Please note – this section also contains examples of classroom activities, which allows them to be understood within the context of the unit’s progression.
The first ensemble song of
Jekyll and Hyde: The Musical
, “Façade,” contains the lyrics: “There’s a face that we wear/ In the cold light of day -/ It’s society’s mask,/ It’s society’s way,/ And the truth is/ That it’s all a façade!/ There’s a face that we hide/ Till the nighttime appears,/ And what’s hiding inside,/ Behind all of our fears,/ Is our true self,/ Locked inside the façade!”
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This song provides an opportunity to effectively open this unit. By using this song before delving into any of the texts, students will be able to reflect on the idea of repression before being influenced by the content of the unit. After listening to the song together, we will examine and thoroughly discuss the lyrics. Not only does “Façade” raise interesting questions about hidden identities, but it also references society’s role in shaping who we become. This will allow us to investigate what society is and what it expects from us. It will be important to acknowledge the benefits of society and why we need it, while also critiquing it. This will set up an idea that will be vital later in the unit – sometimes certain desires do need to be repressed, for the common good. It’s about balance, not about indulging every rogue thought. Furthermore, the end of the song speaks of how we “love the façade.” Exploring this idea (particularly in comparison to some of the very negative diction in the song – “locked inside,” “disease,” “lurking there beneath,” “nightmare”) will deepen our discussion of identity, repression, and society.
The musical’s use of the term “mask” in this song will ground these abstract concepts in something concrete for the students. This will help me to introduce the terms “façade” and “hypocrite” in a way that they can fully absorb and understand (which will be important later, as these terms are central to the
Jekyll and Hyde
story). After we discuss the song, I will introduce a mask activity to the students; they will consider if they wear a metaphorical mask and if so, when and why they put it on. Following these considerations, students will artistically create a mask that represents the self they show to the world and compare it to their inner self. This will allow us to discuss why we mask our identities, the pros and cons of this type of deceit, and what would happen if we took our masks off.
These pre-reading reflections will prepare my students for the body of the unit, which will begin with the novel,
Bottled Up
. The book is conveniently split into four parts, so I can intersperse
Jekyll and Hyde
lessons following the conclusion of each section. The only exception to this will be following Part 1; it’s necessary to forge ahead a few pages into Part 2 until reaching the moment when the main character, Pip, begins reading
Strange Case of Dr. Jekyll and Mr. Hyde
. I want to wait to introduce Stevenson’s story until
Bottled Up
has peaked student interest.
While reading Part 1, our focus will be on character analysis and symbolism. Working on making character inferences (primarily about Pip and his brother, Mikey) will build on the learning of our previous unit, as well give students a thorough understanding of Pip. This will become important later, as we begin to make connections between
Bottled Up
and the
Jekyll and Hyde
story. When teaching symbolism, I will refer back to the mask activity we did after discussing “Façade.” The students’ masks are a physical representation of the “character” they present to society, symbolizing a rejection of their inner selves. To extend their thinking, I will ask them to consider what a symbol of their truest self might be. By interacting with symbolism in this personal way, my students will internalize the concept, preparing them for our analysis of the symbols in
Bottled Up
.
The major symbols present in Part 1 of
Bottled Up
are Pip’s shoelaces, the bottle cap, Mikey’s M&M questions, the Site, and the Superman cape. Though we will not be able to definitively determine the final meaning of these symbols at this early stage of the book, I will draw my students’ attention to the implications of each through questioning and discussion. Pip leaves his shoelaces untied as a demonstration of his defiance of authority; the bottle cap from the beer Pip’s father gave him at age 9 is a physical reminder of his history of abuse; Mikey’s M&M questions reveal the innocence that has not yet been destroyed by their abusive father; the Site is a graveyard where Pip hangs out, ominously foreshadowing the death of his potential; and the Superman cape shows Mikey’s need for protection. I will also ask my students to track all the times Pip is referred to as a dog (both by other people and in his own mind). Considering the author’s language at these moments will allow us to parse this deliberate symbolism. I will also be sure to refer back to the “mask” idea, asking students to consider if and when Pip wears a mask.
Before concluding this portion of the unit, it will be important to discuss the moment when Pip’s English teacher distributes the
Strange Case of Dr. Jekyll and Mr. Hyde
books. Murray writes, “Maybe I’d read the book. It didn’t sound too bad. I shoved
Dr. Jekyll and Mr. Hyde
into my back pocket. It was a perfect fit.”
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The thought “it was a perfect fit” is an interesting moment of foreshadowing; it cues the reader that this book is going to fit Pip in some way, and thus affect him throughout the rest of the story.
At this point of the unit, I will take the opportunity to introduce Stevenson’s original
Strange Case of Dr. Jekyll and Mr. Hyde
. As a class, we will read the final chapter, titled “Henry Jekyll’s Full Statement of the Case.” I will also utilize quotations from other parts of the book, primarily concerning other characters’ reactions to Hyde and the contrasting descriptions of Jekyll’s house and the back entrance to the lab. After reading, there will be an open discussion; for the start of our
Jekyll and Hyde
considerations, I want to defer to the thoughts and interpretations of the students. After allowing them time to process and reflect, I will gradually begin to focus our conversation. I will introduce the term “repression” and we will work back through the text to identify the elements of repression in Jekyll’s story. Our main focus will be on what Jekyll represses, why he represses it, and what he loses as a result of the repression. Again, we will refer back to the “mask” idea, so that students can begin to see the song “Façade” as a story about repression. We will also consider what Pip is repressing (and connect this idea to the title,
Bottled Up
), and I will ask the students to make predictions about how Pip will respond to reading
Strange Case of Dr. Jekyll and Mr. Hyde
.
After our initial
Jekyll and Hyde
discussions, I will introduce some historical information to give my students context for the story. We will talk about why old stories can give us insight into a particular time period – the fears and values of a culture show up in the stories authors write. I will then teach the students about certain Victorian theories of the double brain and London’s economic decline of the 1880s that led to a pervasive anxiety about the degenerate poor. Students will work together to find examples in the text that relate to this new information. There are multiple instances of duality to examine (including even the description of Jekyll’s house vs. the description of the back entrance to the lab that Hyde uses) and Hyde’s physical appearance closely aligns with Victorian descriptions of the poor. Following this, we will renew our discussion of repression. As a result of his various repressions (and of releasing his inner monster, Hyde), Jekyll loses his mind and his social reputation. These consequences reflect Victorian scientific theories and a preoccupation with social class separation and strict social standards of behavior. When this portion of the unit concludes, I expect students to have a preliminary understanding of the dangers of repression and of the relationship between a culture’s needs and its stories.
Next, we will move on to finish Part 2 of
Bottled Up
. We will continue to analyze character and symbol, as well as paying particular attention to
Jekyll and Hyde
references. Most significantly, it is in this section of the book that Pip first refers to his father as “Hyde.” Therefore, during this section of the unit, I will include a lesson on Stevenson’s complex relationship with his father. This will allow us to rethink our interpretations of the
Jekyll and Hyde
story, looking for elements that represent (and perhaps even attempt to work through) a difficult father-son relationship. We will also have to probe into the relationship between repression and oppression, considering how Stevenson’s oppressive religious upbringing forced him to repress certain aspects of his own identity. Returning to
Bottled Up
, we will compare Pip’s relationship with his father to Stevenson’s life. We must also ask ourselves about the significance of Pip thinking of his father as the Hyde character, when there is a lot of evidence that Pip is a Hyde character himself. This is similar to Stevenson, who referred to both his father and himself as Hyde at different points of his life. Finally, we will consider the moments when Pip thinks of his father as “the Grinch.” Why does Jaye Murray choose to make two incredibly different literary references about the same character? Are there similarities between Hyde and the Grinch?
Following Part 2 of
Bottled Up
, we will pause to consider two post-Freud adaptations of
Strange Case of Dr. Jekyll and Mr. Hyde
- Mamoulian’s 1931 film and Fleming’s 1941 film. I will begin this portion of the unit by introducing Brian Rose’s terms tracer-text and culture-text. I want my students to understand that
Jekyll and Hyde
is a story that has been told and re-told, meaning different things to different time periods. Because its struggles are inherent to human nature, its universal themes can be reshaped to address different cultural needs. I will ask students to consider this as they watch the transformation scenes of both films.
Just as with
Strange Case of Dr. Jekyll and Mr. Hyde
, I will first allow my students to guide the course of our discussion about the films. I want to begin with what they notice, what they want to discuss, and any questions they may have. Then, I will introduce some elements of Freudian psychoanalytical theory to deepen our adaptation analysis. We will focus on how Jekyll/Hyde’s desires become sexual in nature, shifting the consequences of his repression to sexual perversion. This will also allow us to consider why adaptors choose to add women to the plot. In these films at least, the addition of women allows the directors to explore elements of Freudian sexual repression. We will also discuss the genre-specific needs of film. To be financially successful, films require mass culture appeal (of which, a romantic subplot is a huge part). I am hopeful that through these discussions, my students will finally be able to internalize the idea that plot changes in film adaptations are not always a sacrilegious travesty meant to ruin the book, but rather conscious decisions that reflect a director’s interpretation of the story, the cultural mores of the time, and the needs of the genre.
Depending on student reading levels and ability, at this point of the unit we could return to Stevenson’s original text to explore the narrative structure. Reading excerpts from Mr. Utterson’s narrative and Dr. Lanyon’s letter will force students to confront the novel’s varying points of view and Stevenson’s decision to delay the revelation of Jekyll’s transformation. We could then discuss the techniques each film employs to shift the narration to the first person perspective of Henry Jekyll.
While reading Part 3 of
Bottled Up
, our focus will continue on character, symbol, and
Jekyll and Hyde
references and connections. Through discussion, guiding questions, and close reading activities, I will push my students toward deeper analysis. The most notable moment of this section of the book occurs during Pip’s English class. When Mr. Kirkland asks Pip why Hyde is smaller than Jekyll, Pip answers, “I guess maybe ‘cause Hyde is hiding.” Though Pip says it like a joke, his teacher takes him seriously and replies, “We’re meant to consider that the evil that exists within each of us is only a small part of who we are. No matter how big and ugly the evil may seem, in reality it’s only a smaller, crouching version of our true selves. It is not who we are. Jekyll is not Hyde. But he has a part of him that, as Pip points out, is hiding.”
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I will be interested in the students’ opinions of this quote. We will consider if Stevenson would agree with this interpretation and if Hyde really represents evil. More importantly, we’ll question what is hiding (hyde-ing) inside Pip, and whether or not it would really be “evil” of him to let it out.
Upon concluding Part 3, we will turn to
Jekyll and Hyde: The Musical
. This adaptation, published in 1990, reflects modern concerns with identity and reveals the value our society places on self-worth. Jekyll is reimagined as a gifted and visionary scientist who petitions a hospital’s board of directors for permission to experiment on human mental health patients. He seeks a cure for psychological neuroses. When he is denied, Jekyll exclaims in song, “Who are they/ To judge what I am doing?/ They know nothing/ Of the endless possibilities I see!/ It’s ludicrous I’m bound by their decision!” Utterson sides with Jekyll and replies, “Seems vision/ Is a word/ They’ve never heard.” At the end of the musical, during a song called “Confrontation,” Jekyll tries to wrest back control from Hyde. As Jekyll tries to regain his sense of self as a moral, good man, Hyde insists, “I’m what you face/ When you face in the mirror!/ Long as you live, I will still be here!/… You can’t control me!/ I live deep inside you!/ Each day you’ll feel me devour your soul.”
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The musical adaptation clearly characterizes the
Jekyll and Hyde
story as a struggle to stay true to yourself in the face of the rejection and influence of society. In this modern version, Jekyll’s consequences are not loss of social status or troubling sexual perversions, but rather the ruin of his personal ambitions and, more importantly, the death of his true self.
During this portion of the unit, we will focus on three songs from
Jekyll and Hyde: The Musical
– “First Transformation,” “Alive,” and “Confrontation.” These songs tell the most important aspects of the story, reveal Jekyll’s repressions, and distinctly place emphasis on individuality. Comparing them to Stevenson’s original and the 1931 and 1941 films will allow us to track the changes to Jekyll’s motivations and repressions throughout the years. This will reinforce for students the idea that adaptations are a product of specific times and cultures.
Finally, we will finish
Bottled Up
with our analysis of Part 4. While reading this section of the book, we will be able to make our final analysis of the various symbols we noticed throughout. Most significant is the bottle cap; when Pip tosses the bottle cap away, he finally lets go of his past and releases all of the negative emotions he had been bottling up inside (repressing). Another key aspect of this section of the book is Pip’s final confrontation with his father, which I will be sure to connect back to the song “Confrontation.”
The most significant
Jekyll and Hyde
moment of
Bottled Up
occurs when Pip’s teacher reads one of Pip’s test answers aloud. In response to the question “Is Jekyll good and Hyde bad?”, Pip writes, “Jekyll is like everybody else – showing one face and having another. I see people all the time saying one thing and doing something else. Girls wear makeup so nobody sees what they really look like. People smile when they want to cry, go places they don’t want to go, stay places they want to leave… Jekyll needs a way out. His potion lets him off the hook. He can do what he wants. He can be who he really is – a pissed off guy… If he could be Jekyll and Hyde at the same time – do and say what he really thought – he could be one person. No potion. No Hyde-ing. No good or bad.”
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Using this quote in class will ensure that we do not miss an important qualification in our reflections on repression. As we previously discussed at the opening of the unit, some desires do need to be repressed. While Hyde may not represent evil, the majority of his actions are. Questions of morality aside, a society of Hydes would not be able to function. What is truly important is balance. This moment of the book connects perfectly to a comment James Campbell makes in his article, “The Beast Within.” He references Stevenson’s statement that “everything is true… only the opposite is true too; you must believe both equally or be damned.” Campbell then writes, “Jekyll is a true type, but no more so than Hyde; truer than either is Jekyll-and-Hyde, that combination we all recognize.”
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Students will compare this quote to Pip’s thoughts, and then we will explore the implications for both Pip’s and Jekyll’s story. The important question for us to consider is how to find the right balance in life.
In our final
Bottled Up
discussion, I will pose the following questions to the students. My goals will be to tie together everything we have learned, touch upon anything that has not yet come up, and probe even more deeply into aspects of our analysis.
-
Pip thinks of his father as Hyde, but he has some qualities of Hyde himself. What does this suggest about Pip’s self-awareness? Are there moments when Pip resembles his father? Would Pip deny this?
-
When and why do Pip’s father’s transformations happen? What does this suggest about alcohol? How does this compare to Jekyll’s potion?
-
What is Pip’s father repressing and why? What are the consequences of this repression?
-
When and why do Pip’s transformations happen?
-
Pip does not repress his desires, but rather his emotions. How does this change the
Jekyll and Hyde s
tory?
-
What are the consequences of Pip’s repressions?
-
Why does Jaye Murray make
Jekyll and Hyde
allusions?
-
Why is Pip so affected by the
Jekyll and Hyde
story?
-
What is Jaye Murray able to do with the
Jekyll and Hyde
story that straight adaptations are not?
Following our final discussions, students will write their literary analysis paper, receiving support from me throughout the writing process.
To conclude the unit, I will ask students to make connections to their own lives and the communities they live in. We will start by revisiting the mask activity. I will be curious to know if studying the
Jekyll and Hyde
story has changed student perception of the “masks” they wear in various situations. We will then consider modern society. Hyde is a manifestation of society’s undesirables. Therefore, it is important to ask
who
society is labeling “undesirable” and why. We will discuss the current political climate and address the consequences of living in a society that oppresses large groups of people. These marginalized groups must choose between exposing themselves to criticism and repressing their true identities. This will lead directly into the
Jekyll and Hyde
adaptation project.
