Hyde Character Quotes

It is Nixon himself who represents that dark, venal and incurably violent side of the American character that almost every country in the world has learned to fear and despise. Our Barbie-doll president, with his Barbie-doll wife and his boxful of Barbie-doll children is also America's answer to the monstrous Mr. Hyde. He speaks for the Werewolf in us; the bully, the predatory shyster who turns into something unspeakable, full of claws and bleeding string-warts on nights when the moon comes too close…

I incline to Cain's heresy,' he used to say quaintly: 'I let my brother go to the devil in his own way.' In this character, it was frequently his fortune to be the last reputable acquaintance and the last good influence in the lives of down-going men.

Utterson became so used to the unvarying character of these reports, that he fell off little by little in the frequency of his visits.

I do not suppose that, when a drunkard reasons with himself upon his vice, he is once out of five hundred times affected by the dangers that he runs through his brutish, physical insensibility; neither had I, long as I had considered my position, made enough allowance for the complete moral insensibility and insensate readiness to evil, which were the leading characters of Edward Hyde. Yet it was by these that I was punished. My devil had been long caged, he came out roaring.

Devil it, I am biddable!” she said angrily, for she had spent twenty unresisting years under the thumb of her aunt. Surely, that was enough for an informal endorsement of her character. Her furious insistence on her own docility further amused the duke, who said between chuckles that he felt sure she had no cause to worry.

It is the property of things seen for the first time, or for the first time after long, like the flowers in spring, to reawaken in us the sharp edge of sense and that impression of mystic strangeness which otherwise passes out of life with the coming of years; but the sight of a lover face is what renews a man's character from the fountain upwards.

SOME GREAT ACTORS are like musicians who just happen to be brilliant at their instrument. They are, in every other way, perfectly normal, but they have this extraordinary ability, and the instrument they’ve learned to play is their own emotions. Sandrine Bonnaire is like that. So is Sandrine Kiberlain. Others are people whose emotional lives are so interesting in themselves that there is no question that they belong on screen. Valeria Bruni Tedeschi falls into this category. Their craft consists of transforming their hypersensitive natures into a kind of instrument, flexible enough to assume the shapes and contours that their various characters require. Karin Viard, who emerged as a major star in 1999, is not in either of those categories. She is not playing an instrument. She is not creating an instrument. It is more as if she is the instrument. Her talent is so huge, and her access to it so immediate that she requires no process to turn Jekyll into Hyde. Obviously, this is too facile a description to be completely accurate or to do justice to the effort that her performances require. But one really does get the impression that Viard could get thrown into any artistic ocean and end up doing an Olympics-worthy butterfly stroke in record time.

Here’s what I learned from Lenny in my sophomore year of high school: the down-and-out character is just as human as everybody else. You may not want to know him in real life, but in fiction, you just might dare. And in knowing him, you get a lesson in humanity: we’re more the same than we might imagine. And that even the class outcast has talents. Someone just needs to tell her what they are.

Of course freedom for Hyde proves another form of bondage for Jekyll, just as in Hogg's book Wringham's 'Election' results not in liberation, as he imagines, but slavery to Gil-martin. For Jekyll as for Wringham there is a continual development and deterioration, so that in the end he finds himself going to sleep as Jekyll and waking as Hyde, with no control over events. He is mortally afraid that 'the balance of my nature might be permanently overthrown, the power of voluntary change be forfeited, and the character of Edward Hyde become irrevocably mine.

As the trial opened, most of London had thoughts of little else. The king was often otherwise engaged; he was spending increasing amounts of time with his new mistress, the very beautiful and willing Barbara Villiers, with whom he was totally infatuated. It was said that their relationship ‘did so disorder him that often he was not master of himself nor capable of minding business, which in so critical a time, required great application’.3 Hyde, a fastidious man, found Charles’s philandering a considerable irritation. He was also infuriated by the king’s general lack of attention to matters of state; but Charles’s inattentiveness and apparent laziness were traits developed over long years of exile and futility and were to prove fixed within his character.

the Hyde School’s message to students is: - that they have an important purpose on this earth and the unique potential to fulfill it. - that their true worth is measured not by their social status, intellect, or talents, but by the strength of their character. - that we admire their attitude and effort, and care less about their actual achievements, because these will come with time if they develop character traits like those emblazoned on the Hyde School shield: Courage, Integrity, Concern, Curiosity, and Leadership.

New York, I thought, was a city defined by its flaws. In every possible way, its virtues were overwhelmed by its vices, as Jekyll was by Hyde. Yet it was these very vices that gave the city its character - like tar in an oak barrel lending its flavor to Scotch.

Every man has two sides to his character. He is two people. They live together — often uncomfortably — in the same body.

[Henson:] I didn’t call him a frog. [Interviewer:] Right, he was just Kermit the thing. [Henson:] Yeah, all the characters in those days were abstract because that was part of the principle I was working under.… I still like very much the abstract characters and some of those abstract characters I still feel are slightly more pure.

A consultant I once worked for was renowned for his warmth and kindness. (..) A colleague told me, confidentially, that this same consultant was also in charge of a ward located in another hospital where patients were bound in restraints, force-fed and abused by a team of sadistic nurses. (..) Was the kindly consultant for whom I had so much respect an authentic Jekyll and Hyde? I doubt I would have remembered this story—it still sounds to me like an urban legend—were it not for the fact that I had had first-hand experience of equally odd characters and situations in other hospital settings.

The habit of seeking to realize the highest capacities and widest relationships of our nature in every act is conscientiousness. Conscience is our consciousness of the ideal in conduct and character. Conscience is the knowledge of our duty, coupled as that knowledge always is with the feeling that we ought to do it.—Knowledge of any kind calls up some feeling appropriate to the fact known. Knowledge that a given act would realize my ideal calls up the feeling of dissatisfaction with myself until that act is performed; because that is the feeling appropriate to the recognition of an unrealized yet attainable ideal. Conscience is not a mysterious faculty of our nature. It is simply thought and feeling, recognizing and responding to the fact of duty, and reaching out toward virtue and excellence.

This book is for anyone who ever made gimme hands at any vampire character ever and wished one would come play with their fun buns