Chapter Four: The Carew Murder Case.This chapter is pivotal to the whole narrative as the act of murder brings Jekyll’s private life as Hyde into the public sphere for universal condemnation and scrutiny. This shift we suspect is due to the silencing of Hyde through the previous year, an act of repression that leads to an explosive effect once Hyde is ‘released’ from his prison of self-control and denial. In fact, the ferocity of the attack on Carew suggests that the latter’s gentlemanly ‘politeness’ and ‘pretty manner’ remind Hyde of Jekyll’s civilised attempt to suppress him. Hence, the untrammelled rage with Jekyll’s symbolic ‘cane’ culminating in this object breaking in two reflecting the duality of Jekyll and the link with Utterson too.The opening reference to ‘nearly a year later’ also makes the reader wonder if Hyde has been truly suppressed all the time or that his misdeeds have been confined to those who will not report him to the police or law; namely, we suspect the criminal class.Stevenson personifies ‘London’ as if this crime’s ‘ singular ferocity’ has shocked even the city itself which would hardly be unused to violent crime. However, it seems that it is the ‘ the high position of the victim’ that makes this crime deeply troubling as Hyde’s behaviour appears an act of anarchy; a rising up of the working class against those in power.Ironically the Gothic ‘fog’ removed itself to allow a terrible clarity for the innocent witness who is powerless to oppose the raging Hyde and who faints at the ghastly ‘sights and sounds‘ associated with the murder.Stevenson cleverly describes the murder through the maid because her testimony is limited by her being’ romantically given’ which acts as blinds her to articulating the truth of the event. This we hear of Carew in terms of his being a ‘beautiful gentleman with white hair’ which idealises the knight of the realm and underlines his separation from the sordid reality of Hyde’s criminality. From the maid’s point of view, Carew is a fairytale figure, above reproach and exonerated of any possible role in his own demise.I have always found the use of the verb ‘accosted’ curious in the description as it has connotations that are not pure of motive and could hint at some form of solicitation. Remember that the exchange between the two men cannot be heard by the maid and she assumes it is merely about ‘inquiring his way.’ This assumption appears mistaken as the inquiry deeply antagonises Hyde. And the reader feels that finding or losing one’s way might have metaphorical or symbolic connotations. In fact, the novel is littered with references to the ‘way’ which seems to apply to both a physical and moral direction.Notice too the evident feminisation of Carew which might also suggest that he is being presented as a camp older, wealthy man seeking a nighttime assignation with Hyde’s rent boy character. Evidently, the maid’s desire to create an idyllic narrative at first precludes any recognition of a possible homosexual subtext.The opportunistic attitude of the police officer towards the crime: ‘his eye lighted up with professional ambition’ underlines the duality of the majority of the characters in the text.When we witness the pursuit of Hyde by the Policeman and Utterson we notice the contrast and irony between the outrage of ‘London’ at the beginning and then the posse of only two people in pursuit! Surely this is not accidental? Maybe it is another example of the acute discretion surrounding any possible involvement of an upper-class gentleman being implicated in a crime.Soho itself fulfils all expectations. It is as ‘dismal’ and as dingy’ when the fog lifts as when the fog was down. Yet despite the ‘evil face’ of Hyde’s landlady ( contrasting to loyal Poole) we cannot help but notice the similarity between Jekyll’s face being ‘smooth’ ( capable of deceit) and the face of the woman ‘smoothed by hypocrisy.’ Surely the repetition is no accident and once again alerts us to the connection between Jekyll and Hyde. But Utterson remains blind; purposely blind we suspect to the connection. He chooses not to notice what he believes would prove catastrophic to admit- that Jekyll and Hyde are one and the same person.Finally, in this chapter, we notice the tasteful furnishings in Hyde’s flat. The despicable creature who inspires what seems to be universal repulsion to demonstrates considerable taste when decorating the flat. How much evidence does Utterson need we wonder to acknowledge the truth?!
