The 1920 Club: Mary Rose, A Play in Three Acts, J.M. Barrie (1920)

There was always something a little odd about Mary Rose.

 

The pla2015.86628.Mary-Rose-A-Play-In-Three-Acts_0005y opens in the drawing room of an old house. It is alive with the presence of the past. The caretaker of the house, Mrs. Otery, is indifferent to her job, especially when periodically called upon to show it to potential buyers. It is clear she is uncomfortable in the house. She is giving a tour now to a young man who has returned to the area after the war (WWII) who it turns out, used to live there as a child.

Harry: What’s wrong with this house?

Mrs. Otery: There is nothing wrong with it.

Harry: Then how is it going so cheap?

Mrs. Otery: It’s–in bad repair.

Harry: Why has it stood empty so long?

Mrs. Otery: It’s–far from a town.

Harry: What made the last tenant leave in such a hurry?

Harry knows people say the house is haunted, “It’s a woman, isn’t it?” and plies Mrs. Otery with questions. She clearly does not want to talk about this subject, but finally admits to the presence of a young woman who is felt in the house after midnight.

While Harry waits for Mrs. Otery to return with his tea he is visited by a presence. Doors close and open and suddenly through a misty lens Harry disappears and the room becomes as it was 30 years ago and the story of the house begins.

The Morlands were the previous owners and they had a daughter, Mary Rose. When she was 11 her parents visited the Hebrides where her father loved to fish. He would take Mary Rose to a tiny island while he was out in his boat and she would sit and sketch. On their last day her father rowed over to the island and saw her sitting on the stump of a tree as usual, so he turned to row toward her, but when he got there she was gone.

The townspeople searched and searched for her. They dragged the little lake, but she was nowhere to be found. Her parents stayed on hoping she would return and one day her father saw her again sitting on the stump sketching. He rowed as fast as he could and when he got to her it was evident she had no idea what had happened; she had no idea of being gone for 20 days. Once home she never mentioned it and her parents never ever talked about it.

But they always knew if the time came for her to marry, they would have to tell her fiancé. And that time has come. Her intended is Simon, who they ask to speak with privately while Mary Rose is upstairs. When they are finished, he is not sure what to make of it.

Simon: It has had no effect on her, at any rate.

Mrs. Morland: I have sometimes thought our girl is young for her age….And she sometimes acts like she is listening for something like a sound from the island.

When they are alone Mary Rose asks about their honeymoon and Simon is shocked when she mentions a little island in Scotland she’d like to visit…her parents having just assured him she has forgotten it.

Act II opens with Simon and Mary Rose on the island four years after they married. Interestingly, it is Simon who asked to come to the island, though Mary Rose seems happy to see it. She talks to the tree stump she had sat on and to the other trees and tells them about about her life and of her two-year old son. Though these conversations seem childish, she doesn’t seem like the young girl we met in Act I.

A local man named Cameron is helping them with their lunch. He is polite and talks a little about himself, but he won’t sit down to eat with them.

Cameron: This island has a bad name. I haf (sp) never landed on it before….[The people say] it has no authority to be here…Then one day it was here.

Cameron says too many birds visit the island and they seem to come here to listen. None of the locals want to come on shore because of the stories, like the one about the baby boy who disappeared. Then he tells the story of the young English girl who once came here with her father and disappeared. Mary Rose finds the story strange–how could she not know what had happened to her? Cameron’s father was one of the searchers, so he assures her the story is true.

The three are sitting around a campfire heating up their lunch. Mary Rose hears a call, “Mary Rose, Mary Rose.” She reaches out to her husband, but he doesn’t see her. She has disappeared. He turns to Cameron and asks where his wife is. End Act II.

Act III opens 20 years later with Mary Rose’s parents and their good friend, the vicar visiting in the drawing room. They are speaking of their age, time gone by and the apple tree outside the window that Mary Rose liked, but its age is forcing them to cut it down.

Simon is due to see them today. As he sits with them he receives a telegram from Cameron who announces Mary Rose has been found and he is coming that day with her. He comes into the room and tells them she was found by two fishermen on the site where she sat at the campfire all those years ago. When she enters the room, her appearance is the same as she was then. She has not aged and for her no time has passed. She goes immediately in search of her baby boy. The scene fades into the present.

Harry is sitting in a chair as Mrs. Otery brings him a cup of tea. He is a little disoriented. “Have you seen anything,” she asks?

He wants to know the story of the family, the Morlands. He tells her he is of the family and wants to know about the ghost. “Is it true about folk having lived in this house and left in a hurry? And have you seen her?”

Mrs. Otery has seen her all over the house, passing her on the stairs even, where she let the old woman pass with a “Good evening.”

He wants to see her, but Mrs. Otery will not have anything to do with that. He takes a candle and walks down a narrow passage that leads to his childhood bedroom. Mary Rose appears, but does not recognize him.

As they speak it is clear that Mary Rose is in the liminal space between life and death and it is her concern for baby Harry that has kept her earthbound. It is Harry who tells her this.

Ghosts are unhappy because they can’t find something, and then once they’ve got the thing they want, they go away happy and never come back….What you need now is to get back to that place you say is lovely, lovely. It sounds as if it might be heaven.

As she realizes this Harry is looking out at the starry night sky and the scene fades.

The smallest star shoots down as if it were her star sent for her, and with her arms stretched forth to it trustingly she walks out through the window into the empyrean.*

*Heaven, specifically the highest part of heaven.

Conclusion

Shades of Peter Pan, eternal youth and flying out of windows. There is the requisite haunted house, magical island, lost time and secrets and, of course, the mysterious caretaker. (Someone should do a book on the mysterious house-caretakers of Gothic stories)!

With its heavy emphasis on stage directions and dramaturgy, the play reads like a novel and is therefore rich in background and well-drawn characters. It is a perfect Gothic ghost story with a nice balance of mystery and fantasy. I highly recommend this work in general, but I am thinking that it is perfect for the RIP challenge in the Fall for anyone in need of a break from novel reading.

I had plans to do more for this year’s club, but the year did not start out the way I’d hoped and I had to find something short. But it all worked out for the best, because reading Mary Rose reminded me how much I enjoy reading plays, something I need to get back to, even if I can’t do it with others at the moment.

______________

1920-club
Challenges: 1920 Club

Title: Mary Rose
Author: J. M. Barrie
Publisher: Archive.org
Date: first produced in April, 1920 at the Haymarket Theatre, London

The Christmas Banquet, Nathaniel Hawthorne (1844)

Who is this impassive man? We seem to know him well, here in our city, and know nothing of him but what is credible and fortunate. Yet hither he comes, year after year, to this gloomy banquet, and sits among the guests like a marble statue. Ask yonder skeleton–perhaps that may solve the riddle!

 

xmasbanquetThis is one of the oddest Christmas stories I’ve come across. There is nothing warm and fuzzy, or “feel good” to lend this story any kind of familiarity of tales typical of the season. While I will say the body of the short story involves some philosophic contemplation the ending is confusing enough to leave one with the question, “what just happened?”

The premise involves a wealthy man and his last will and testament. He has bequeathed a yearly Christmas dinner at his home and has charged two stewards with care of the guests. Their task is to find the ten most miserable people in the city and invite them to spend Christmas together; their misery is proof that even on this holiest day of hope sadness, bad luck, emotional, financial and physical pain still exists.

That the pitiful group assembles in a dining room looking more fit for a funeral than a Christmas dinner is not by accident. This dinner is the deceased’s protest against those religions that find “sunshine in the world.” As such, the dining room is lit by torches and hung with dusky purple curtains and wreaths of artificial flowers like those strewn over the dead.

The main reservoir of wine was a sepulchral urn of silver, whence the liquor was distributed around the table in small vases, accurately copied from those that held the tears of ancient mourners. Neither had the stewards…forgotten the fantasy of the old Egyptians, who seated a skeleton at every festive board, and mocked their own merriment with the imperturbable grin of a death’s-head.

Was the skeleton at skeletonthe head of this table shrouded in a black mantle the benefactor of the dinner? The narrator tells us that one of the stipulations of the testator is that he be present and permitted to sit with his guests. And if the banqueters want to lift the veil in hopes of some answer to the age old question regarding life after death, his open and staring eye sockets would make the answer clear.

Included in the decorations is a wreath. The stewards say it is designed to crown the guest with the “wofullest” story. The conversations and introductions begin and we see representatives of all those who will appear at the dinners to come. The invitees suffer from depression, chronic diseases of the heart and other organs of the body; there are hypochondriacs, and those whose disappointments in life have created obsessions of murder and treachery against their neighbor; one lamentable soul feels he was born with a message for humanity, but doesn’t have the confidence to say it; a woman with the slightest defect in her eye which so affronts her ideal of perfection that she feels compelled to hide herself away in solitude.

The last guest walks in and whatever malady he is suffering from is not apparent causing suspicion and consternation among the others. He is young, healthy, successful and looking more suited to a merrier holiday table. Some of the guests want to know why the dead founder doesn’t shake his skeleton finger at Gervayse Hastings and point him the way out. The stewards assure them of his right to be there saying only, “not a guest at the table is better entitled to his seat.”

As the years pass the Christmas dinners continue without a repeating guest–there is that much misery in the world. There is sometimes an instant after each tells their story that a momentary gleam of inner light descends upon the speaker and the physical or emotional malady ceases in some kind of understanding. But the moment is lost when one of the more cynical of the group breaks the spell in laughter or rude comment.

It is not quite true there were no repeat guests. Gervayse Hastings was invited every year. And as the decades passed and he aged physically his vitality was retained and he was still met with same response. “Has he suffered? Has he sinned? There are no traces of either. Then wherefore is he here?” It is true he is prosperous and in robust health with financial and personal success. But they notice a distance, a coldness that feels physical and makes them shrink from him, makes them draw back their hand extended in greeting.

Hastings is aware of this coldness of heart and how people respond. He tells them he feels nothing, that his heart is but a vapor and though from the outside people think he has everything, on the inside he is hollow. He feels no human emotion, not even toward those he should love. “Neither have I myself any real existence, but am a shadow….” At the moment of this admission the ligaments of the skeleton come apart and the bones fall away. And as the guests take their eyes from the skeleton and back to Hastings, he has ceased to live. If only he could have “imbibed one human grief” he might have been saved.

Of such persons–and we do meet with these moral monsters now and then–it is difficult to conceive how they came to exist here, or what there is in them capable of existence hereafter. They seem to be on the outside of everything; and nothing wearies the soul more than an attempt to comprehend them within its grasp.

And so ends this very Gothic Christmas story that feels straight out of Edgar Alan Poe!

 

My Thoughts

Last year I read Dicken’s, A Christmas Carol for the first time. This year I looked around my shelves for a Christmas story that wasn’t obvious or well-known and found this title in a collection of Hawthorne’s short stories and decided to take a look at it. I know from reading several of his novels he creates characters in turmoil, whose lives are dark and somber, though I didn’t expect those sensibilities in a Christmas story. But this one is classic dark and somber Hawthorne and I have to say it worked for me.

While the story itself is a little extreme, I do like the aspect of the story that describes the pain and suffering many people struggle with at this time of the year. They may seem like they have it all together, but in reality they are hurting as much as someone who is physically wounded. Hawthorne may have exaggerated the story to get this message across, but after close to 200 years his point is still relatable.

victorianxmas

Wishing everyone a merrier Christmas than what was experienced above!

familyxmas

 

__________________

Title: The Christmas Banquet
Author: Nathaniel Hawthorne
Publisher: Penquin Classics
Device: Paperback
Year: 1844
Pages: 20

Frankenstein, Mary Shelley (1818)

“Perhaps a corpse would be re-animated;…perhaps the component parts of a creature might be manufactured, brought together, and endued with vital warmth.”
Mary Shelley

“Alas! I had turned loose into the world a depraved wretch, whose delight was in carnage and misery…”
Victor Frankenstein

 

frankensteinThe catalyst for Frankenstein Mary Shelley explains, is that she and her husband Percy were visiting the home of Lord Byron one dark and stormy night, when Byron laid down the challenge that each must tell a ghost story. Byron and Percy were able to create a story on the spot, but it took Mary a few days. In fact, she dreamed it. The result is one of the world’s most well-known classic tales of necromancy and Gothic story-telling.

As often happens when I read a classic novel that has seen countless film adaptations, I was very surprised that the book tackles far more than just the ‘monster parts.’  Shelley proposes thoughtful and deep topics and asks questions about personal responsibility, the quest for life’s purpose and leaves me wondering whether a monster has a soul?

Frankenstein is told as a story within a story by Robert Walton who is at sea and is corresponding with his sister, Margaret. But when the ship gets stuck in the ice floes of the Arctic, in the span of a few hours two very odd things happen. First, the crew spots a huge human-like creature driving a sledge with a pack of dogs passing at a distance. The next morning, they find another man, but more normal-looking, who is also driving a sledge, floating near them on the ice. He is near dead. The crew rescues him, revives him and while recuperating tells Walton how he came to be floundering on an ice floe in the middle of the Arctic. Walton records the tale for his sister in a journal. Frankenstein is the story of Victor Frankenstein, youthful scientist and budding necromancer whose interest in natural philosophy takes a turn from the traditional path of changing lead into gold to the perilous route toward creating life from death.

At university, Victor studies physiology, anatomy, the life process and the progression of death; he visits charnel houses and sees how the body corrupts and wastes away after the bloom of life.

After days and nights of incredible labour and fatigue, I succeeded in discovering the cause of generation and life; nay, more, I became myself capable of bestowing animation upon lifeless matter….It was already one in the morning….I saw the dull yellow eye of the creature open; it breathed hard, and a convulsive motion agitated its limbs.

After two years of working toward this goal of animating life from death Frankenstein succeeds. But instead of celebrating the work, he is horrified. He has created a creature, a monster. He cannot sleep for the nightmares that consume his waking and sleeping hours and falls into a many-month illness. From the very beginning that sparked the life of the monster, Victor is unable to accept responsibility for what he has created or the repercussions of the monster’s actions. This weakness in character will hound him for the rest of this life.

Meanwhile, the monster flees the town. He is a fully formed human-like man and as he roams the countryside coming into contact with people he not only sees, but feels their fear and disgust. He shows up near Victor’s home and kills his younger brother. Victor is still at university when he hears William has been murdered; he knows it is the monster. Unable to confess to the authorities what he knows for fear of being branded insane, he keeps quiet. An investigation and trial is held for the murder and through circumstantial evidence Justine, a trusted family servant of the Frankenstein’s is convicted of the crime and hanged. “The first hapless victims of my unhallowed arts.”

The monster is desperate for a place of refuge and finds it in an abandoned hovel near a cottage. The cottage is occupied by a brother, sister and their father. Through watching the interactions of the siblings as they care for their blind father he learns how they take care of one another, how they speak in kindness toward each other and what it means to be part of a family. Aware of his physical deformities he knows to keep out of sight, but he takes a chance on the father when the children are away during the day and forms a friendship with him. But the day comes when the children see him and the family flees the cottage. Brokenhearted, the monster understands his kindness or concern for others will always be outweighed by his physical appearance. There is no place on earth for him.

Where were my friends and relations? No father had watched my infant days, no mother had blessed me with smiles and caresses;…From my earliest remembrance I had been as I then was in height and proportion. I had never yet seen a being resembling me, or who claimed any intercourse with me. What was I?

The monster finally confronts Frankenstein and describes his life, how he came to speak, to think, to understand society by watching this family. And now, by bitter experience he will never be able to live as they do, in a family or as a common man.

Remember, that I am thy creature; I ought to be thy Adam; but I am rather the fallen angel, whom thou drivest from joy for no misdeed. Every where I see bliss, from which I alone am irrevocably  excluded. I was benevolent and good; misery made me a fiend. Make me happy, and I shall again be virtuous.

He pleads with Frankenstein to make him a companion like himself, so he can live as he sees others doing.

You must create a female for me, with whom I can live in the interchange of those sympathies necessary for my being….I now indulge in dreams of bliss that cannot be realized

What I ask of you is reasonable and moderate; I demand a creature of another sex, but as hideous as myself….we shall be monsters…Our lives will not be happy, but they will be harmless, and free from the misery I now feel.

The monster compels Frankenstein to this task and promises to live in secret, perpetrating no violence to any animal and away from any human contact.

Victor Frankenstein indeed created a monster, but what is amazing about this one is his heart, soul and intelligence. He has the potential to be every bit as kind and compassionate, moral and honest as any other man, yet he will never be accepted because of his physical appearance. No matter his good works or heroic deeds, his physical presentation will always negate his integrity.

My Thoughts

Victor Frankenstein turns his back on what he created. He abandons him on the first night, but once he hears his story, it is obvious this is a feeling, thinking human-type being, deserving of assistance, mercy and companionship. Would someone who created life really reject it like he did? The monster may be hideous to look at, but inside he is made like any other human being with the full capacity of feelings and outlook on life.

Would you reject a “nonperfect” child and would you expect it to fend for itself? Or is this something entirely different? Because the monster is not a helpless baby, but came into the world fully formed, who learned to speak, to cultivate his intelligence, to live in the world through observation, because he was made with wisdom already intact. Does he have a soul? He acts like it. He quickly becomes Victor’s intellectual equal. And Victor is given ample opportunity to make things right for him, instead he gives into fear.

Hounded for years by the being he created, Victor dies on the ship still unrepentant and without accepting any responsibility toward the monster; even as he lay dying he just wants the wretch dead.

The fate of the monster is sealed at Frankenstein’s death. Walton hears noises coming from the room where Frankenstein has died. He sees that it is the monster lamenting his existence that there will now never be redress against the man who created him.

Frankenstein forced him to a life of misery and neglect and now he will end his own on a “funeral pile triumphantly, and exult in the agony of the torturing flames….my ashes will be swept into the sea by the winds. My spirit will sleep in peace….”Frankenstein1818.jepg

Shelley goes through such pains to tell the monster’s story and she imbues the creature with humanity and sympathy as with any other human being. She shows his compassion, his intelligence; he is creative, hard-working and capable of contributing positively to society. He develops the full capacity of feelings, agency and responsibility for others and this is to me the tragedy of Frankenstein and his monster.

Because the monster is a victim. And it is easy to interpret Frankenstein as a warning for these modern times as science advances toward cloning and other forms of creating genetically modified life. Can we use Frankenstein as a forewarning to illustrate imagination gone wrong, to get us to think about the results of such experimentation and to ask how and what we are responsible for when we take these steps? Is creation and human life about outward appearances as we go about creating perfect people? What do we owe to them when they turn out to be not so perfect?

Once I falsely hoped to meet with beings, who, pardoning my outward form, would love me for the excellent qualities which I was capable of unfolding. I was nourished with high thoughts of honour and devotion….When I run over the frightful catalogue of my sins, I cannot believe that I am the same creature whose thoughts were once filled with sublime and transcendent visions of the beauty and the majesty of goodness. But it is even so; the fallen angel becomes a malignant devil. Yet even that enemy of God and man had friends and associates in his desolation; I am alone.

___________________

 

Title: Frankenstein
Author: Mary Shelley
Publisher: St. Martin’s Press
Device: Trade paperback
Year: 1818
Pages: 185

Challenges: RIPXIV, Classics Club, Roof Beam Reader’s TBR Pile Challenge

RIP XIV Part 1 & Witch Week 2019

witchweek.jpeg
RIP XIV

Autumn in Southern California does not bring with it any kind of turning inward, cool temperatures or spooky feelings. In September, the sun is still high and we have some of the hottest temperatures of the summer in September and into October. The necessary ‘woowoo’ caused by darker evenings, the robust wind and cool nights doesn’t start until October, which is when I usually begin this challenge. But I was anxious to read some of my choices this year, so I went ahead anyway and surprisingly, it was a success.

Dr. Jekyll and Mr. Hyde, by Robert Louis Stevenson is considered a classic in both literature and film. And while I had a difficult time with the writing in most of the book, the later quarter was worth the time. I liked being asked to think about the dual nature of good and evil as it exists in a human soul.

The next book I read, The Picture of Dorian Gray, by Oscar Wilde thoroughly surpriseddoriangray.jpeg me. I knew the basics of the story: an artist paints a portrait of a man called Dorian Gray and it is somehow possessed so that it ages, while he stays youthful. What I didn’t know about the book is how much Wilde talks about love and beauty and what is our obligation to them? It is almost a plea to consider these concepts. Like Dr. Jekyll and Mr. Hyde, there are two parts of the story, the horror part and in this case, the philosophy of aesthetics part of the story.

Lord Henry: “People say sometimes that Beauty is only superficial. That may be so. But at least it is not so superficial as Thought is. To me, Beauty is the wonder of wonders. It is only shallow people who do not judge by appearances. The true mystery of the world is the visible, not the invisible.”

Dorian Gray: “I shall grow old, and horrible, and dreadful. But this picture will remain always young. It will never be older than this particular day of June. If it were only the other way.”

H.P. Lovecraft is a wonderful story teller of the macabre. He uses history, legend and popular culture to give his stories a weird and sometimes awful twist. I always thought I hated horror, but once I read his novel, The Case of Charles Dexter Ward, I realized that a good story is what matters. This month I am reading several short stories in his Cthulhu Mythos. Last month I read, “The Cats of Ulthar.”

It is said that in Ulthar, which lies beyond the river Skai, no man may kill a cat; and this I can verily believe as I gaze upon him who sitteth purring before the fire. For the cat is cryptic, and close to strange things which men cannot see. He is the soul of antique Aegyptus, and bearer of tales from forgotten cities in Meroë and Ophir. He is the kin of the jungle’s lords, and heir to the secrets of hoary and sinister Africa. The Sphinx is his cousin, and he speaks her language; but he is more ancient than the Sphinx, and remembers that which she hath forgotten.

The moral of this short story? Don’t mess with the village cats, or the consequences are deadly….

For October I am also reading The Turn of the Screw, by Henry James and Mary Shelley’s Frankenstein, regardless of how embarrassingly I created the last Classics Club Spin. Which just goes to show you, don’t try to stack the deck, the Spin Gods have other plans!

Witch Week 2019!

Finally, a note about this year’s Witch Week, a week-long celebration of magic and fantasy in memory of Diana Wynne Jones. Commencing as usual on October 31st and going through November 5th. This year’s theme is Villians!

cartcwidderCreated by Lory Hess at The Emerald City Book Review it is now co-hosted by Chris of Calmgrove, whose blog this year will be the center focus and Lizzie Ross at Lizzie Ross Writer. Guest posts on a variety of fantastic villains will celebrate the week as will a discussion on this year’s chosen community read, Diana Wynne Jones Cart and Cwidder. It’s not too late to pick up a copy and join the discussion. I read it for the first time and thoroughly enjoyed it. I won’t give away any plot points, but I can promise you will never look at a stringed instrument in the same way again…..

Happy season of the turning year to All, whether you are beginning Fall or Spring!

 

IMG_5272.JPG

Classics Club Spin #21

CCspin21.jepg

The Classics Club is community of readers sharing our love for classic literature. Participants create a list of 50 or more classic lit titles that we agree to read within 5 years. A “Spin” is to take 20 titles you have not read from that list and number them 1-20. When the Spin gods choose a number your corresponding title is the book you will read and post about. For Spin #21 we are encouraged to post by October 31st.

The Classics Club is a wonderful way to meet like-mined classics lovers and have some fun. Yes….classic lit and fun CAN be in the same sentence 🙂

From the Classics Club website where you can get the full scoop on the Club and the Spin:

This is meant to be a fun, social way to read another book from your classics club list. We’re very relaxed about how you set it up, we simply want you to read more classics!

This Spin I am happy to say is a special one as I am only a few titles away from finishing my list, so I have chosen to repeat the titles I have not read on my list, instead of choosing any from my book shelf (can you say Frankenstein)?

Ok Spin gods…pick the monster, please 🙂

George Eliot
1. Middlemarch (1874)

E.M. Forster
2. Room with a View (1908)

Elizabeth Gaskell
3. Mary Barton (1848)
4. Wives and Daughters
(1866)

Henry James
5. Portrait of a Lady (1881)
6. The Ambassadors (1903)

Mary Shelley
7. Frankenstein (1818)

H. G. Wells
8. First Men in the Moon (1901)
9. The Invisible Man (1897)

Virginia Woolf
10. To the Lighthouse (1927)

11. Frankenstein

12. Wives and Daughters

13. Frankenstein

14. First Men in the Moon

15. Frankenstein

16. Portrait of a Lady

17. Frankenstein

18. Middlemarch

19. Frankenstein

20. Room with a View

 

 

Dr. Jekyll and Mr. Hyde, Robert Louis Stevenson (1886)

I have observed that when I wore the semblance of Edward Hyde none could come near me at first without a visible misgiving of the flesh. This, as I take it, was because all human beings, as we meet them, are commingled out of good and evil: and Edward Hyde was pure evil.

 

drjekyllWhat a convoluted story! This door, that alleyway….Robert Louis Stevenson’s prose is almost as confusing as the story itself. And as a visual reader all the scenes look dark as if all of the action takes place at night, even the inside scenes.

While the first ¾ of this novella is hard to follow, the last quarter is quite profound and made me think of my own morality.

 

While I knew the basics of the story–a scientist creates a potion that turns him into an evil man–I was surprised that in the actual reading of the book that scientist was Dr. Jekyll. What I mean by that is having heard the story and seen the films, in reading the the actual book it was not immediately understood to me to be him. So, I liked that aspect of the mystery.

The story unfolds as a Mr. Utterson, a lawyer and close friend of Dr. Jekyll, first comes drjinto contract with Mr. Hyde while walking home one night. He witnesses a man and young girl collide in the street; he tramples her and continues on. Utterson goes after him, catches him and then forces him to make financial restitution to the girl and her family for her injuries. To make sure, he goes with the man to his home, waits there until he writes the check and waits at the back to make sure the check is good.  Mr. Hyde, who Utterson can see is deformed, stays curious about this mysterious man each time he passes his door.

Meanwhile Dr. Jekyll is becoming a recluse giving concern to Utterson who is used to seeing him often for dinner or drinks. As the keeper of Jekyll’s will he is worried at this odd behavior. His suspicions are heightened when, Poole, Jekyll’s long-time servant shows up at Uttersons’s home one night in great fear for his master. He says Dr. Jekyll is ill and spends all his time in the laboratory, but there is something else that has put all the servants in fear and would he please come immediately to the house? When he enters the home, the servants are convinced that although they only get a glimpse of Dr. Jekyll in his laboratory the man they see isn’t him. Although Utterson finds this unbelievable they are clearly in a panic and he is convinced to break down the door. Rushing in he sees a body on the floor. It is Mr. Hyde in his last gasp of life.

Dr. Jekyll Creates a Method of Dissociation

drj3As Utterson tries to process what he sees, he notices an envelope on the desk with this name on it. Inside are instructions from Dr. Jekyll dated that very day and state that Utterson must read the two letters enclosed before he does or thinks anything else. The first letter is from a mutual friend of Utterson’s and Jekyll, who writes about witnessing Dr. Jekyll’s change to Mr. Hyde. The second is Dr. Jekyll’s account of his life and his struggles at an early age with the duality of good and evil within himself and the experiments that culminated in the successful separation of the two and the creation of Mr. Hyde.

If each could be housed in separate identities, life would be relieved of all that was unbearable; the unjust might go his way…and the just could walk steadfastly and securely on his upward path…no longer exposed to disgrace and penitence by the hands of this extraneous evil….that in the agonized womb of consciousness, these polar twins should be continuously struggling.

By finding the right combination of powders Dr. Jekyll had begun experimenting on himself until late one night as the nausea and aching subsided he sensed something strange and new. He felt younger, happier, more vital. He was Mr. Hyde.

“I knew myself, at the first breath of this new life, to be more wicked, tenfold more wicked…and the thought delighted me.”

A reverse mixture brings him back to Dr. Jekyll, but as time passes, he finds it harder to come back to his original self. He is horrified to realize he is becoming Mr. Hyde without taking the potion as if his evil nature is overpowering the good. As the influence of Hyde grows, Dr. Jekyll’s physical body declines. When Hyde beats a man to death, it becomes clear to Jekyll that there is only one way to stop Hyde–and therefore himself. This is the act by which he is discovered by Utterson.

My Thoughts

When I was a child, like many children, I had a “fall guy” or in this case two fall girls who I blamed for the bad things I did. Peggy and Shelly existed as my imaginary friends and though I talked to them and went on elaborate escapades with them I knew our association and my experience with them was in my mind and not in the real world. And although it sounded good at the time, it never worked to blame them for what I did. I grew out of a need for them at some point.

Whatever Stevenson is describing here with Dr. Jekyll’s dual nature might be more pathological than just some mean thoughts about the perceived unfair people or circumstances in life or an inability to take responsibility for our actions. I never wrestled with the kind of evil Jekyll does, but I hear every so often of a woman paying someone off to kill her husband or a man hiring someone to ‘get back’ at a person who wronged him. Most of us don’t ever go that far and are able to deal more responsibility with the negative parts of our nature.

And so I wonder about this story of Stevenson’s and what he is describing or warning us about? Is his Mr. Hyde living out a universal deep, dark fantasy over situations we believe we have no control? Is he describing the mind of a serial murderer or the mad scientist whose experiment has gone far beyond what he thought he was creating?

But is this also a cautionary tale about how one man deals with his negative passions, the dark thoughts that consume him and instead of facing whatever they are he acts them out not in a healthy way, but literally? Or maybe Dr. Jekyll is just plain crazy and Stevenson has illustrated the workings an insane mind.

Even if this is only a good fireside scary story, it sure made me think!

_________________

Title: Dr. Jekyll and Mr. Hyde
Author: Robert Louis Stevenson
Publisher: Bantam Classic
Device: Paperback
Year: 1886
Pages: 114

Challenges: #RIPXIV

R.I.P. XIV-Readers Imbibing Peril for the Fourteenth Year!

rip14.jpeg

Probably one of the most fun challenges of the year, R.I.P. reminds me that I really do like horror. After reading HP Lovecraft’s, The Case of Charles Dexter Ward this year I plan to read two of his short stories, “The Call of Cthulhu” and “The Dunwich Horror.”

ripxiv

I have high hopes for Frankenstein and The Picture of Dorian Gray and am curious about Daphne Du Maurier’s, The House on the Strand. I assume I will like James’s, The Turn of the Screw and it’s hard to believe I have never read Dr. Jekyll and Mr. Hyde. The Silver Bullet is a vintage detective/mystery novel, whose main character Craig Kennedy is billed as the American Sherlock Holmes….we’ll see 🙂

RIP is described not as a challenge, but a community coming together and “embracing the autumnal mood, whether the weather is cooperative where you live or not.” There are, however, two goals:

1. Have fun reading.

2. Share that fun with others.

Easy enough!

There are several “Perils” one can choose. From the website

Peril the First:

Read four books, any length, that you feel fit (our very broad definitions) of R.I.P. literature. It could be Stephen King or Sir Arthur Conan Doyle, Shirley Jackson or Tananarive Due…or anyone in between.

Peril the Second:

Read two books of any length that you believe fit within the challenge categories.

Peril the Third:

We all want you to participate. This Peril involves reading one book that fits within the R.I.P. definition.

Peril of the Short Story:

We are fans of short stories and our desire for them is perhaps no greater than in autumn. We see Jackson in our future for sure! You can read short stories any time during the challenge. We sometimes like to read short stories over the weekend and post about them around that time. Feel free to do this however you want, but if you review short stories on your site, please link to those reviews on our RIPXIV Book Review pages.

Peril on the Screen:

This is for those of us who like to watch suitably scary, eerie, mysterious gothic fare during this time of year. It may be something on the small screen or large. It might be a television show, like Dark Shadows, or your favorite film. If you are so inclined, please post links to any R.I.P.-related viewing you do on our book review pages as well.

Peril of the Review:

Submit a short review of any book you read and you may see it here on the blog! Again, you may participate in one or all of the various Perils. Our one demand: enjoy yourself!

 

Along with books, and short stories, I will watch some films to be determined. Hmm, I wonder if Los Espookys counts?
Are you participating this year? Find others on social media with the hashtag #ripxiv.