THE THEME OF HARD TIMES IN THE NOVEL
- The theme of ‘hard times’ applies to all characters in the novel – those exploited and those who exploit.
- Coketown is depicted as a cage that imprisons all – it is a microcosm that comprises of good and evil.
- Hard times evolve from the greed for wealth and power. The Government Inspector is ready to fight all England instead of trying to help all England.
- The educational system is geared only to service industry and to maintain the status quo (Nothing to do with the rock group!). Children are deprived of their childhood fantasies – in school, they become ‘little pitchers’, ‘vessels’ into which facts are poured.
- Workers and children are both depersonalised by the system- all are mere cogs in the system. They are referred to only as ‘Hands’.
- Kindness and charity are frowned upon. Betrayal of workmates is encouraged – they are asked to spy on one another, Tom sets up Stephen as a fall guy. Slackbridge ensures that workers boycott Stephen – ‘Private feelings must yield to common cause’.
- Stephen’s life is plagued by his drunken and immoral wife, he is too poor to pay for a divorce.
- Gradgrind is a prisoner of his own system and is unable to visualise the humiliation that lays in store for Louisa. His ‘hard times’ come at the end of Book II when he realises what he has done to her and Tom: ‘And he laid her down there, and saw the pride of his heart and the triumph of his system, lying, an insensible heap, at his feet’.
- Sissy has her ‘hard times’ at school and when she suffers the loss of her father.
- Coketown is ugly, a mirror of the hard times associated with those who live there. The river is black – the town a blur of soot and smoke. It is a triumph of FACT. Monotony is the keynote – the streets are all alike.
- There is, however, an underlying craving for music and dancing and amusement – the circus will shortly come to fulfil this desire. ‘There is some love in the world and it is not all self-interest.’ With these words, Mr Sleary sets the standard of the circus world of which he is the Clown King. His philosophy of ‘people must be amused’ (without the lisp!) is in sharp contrast to the Hard Fact men who only succeed in bringing ‘hard times’ for all.
IMAGERY AND SYMBOLISM IN ‘HARD TIMES’
- Sowing, Reaping, Garnering.
- In the opening Chapter: ‘plant nothing but else but facts – root out everything else.’
- Gradgrind’s hair is described as a ‘plantation of firs’
- The ray of light irradiating Sissy and Bitzer.
- Light/Darkness: the inner radiance of Rachael lifts the gloom from Stephen: ‘the light of her face shone upon the midnight of his mind.’ Rachael’s candle. In Book III Chapter I Sissy is described as ‘a beautiful light’.
- In Book I, Chapter 10 nature has been replaced by wheels and the machines are described as ‘mad elephants’.
- In Book ii, Chapter 7 Bounderby grows cabbages in his flower garden! This is typically Utilitarian – you can eat cabbages.
- This is first used to symbolise the educational system: ‘Girl number 20’
- Gradgrind is described in mathematical terms – ‘square finger’, a man of calculations, ‘rule and scale and multiplication tables in his pocket ready to weigh and measure any parcel of human nature – a mere question of figures, of simple arithmetic.’
- Stone Lodge is seen as ‘a calculated, cast up, balanced and proved house – all ruled straight like a botanical account book.’
- ‘metallurgical Louisa’ and ‘mathematical Thomas’ (Indeed we can go further and say that Tom is only interested in Number One!)
- Gradgrind proves by statistics that the disparity in ages between Louisa and Bounderby is no bar to a successful marriage.
- The Government Inspector sets out the requirements for wallpaper and carpets – these are combinations and modifications (in primary colours) of mathematical figures ‘which are susceptible to proof and demonstration.’ There is no beauty outside of mathematical exactitude.
- The ‘monotonous vault of a schoolroom’ kills Fancy.
- Of Gradgrind it is said, ‘his head had scarcely warehouse-room for the hard facts within.’ The children are described as ‘vessels’.
- Bitzer’s eyes are described as ‘the antennae of busy insects.’
- Sparsit – a hawk concealed beneath the mildness of a dove;
- she is seen as a ‘dragon’ – she watches Louisa and Harthouse with ‘hawk’s eyes’. She is associated with nasty, creepy things – worms, snails, adders as she goes through the woods to spy on them.
- In the novel, the machinery in Coketown is compared to ‘mad elephants.’
- There is much Fairytale imagery in the novel – the teacher is seen as ‘a dry ogre’, ‘a monster in a lecturing castle.’ Louisa is the Snow Queen with a frozen heart. Coketown is seen as a ‘monstrous serpent’ by day. The Blue Books are reminiscent of Bluebeard. Sparsit considered herself to be the ‘Bank Fairy’. The people of Coketown referred to her as the ‘Bank Dragon’.
- In the novel, there is a war being waged between the Heart and the Head, between Fairytales and Mathematical imagery, between Fact and Fancy.
- The mill is symbolised by the ‘mad elephants’ – the factory is a living thing.
- The characters are symbolic: Sissy represents simplicity; Gradgrind symbolises materialism; Harthouse represents cynicism/lack of principle; Stephen Blackpool stands for all victims of social oppression; Sleary stands for imagination and true love; Rachael represents virtue, goodness, compassion; she is ‘sweet-tempered and serene’.
- Dickens overdoes the symbolism with many of his characters and there is little doubt in anyone’s mind who Choakumchild, Bitzer, Slackbridge or Bounderby represent.
- Sparsit’s Staircase (Chapter 27) is hugely symbolic: it charts Louisa’s approach to moral ruin as she descends Lower and Lower (Chapter 28) until she is Down (Chapter 29) ‘lying insensible at his (Gradgrind’s) feet.
- The smoke and soot from the serpentine chimneys symbolise the uncertainty of the workers.
- The sun symbolises the freedom of the next world which can only be attained by suffering.
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