In The Strange Case of Dr Jekyll and Mr Hyde, Stevenson crafts sympathy for Jekyll by presenting him as a tragic, conflicted figure trapped by the rigid moral expectations of Victorian society. Through his use of symbolism, emotive language and narrative voice, Stevenson positions the reader to view Jekyll not as a villain, but as a man broken by internal conflict, scientific overreach and the pressures of reputation. From early on, Jekyll is presented as both “respectable” and deeply tormented, evoking reader sympathy. His duality becomes most poignant in the description of him as “like some disconsolate prisoner.” The simile evokes the image of a man trapped not in a literal prison, but within the confines of his own psyche. The word “disconsolate” suggests a kind of emotional agony that cannot be comforted or repaired, implying that Jekyll’s suffering is not merely physical, but deeply psychological. Rather than viewing him as malicious, the reader begins to see him as a victim of his own experiment. Stevenson further emphasises this entrapment through the symbolic description of Jekyll’s house: “the court was very cool and a little damp, and full of premature twilight.” Although the sky is “bright with sunset,” Jekyll’s world remains shrouded in darkness, highlighting the emotional and moral isolation he suffers. The “twilight” is symbolic of liminality – a space between day and night, good and evil – reflecting Jekyll’s state of being caught between two opposing forces. This liminal imagery highlights his gradual, inevitable descent into darkness and alienation from the natural world, deepening the reader’s sense of pity for his fate. Sympathy is also created by Stevenson’s portrayal of Jekyll as someone whose downfall stems from noble or intellectual ambition rather than evil intent. In The Full Statement of the Case, Jekyll reflects that he was “fond of the respect of the wise and good among my fellow-men.” This phrase indicates a genuine desire to be admired and accepted by society, not for selfish gain but to uphold a moral ideal. The adjectives “wise and good” construct a rigid moral standard that Jekyll feels forced to maintain, revealing the oppressive nature of Victorian societal norms. Rather than being inherently immoral, Jekyll is pushed into duplicity by a culture that values appearance over authenticity. Furthermore, his scientific motives stem from curiosity and philosophical inquiry, rather than malevolence. His assertion that “man is not truly one, but truly two” adopts a thoughtful, philosophical tone, suggesting that Jekyll’s experiment was an attempt to understand and reconcile human duality – a universal struggle. This exploration of the divided self is deeply human and relatable, inviting the reader to empathise with his internal battle. Like Victor Frankenstein, Jekyll becomes a victim of his own ambition, punished not for wickedness but for daring to probe the limits of human nature. This mirrors the Victorian fear of unchecked scientific advancement, casting Jekyll as a tragic figure undone by forces he cannot control. As the novella progresses, Jekyll is further portrayed as a victim through his loss of control over Hyde, drawing parallels with addiction. He laments that “the balance of my nature might be permanently overthrown,” where the metaphor of “balance” conveys the fragile equilibrium of his psyche. The adverb “permanently” underscores the finality and terror of losing his identity to Hyde. Jekyll is no longer making a choice; instead, Hyde becomes a parasitic force, consuming him entirely. The reader feels deep sympathy as Jekyll is trapped in a body he no longer commands – a haunting image of psychological enslavement. This portrayal mirrors real-world struggles with addiction and mental illness, making his downfall all the more tragic and understandable. Ultimately, Jekyll’s suicide is framed not as cowardice, but as a redemptive act of self-sacrifice. The narrative concludes with the quiet statement that he was “bringing the life of that unhappy Henry Jekyll to an end.” The use of the adjective “unhappy” conveys a subtle mourning for Jekyll, positioning the reader to feel sorrow rather than judgement. Given that suicide, especially in Victorian society, was viewed as a great sin, Stevenson’s sympathetic portrayal of it suggests that Jekyll saw death as the only way to prevent further harm by Hyde. In this light, his final act becomes one of moral responsibility, reinforcing the idea that Jekyll is not a monster, but a man who paid the ultimate price to protect others from the evil within himself.