17 April 2012
I became in secret the slave of certain appetites
…Not me, this time, but Robert Louis Stevenson’s creation, Henry (Dr) Jekyll. Or at least the first creation of the character in a draft he later censored.
We announced in a piece by Dalya Alberge in the Observer on Sunday that we’re borrowing the original manuscript of Strange Case of Dr Jekyll and Mr Hyde (no definite article, PLEASE - somehow it matters, though I know it shouldn’t) from the Pierpont Morgan in New York.
The story of Dr J is complex- and uncertain. It was written in 1885 while RLS was living in Bournemouth, and under financial pressure to come up with a story - a ‘shilling shocker’ (or, - homophonically better - as the subs on the Observer had it, a ‘chilling shocker’).
The first version apparently came to Stevenson in a dream, but was burnt on his wife’s suggestion, and the two more versions were quickly produced. The version we’re displaying - from the most complete extant draft - has a number of sentences absent from the published version, which seems to hint at a more explicit explanation behind Jekyll’s background and what he calls his ‘Full Statement’: you can see RLS deleting the reference to ‘certain appetites’ on the draft we’re showing, as well as cancelling a confession of being ‘plunged… again into the mire of my vices’.
I’ve added an image at the top – with thanks to our good friends at the Morgan - and closer examination of these hidden appetites and vices will be possible when the exhibition opens on 11 May.
Credit: Manuscript for Stevenson’s Strange Case of Dr Jekyll and Mr Hyde © The Pierpont Morgan Library, New York. MA 1202. Photography, Graham S. Haber, 2012
Writing about Writing Britain
Excitingly (actually, scarily too), our major summer exhibition, Writing Britain, opens on 11 May. It’s a showcase for our great Eng Lit collections: from a 14th-century manuscript of 'The Canterbury Tales' to the original handwritten versions of classic stories such as Alice's Adventures in Wonderland (or 'Alice’s Adventures Under Ground,' as it was originally called) or Middlemarch, to letters by Ted Hughes, Charlotte Bronte, or George Orwell.
We’re using all these - over 150 of the Library’s greatest literary treasures – to talk about how writers have described the changing and the eternal spaces and places of the British Isles… and more than that, how great texts shape our perception, and transform our spaces and places.
It’s part of London Festival 2012: which, for all the early uncertainties around the Cultural Olympiad, is going to be (is already) an inspired mix of amazing arts events and exhibitions.
The posters for our exhibition have already started to appear on the Euston Road. I’m biased, but they’re brilliant. I’ll add the image to this post - spot the quotes/images…
And more in a minute on loans…
English and Drama blog recent posts
- Amber Akaunu reflects on her work with the Beryl Gilroy archive
- A researcher's story: using the Robert Aickman Archive at the British Library
- Marking the bicentenary of the death of Percy Shelley
- Coleridge and The Ancient Mariner
- P. G. Wodehouse Society launches international Essay Prize
- Celebrating Beryl Gilroy
- John Berger and the 50th anniversary of Ways of Seeing
- Andrew Salkey: “Too Polemic. Too Political”
- Registration opens for Artist, Mentor, Friend, Activist: Andrew Salkey a Man of Many Hats
- Birds, Bees and Waste in Christina Rossetti’s Nature Poetry
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