*An excellent new edition of Stevenson's most famous story, including three additional tales, two short essays, appendixes containing extracts from contemporary writing on psychological disorder, and a wide-ranging introduction that considers the many,
|Oxford University Press
|Oxford World\'s Classics
varied readings of this fascinating work.
*Includes the short stories 'The Body Snatcher', 'Markheim', and 'Olalla' as well as the important essays 'A Chapter on Dreams' and 'A Gossip on Romance'.
*Appendixes provide contextual historical material by Henry Maudsley, Frederic Myers, and W. T. Stead
*Wide-ranging introduction considers the reasons for the book's popularity, 'the double' and psychoanalytic interpretations, crime, sex, class and urbanism in the 1880s, the Gothic and Modernism
*Full notes, including details of the initial responses of Stevensons' contemporaries such as John Addington Symonds, Gerard Manley Hopkins, Rider Haggard
New to this edition
*Three short stories: 'The Body Snatcher', 'Markheim', 'Olalla', and one essay, 'A Gossip on Romance'
*Three appendixes containing extracts from contemporary writers on psychological disorder (Henry Maudsley, Frederic Myers, W. T. Stead)
'Instantly the spirit of hell awoke in me and raged...I was suddenly struck through the heart by a cold thrill of terror.'
Stevenson's short novel, published in 1886, became an instant classic. It was a Gothic horror that originated in a feverish nightmare, whose hallucinatory setting in the murky back streets of London gripped a nation mesmerized by crime and violence. The
respectable doctor's mysterious relationship with his disreputable associate is finally revealed in one of the most original and thrilling endings in English literature.
In addition to Jekyll and Hyde, this edition also includes a number of short stories and essays written by Stevenson in the 1880s, minor masterpieces of fiction and comment: 'The Body Snatcher', 'Markheim', and 'Olalla' feature grave-robbing, a sinister
double, and degeneracy, while 'A Chapter on Dreams' and 'A Gossip on Romance' discuss artistic creation and the 'romance' form. Appendixes provide extracts from contemporary writings on personality disorder, which set Stevenson's tale in its full