paper_4assignment

Name :- Aditi Vala

Ma sem :- 01

Batch :- 2020-2022

Paper no.:- 104 [ The literature of Victorian period ]

Topic :- Thematic study on Hard Times

Roll no. :- 01

Enrollment no. :- 3069206420200018

Email id :-  valaaditi203@gmail.com

Submitted to :-

Smt.S.B.Gardi Department of English, MKBU

Thematic study on Hard Times

Introduction :

            Hard Times: For These Times is the tenth novel by Charles Dickens, first published in 1854. The book surveys English society and satirises the social and economic conditions of the era.Hard Times is unusual in several ways. It is by far the shortest of Dickens's novels, barely a quarter of the length of those written immediately before and after it.now we have discuss about themes of Hard Times,

Themes :

           Dickens wished to educate readers about the working conditions of some of the factories in the industrial towns of Manchester, and Preston, to "strike the heaviest blow in my power", and as well to confront the assumption that prosperity runs parallel to morality. This notion he systematically deconstructed in through his portrayal of the moral monsters, Mr. Bounderby and James Harthouse. Dickens also believed in the importance of the imagination, and that people's lives should not be reduced to a collection of material facts and statistics. The description of the circus, which he describes as caring so "little for Plain Fact", is an example of this.

Utilitarianism :

             The Utilitarians were one of the targets of Dickens's satire. Utilitarianism was a prevalent school of thought during this period, its founders being Jeremy Bentham and James Mill, father to political theorist John Stuart Mill. Bentham's former secretary, Edwin Chadwick, helped design the Poor Law of 1834, which deliberately made workhouse life as uncomfortable as possible. In the novel, this attitude is conveyed in Bitzer's response to Gradgrind's appeal for compassion.

Dickens was appalled by what he saw as a selfish philosophy, which was combined with materialist laissez-faire capitalism in the education of some children at the time, as well as in industrial practices. In Dickens's interpretation, the prevalence of utilitarian values in educational institutions promoted contempt between mill owners and workers, creating young adults whose imaginations had been neglected, due to an over-emphasis on facts at the expense of more imaginative pursuits.

Dickens wished to satirise radical Utilitarians whom he described in a letter to Charles Knight as "see[ing] figures and averages, and nothing else." He also wished to campaign for reform of working conditions. Dickens had visited factories in Manchester as early as 1839, and was appalled by the environment in which workers toiled. Drawing upon his own childhood experiences, Dickens resolved to "strike the heaviest blow in my power" for those who laboured in horrific conditions.

John Stuart Mill had a similar, rigorous education to that of Louisa Gradgrind, consisting of analytical, logical, mathematical, and statistical exercises. In his twenties, Mill had a nervous breakdown, believing his capacity for emotion had been enervated by his father's stringent emphasis on analysis and mathematics in his education. In the book, Louisa herself follows a parallel course, being unable to express herself and falling into a temporary depression as a result of her dry education.

Fact vs. Fancy :

              The bastion of fact is the eminently practical Mr. Gradgrind, and his model school, which teaches nothing but "Facts". Any imaginative or aesthetic subjects are absent from the curriculum, and analysis, deduction and mathematics are emphasised. Fancy, the opposite of Fact, is epitomised by Sleary's circus. Sleary is reckoned a fool by Gradgrind and Bounderby, but it is Sleary who understands that people must be amused. Sissy, the circus performer's daughter, does badly at school, failing to remember the many facts she is taught, but is genuinely virtuous and fulfilled. Gradgrind's own son Tom revolts against his upbringing, and becomes a gambler and a thief, while Louisa becomes emotionally stunted, virtually soulless both as a young child and as an unhappily married woman. Bitzer, who adheres to Gradgrind's teachings, becomes an uncompassionate egotist.

Officiousness and spying :

             Mr. Bounderby spends his whole time fabricating stories about his childhood, covering up the real nature of his upbringing, which is revealed at the end of the novel. While not a snooper himself, he is undone by Sparsit unwittingly revealing the mysterious old woman to be his own mother, and she unravels Josiah's secrets about his upbringing and fictitious stories. Mr. Bounderby himself superintends through calculating tabular statements and statistics, and is always secretly rebuking the people of Coketown for indulging in conceitful activities. This gives Bounderby a sense of superiority, as it does with Mrs. Sparsit, who prides herself on her salacious knowledge gained from spying on others. Bounderby's grasp for superiority is seen in Blackpool's talks to Bounderby regarding divorce proceedings and a union movement at his factory, accusing him that he is on a quest 'to feast on turtle soup and venison, served with a golden spoon.' All "superintendents" of the novel are undone in one way or another.

Morality :

           Dickens portrays the wealthy in this novel as being morally corrupt. Bounderby has no moral scruples, and, for example, fires Blackpool "for a novelty". He also conducts himself without any shred of decency, frequently losing his temper. He is cynically false about his childhood. Harthouse, a leisured gent, is compared to an "iceberg" who will cause a wreck unwittingly, due to him being "not a moral sort of fellow", as he states himself. Stephen Blackpool, a destitute worker, is equipped with perfect morals, always abiding by his promises, and always thoughtful and considerate of others, as is Sissy Jupe.

The role of status on morality :

             Dickens is also concerned, throughout Hard Times, with the effects of social class on the morality of individuals. Some contrasting characters relating to this theme are Stephen and Rachel, and Tom and Mr. Bounderby. Stephen's honesty and Rachel's caring actions are qualities not shown in people from higher classes, but among hard working individuals who are browbeaten by the uncaring factory owners such as Bounderby. These qualities appear repeatedly, as Stephen works hard every day, until he decides to leave town to save the names of his fellow workers, and Rachel supports Stephen through this, while struggling to provide for herself as well. In contrast to these behaviours, Mr. Bounderby refuses to recognise the difficulties faced by those in lower classes, as seen by him completely casting aside Stephen's request for help. Other aristocratic characters simply carry out blatantly immoral actions, such as Tom throwing away his sister's money, falling into debt, then robbing a bank, and even framing someone else for his actions. Tom is also seen to be deceitful as he is able to keep his guilt hidden until the evidence points only toward him. On the contrary, when the news comes out that Stephen had robbed the bank, Stephen begins to head back to Coketown to face his problems and clear his name. Overall, the stark difference in morality between characters of dissimilar social status suggests Dickens's idea that there is a form of innate natural law that may remain unhampered in those leading less titled lives. Stephen's concept of right and wrong is untainted by the manufactured values of utilitarianism, instilled into Tom and Bounderby.

The Mechanization of Human Beings :

 

               Hard Times suggests that nineteenth-century England’s overzealous adoption of industrialization threatens to turn human beings into machines by thwarting the development of their emotions and imaginations. This suggestion comes forth largely through the actions of Gradgrind and his follower, Bounderby: as the former educates the young children of his family and his school in the ways of fact, the latter treats the workers in his factory as emotionless objects that are easily exploited for his own self-interest. In Chapter 5 of the first book, the narrator draws a parallel between the factory Hands and the Gradgrind children—both lead monotonous, uniform existences, untouched by pleasure. Consequently, their fantasies and feelings are dulled, and they become almost mechanical themselves.

The mechanizing effects of industrialization are compounded by Mr. Gradgrind’s philosophy of rational self-interest. Mr. Gradgrind believes that human nature can be measured, quantified, and governed entirely by rational rules. Indeed, his school attempts to turn children into little machines that behave according to such rules. Dickens’s primary goal in Hard Times is to illustrate the dangers of allowing humans to become like machines, suggesting that without compassion and imagination, life would be unbearable. Indeed, Louisa feels precisely this suffering when she returns to her father’s house and tells him that something has been missing in her life, so much so that she finds herself in an unhappy marriage and may be in love with someone else. While she does not actually behave in a dishonorable way, since she stops her interaction with Harthouse before she has a socially ruinous affair with him, Louisa realizes that her life is unbearable and that she must do something drastic for her own survival. Appealing to her father with the utmost honesty, Louisa is able to make him realize and admit that his philosophies on life and methods of child rearing are to blame for Louisa’s detachment from others.

The Opposition Between Fact and Fancy :

                         While Mr. Gradgrind insists that his children should always stick to the facts, Hard Times not only suggests that fancy is as important as fact, but it continually calls into question the difference between fact and fancy. Dickens suggests that what constitutes so-called fact is a matter of perspective or opinion. For example, Bounderby believes that factory employees are lazy good-for-nothings who expect to be fed “from a golden spoon.” The Hands, in contrast, see themselves as hardworking and as unfairly exploited by their employers. These sets of facts cannot be reconciled because they depend upon perspective. While Bounderby declares that “[w]hat is called Taste is only another name for Fact,” Dickens implies that fact is a question of taste or personal belief. As a novelist, Dickens is naturally interested in illustrating that fiction cannot be excluded from a fact-filled, mechanical society. Gradgrind’s children, however, grow up in an environment where all flights of fancy are discouraged, and they end up with serious social dysfunctions as a result. Tom becomes a hedonist who has little regard for others, while Louisa remains unable to connect with others even though she has the desire to do so. On the other hand, Sissy, who grew up with the circus, constantly indulges in the fancy forbidden to the Gradgrinds, and lovingly raises Louisa and Tom’s sister in a way more complete than the upbringing of either of the older siblings. Just as fiction cannot be excluded from fact, fact is also necessary for a balanced life. If Gradgrind had not adopted her, Sissy would have no guidance, and her future might be precarious. As a result, the youngest Gradgrind daughter, raised both by the factual Gradgrind and the fanciful Sissy, represents the best of both worlds.

The Importance of Femininity :

        During the Victorian era, women were commonly associated with supposedly feminine traits like compassion, moral purity, and emotional sensitivity. Hard Times suggests that because they possess these traits, women can counteract the mechanizing effects of industrialization. For instance, when Stephen feels depressed about the monotony of his life as a factory worker, Rachael’s gentle fortitude inspires him to keep going. He sums up her virtues by referring to her as his guiding angel. Similarly, Sissy introduces love into the Gradgrind household, ultimately teaching Louisa how to recognize her emotions. Indeed, Dickens suggests that Mr. Gradgrind’s philosophy of self-interest and calculating rationality has prevented Louisa from developing her natural feminine traits. Perhaps Mrs. Gradgrind’s inability to exercise her femininity allows Gradgrind to overemphasize the importance of fact in the rearing of his children. On his part, Bounderby ensures that his rigidity will remain untouched since he marries the cold, emotionless product of Mr. and Mrs. Gradgrind’s marriage. Through the various female characters in the novel, Dickens suggests that feminine compassion is necessary to restore social harmony.

 

Conclusion :

            In Hard Times, moral attributes that the villains lack are empathy, generosity, and altruism. For Dickens, these are the foundation of human relationships. There is no getting around them with any other quality, however positive.

Refrence :

•       "Hard Times". Northern Broadsides. Archived from the original on 11 June 2018. Retrieved 4 March 2018.     

•     Kustner, Gabriella. "Hard Times Themes." LitCharts. LitCharts LLC, 17 Nov 2013. Web. 13 Feb 2021.