Hyde side of him so warped from the higher standards of the Dr. Jekyll side that the two will never be able to coexist, Jekyll develops an understanding that “man is not truly one, but truly two” (1709). With this idea, as well as new advances in medicine and science, he, like Frankenstein, creates a “monster” of his own. Like the lawyer his father wishes him to be (“Robert Louis Stevenson” 1676), Stevenson creates the main character, if that is what Dr. Jekyll truly may be, with a broad brush of respectability. He gives the unhealthy and unnerving alter ego the questionable role of certain evil and immorality (Stevenson 1677-1719), giving face and form to the distaste his father felt towards the choices made by his son. Stevenson, like Jekyll, shakes “the prison-house” of his disposition, and sets free the man he truly wishes to be (“Robert Louis Stevenson”
Hyde side of him so warped from the higher standards of the Dr. Jekyll side that the two will never be able to coexist, Jekyll develops an understanding that “man is not truly one, but truly two” (1709). With this idea, as well as new advances in medicine and science, he, like Frankenstein, creates a “monster” of his own. Like the lawyer his father wishes him to be (“Robert Louis Stevenson” 1676), Stevenson creates the main character, if that is what Dr. Jekyll truly may be, with a broad brush of respectability. He gives the unhealthy and unnerving alter ego the questionable role of certain evil and immorality (Stevenson 1677-1719), giving face and form to the distaste his father felt towards the choices made by his son. Stevenson, like Jekyll, shakes “the prison-house” of his disposition, and sets free the man he truly wishes to be (“Robert Louis Stevenson”