same way as ch. One simple way that fragmentation is achieved is by the frequent use of the semicolon.

Nabokov seems to have [p.

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Michele Mari, in a general study on punctuation Alessandro Baricco et al. Another kind of fragmentation is produced by different parts of the text seeming to belong to different genres: JH has been seen as similar to the Gothic novel, the detective story, the realistic novel, the fantastic tale, science fiction, horror story, doubles narrative, weird tale, fable, decadent nouvelle and sensational tale. This piling up of generic signals calls into question the unitary and consistent text and the unitary and consistent author that lies behind it , just as Jekyll and his failed attempt at the simplification of personality call into question the single and consistent individual.

Stevenson encourages such a conscious reading experience through a foregrounded style in which familiar words are given a new meaning from their context of use, and which is characterised by occasional adapted and literally-translated phrases, and archaic or Scots words. In such cases the language creates a patch of opacity like a tache of mere paint in a painting. And in the end it remains opaque. Here, the reader feels responsible for importing an innovative equivocal double entendre meaning into the text, so becomes an accomplice in the destabilisation of the values and meanings of society.

Another odd feature are certain subtly aggressive exchanges, where the dialogue becomes non-coherent and opaque, underlining the impossibility of communication or the way conversation is filled with meaningless formulas. The two dialogues between Utterson and Enfield ch. Jekyll and Mr. Hyde, Norton, , p.

Most of the various derivative versions, however, simplify the circular and repetitive elements of the original text and do not maintain its linguistic strangeness, as well as lacking the subjective and evasive point-of-view of Jekyll found in the last chapter. Adaptations for performance on stage, screen, radio and television have been especially numerous. Not only did Mansfield continue playing the role for twenty years, until just before his death in , but the version with its added female parts and simplified melodramatic meaning clearly distinguishing good and evil was to influence many later stage and film adaptations.

Other significant stage versions are those by Daniel Bandman , whose Hyde characterisation may have influenced later film interpretations,52 and David Edgar , which has two actors for the title roles and a Scottish Hyde. They also usually add scenes in music halls and other elements reminiscent of the London of Jack the Ripper. In addition a dance- hall girl is usually added, who Jekyll finds attractive, and [p.

This new story- element is first found in a film of and is adopted in three classic Hollywood versions, directed by J.

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It also tries to represent mental states by means of the subjective camera and rapid montage. The musical-spectacle Jekyll and Hyde by Frank Wildhorn with book and lyrics by Leslie Bricusse first performed in basically follows the Hollywood film versions Document1: p.

The Document1: p. The version by Guido Crepax, Dr.

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Jekyll e Mr. Of illustrated editions, the most interesting are perhaps those by S. Hulme Beaman , Mervyn Peake , and the limited edition with many interesting etchings by Raoul Livain The work has also been widely translated, and Appendix B. The text seems to lack any simple and explicit symbolic meaning while at the same time encouraging interpretation: in this, it resembles texts of uncertain meaning by the Symbolists and by such authors as Hawthorne, Hogg, E.

Hoffmann and Franz Kafka. In the visual arts, we could see an affinity with Document1: p. Another comparison might be with the works of Escher, some of which give a similar feeling of unease thanks to a combination of the perturbing and the paradoxical, the contradictory and the irresolvable. JH is built around the puzzle-concept that Jekyll and Hyde are both different and the same, accompanied by a kaleidoscope of potentially-symbolic elements and patternings, unstable oppositions, repetitions and symmetries which the reader may rearrange infinitely.

There is no definitive configuration of these elements, no promise of final meaning—instead, as we read this text, we are given the experience unsettling yet also fascinating of trying to understand a series of problematic aspects of the human condition. See Textual Notes, p. New York Herald 8 Sept See also Explanatory Notes for p.

Reviewing the Classics: Dr. Jekyll and Mr. Hyde

For example, Th. See Textual Notes p. Christopher Frayling, Nightmare. For a further discussion of the significant changes during composition, see Veeder pp. Hyde, New York, Norton, , pp. Contemporary medical opinion held that masturbation was harmful and led on to homosexuality cf. The final text still contains enough hints of masturbation e. See p.

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Terry Robert Louis Stevenson. Interviews and Recollections, pp. The Century Magazine April , pp. Hyde, pp. Hammerton, Stevensoniana, Edinburgh, Document1: p. In Weir of Hermiston ch. The film versions of and show the influence of Freudian theories. Hyde By Robert Louis Stevenson. Published by Planet eBoo k. Visit the site to download free 4 The Strange Case of Dr. Hyde Free eBooks at Planet eBook. Jekyll and his evil double, Mr. Hyde, is one of the most famous horror stories in English literature. It is also a profound and fascinating fable of the divided self that continues to seize readers imaginations.

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