- Shopping Bag ( 0 items )
Hard Times--Dickens's shortest novel and one of his major triumphs--tells the tragic story of Louisa Gradgrind and her father.
“Now, what I want is, Facts. Teach these boys and girls nothing but Facts. Facts alone are wanted in life. Plant nothing else, and root out everything else. You can only form the minds of reasoning animals upon Facts: nothing else will ever be of any service to them. This is the principle on which I bring up my own children, and this is the principle on which I bring up these children. Stick to Facts, Sir!”
The scene was a plain, bare, monotonous vault of a schoolroom, and the speaker’s square forefinger emphasized his observations by underscoring every sentence with a line on the schoolmaster’s sleeve. The emphasis was helped by the speaker’s square wall of a forehead, which had his eyebrows for its base, while his eyes found commodious cellerage in two dark caves, overshadowed by the wall. The emphasis was helped by the speaker’s mouth, which was wide, thin, and hard set. The emphasis was helped by the speaker’s voice, which was inflexible, dry, and dictatorial. The emphasis was helped by the speaker’s hair, which bristled on the skirts of his bald head, a plantation of firs to keep the wind from its shining surface, all covered with knobs, like the crust of a plum pie, as if the head had scarcely warehouse-room for the hard facts stored inside. The speaker’s obstinate carriage, square coat, square legs, square shoulders,—nay, his very neckcloth, trained to take him by the throat with an unaccommodating grasp, like a stubborn fact, as it was,—all helped the emphasis.
“In this life, we want nothing but Facts, Sir; nothing but Facts!”
The speaker, and the schoolmaster, and the third grown person present, all backed a little, and swept with their eyes the inclined plane of little vessels then and there arranged in order, ready to have imperial gallons of facts poured into them until they were full to the brim.
Murdering the Innocents
Thomas Gradgrind, Sir. A man of realities. A man of facts and calculations. A man who proceeds upon the principle that two and two are four, and nothing over, and who is not to be talked into allowing for anything over. Thomas Gradgrind, Sir—peremptorily Thomas—Thomas Gradgrind. With a rule and a pair of scales, and the multiplication table always in his pocket, Sir, ready to weigh and measure any parcel of human nature, and tell you exactly what it comes to. It is a mere question of figures, a case of simple arithmetic. You might hope to get some other nonsensical belief into the head of George Gradgrind, or Augustus Gradgrind, or John Gradgrind, or Joseph Gradgrind (all supposititious, non-existent persons), but into the head of Thomas Gradgrind—no, Sir!
In such terms Mr. Gradgrind always mentally introduced himself, whether to his private circle of acquaintance, or to the public in general. In such terms, no doubt, substituting the words “boys and girls,” for “Sir,” Thomas Gradgrind now presented Thomas Gradgrind to the little pitchers before him, who were to be filled so full of facts.
Indeed, as he eagerly sparkled at them from the cellarage before mentioned, he seemed a kind of cannon loaded to the muzzle with facts, and prepared to blow them clean out of the regions of childhood at one discharge. He seemed a galvanizing apparatus, too, charged with a grim mechanical substitute for the tender young imaginations that were to be stormed away.
“Girl number twenty,” said Mr. Gradgrind, squarely pointing with his square forefinger, “I don’t know that girl. Who is that girl?”
“Sissy Jupe, sir,” explained number twenty, blushing, standing up, and curtseying.
“Sissy is not a name,” said Mr. Gradgrind. “Don’t call yourself Sissy. Call yourself Cecilia.”
“It’s father as calls me Sissy, sir,” returned the young girl in a trembling voice, and with another curtsey.
“Then he has no business to do it,” said Mr. Gradgrind. “Tell him he mustn’t. Cecilia Jupe. Let me see. What is your father?”
“He belongs to the horse-riding, if you please, sir.”
Mr. Gradgrind frowned, and waved off the objectionable calling with his hand.
“We don’t want to know anything about that, here. You mustn’t tell us about that, here. Your father breaks horses, don’t he?”
“If you please, sir, when they can get any to break, they do break horses in the ring, sir.”
“You mustn’t tell us about the ring, here. Very well, then. Describe your father as a horsebreaker. He doctors sick horses, I dare say?”
“Oh yes, sir.”
“Very well, then. He is a veterinary surgeon, a farrier and horsebreaker. Give me your definition of a horse.”
(Sissy Jupe thrown into the greatest alarm by this demand.)
“Girl number twenty unable to define a horse!” said Mr. Gradgrind, for the general behoof of all the little pitchers. “Girl number twenty possessed of no facts, in reference to one of the commonest of animals! Some boy’s definition of a horse. Bitzer, yours.”
The square finger, moving here and there, lighted suddenly on Bitzer, perhaps because he chanced to sit in the same ray of sunlight which, darting in at one of the bare windows of the intensely whitewashed room, irradiated Sissy. For, the boys and girls sat on the face of the inclined plane in two compact bodies, divided up the centre by a narrow interval; and Sissy, being at the corner of a row on the sunny side, came in for the beginning of a sunbeam, of which Bitzer, being at the corner of a row on the other side, a few rows in advance, caught the end. But, whereas the girl was so dark-eyed and dark-haired, that she seemed to receive a deeper and more lustrous colour from the sun, when it shone upon her, the boy was so light-eyed and light-haired that the self-same rays appeared to draw out of him what little colour he ever possessed. His cold eyes would hardly have been eyes, but for the short ends of lashes which, by bringing them into immediate contrast with something paler than themselves, expressed their form. His short-cropped hair might have been a mere continuation of the sandy freckles on his forehead and face. His skin was so unwholesomely deficient in the natural tinge, that he looked as though, if he were cut, he would bleed white.
“Bitzer,” said Thomas Gradgrind. “Your definition of a horse.”
“Quadruped. Graminivorous. Forty teeth, namely twenty-four grinders, four eye-teeth, and twelve incisive. Sheds coat in the spring; in marshy countries, sheds hoofs, too. Hoofs hard, but requiring to be shod with iron. Age known by marks in mouth.” Thus (and much more) Bitzer.
“Now girl number twenty,” said Mr. Gradgrind. “You know what a horse is.”
She curtseyed again, and would have blushed deeper, if she could have blushed deeper than she had blushed all this time. Bitzer, after rapidly blinking at Thomas Gradgrind with both eyes at once, and so catching the light upon his quivering ends of lashes that they looked like the antennæ of busy insects, put his knuckles to his freckled forehead, and sat down again.
The third gentleman now stepped forth. A mighty man at cutting and drying, he was; a government officer; in his way (and in most other people’s too), a professed pugilist; always in training, always with a system to force down the general throat like a bolus, always to be heard of at the bar of his little Public-office, ready to fight all England. To continue in fistic phraseology, he had a genius for coming up to the scratch,2 wherever and whatever it was, and proving himself an ugly customer. He would go in and damage any subject whatever with his right, follow up with his left, stop, exchange, counter, bore his opponent (he always fought All England)3 to the ropes, and fall upon him neatly. He was certain to knock the wind out of common sense, and render that unlucky adversary deaf to the call of time. And he had it in charge from high authority to bring about the great public- office Millennium, when Commissioners should reign upon earth.
“Very well,” said this gentleman, briskly smiling, and folding his arms. “That’s a horse. Now, let me ask you girls and boys, Would you paper a room with representations of horses?”
After a pause, one half of the children cried in chorus, “Yes, Sir!” Upon which the other half, seeing in the gentleman’s face that Yes was wrong, cried out in chorus, “No, Sir!”—as the custom is, in these examinations.
“Of course, No. Why wouldn’t you?”
A pause. One corpulent slow boy, with a wheezy manner of breathing, ventured the answer, Because he wouldn’t paper a room at all, but would paint it.
“You must paper it,” said the gentleman, rather warmly.
“You must paper it,” said Thomas Gradgrind, “whether you like it or not. Don’t tell us you wouldn’t paper it. What do you mean, boy?”
From the Trade Paperback edition.
Charles Dickens: A Brief Chronology
A Note on the Text
Hard Times: For These Times
Appendix A: The Composition of the Novel
1. Household Words Partners' Agreement
2. Announcements in Household Words
3. Dickens's Working Memoranda
4. Mentions in Dickens's Letters
Appendix B: Contemporary Reviews of the Novel
1. Athanaeum (12 August 1854)
2. Examiner (9 September 1854)
3. Gentleman's Magazine (September 1854)
4. British Quarterly Review (October 1854)
5. Rambler (October 1854)
6. South London Athanaeum and Institution Magazine (October 1854)
7. Westminster Review (October 1854)
8. Blackwood's Edinburgh Magazine (April 1855)
Appendix C: On Industrialization - Commentary
1a. Thomas Carlyle, "Signs of the Times," Edinburgh Review (June 1829)
1b. Thomas Carlyle, Chartism (1839)
1c. Thomas Carlyle, Past and Present (1843)
2. Andrew Ure, The Philosophy of Manufactures (1836)
3. P. Gaskell, Artisans and Machinery (1836)
4a. J.S. Mill, "Bentham," London and Westminster Reveiw (August 1838)
4b. J.S. Mill, Principles of Political Economy (1848)
5. Arthur Helps, The Claims of Labour (1844)
6. Friedrich Engels, The Condition of the Working Class in England in 1844 (1845)
7. Charles Dickens, "On Strike," Household Words (11 February 1854)
8. Henry Morley, "Ground in the Mill," Household Words (22 April 1854)
9. Harriet Martineau, The Factory Controversy: A Warning Against Meddling Legislation (1855)
10. W.B. Hodgson, "On the Importance of the Study of Economic Science as a Branch of Education for all Classes," Lectures in Education Delivered at the Royal Institution of Great Britain (1855)
11. John Ruskin, "Unto This Last," Cornhill Magazine (August 1860)
Appendix D: On Industrialization - Fiction
1. Harriet Martineau, A Manchester Strike (Illustrations of Political Economy No. 7) (1832)
2. Frances Trollope, Life and Adventures of Michael Armstrong (1840)
3. "Charlotte Elizabeth," Helen Fleetwood (1841)
4. Elizabeth Stone, William Langshawe, the Cotton Lord (1842)
5a. Benjamin Disraeli, Coningsby (1844) (i)
5b. Benjamin Disraeli, Coningsby (1844) (ii)
5c. Benjamin Disraeli, Sybil (1845)
6a. Elizabeth Gaskell, Mary Barton (1848) (i)
6b. Elizabeth Gaskell, Mary Barton (1848) (ii)
6c. Elizabeth Gaskell, North and South (1855)
7. Charlotte Bronte, Shirley (1849)
8a. Charles Kingsley, Yeast (1850)
8b. Charles Kingsley, Alton Locke (1850)
9. Fanny Mayne, Jane Rutherford, or The Miners' Strike (1854)
1. Did Dickens have a clear purpose in writing Hard Times? Was Hard Times primarily an exhortation to solve the problems faced by
nineteenth-century England, or was his subject matter merely a vehicle that allowed him to write a humorous story using the familiar character types of his day? Do you consider Dickens primarily to be an activist? A social critic? A humor writer?
2. Describe the relationship of Mr. and Mrs. Gradgrind. Why is Mr. Gradgrind's philosophy lost on Mrs. Gradgrind? What accounts for her total lack of understanding?
3. In the first few words of Hard Times, in the title to the first book, "Sowing, " there is a biblical allusion. Hard Times ends with another biblical allusion in the penultimate paragraph, where Dickens refers to the "Writing on the Wall." Biblical references are made throughout the novel, and Christian sentiment is appealed to constantly. How important are Christian underpinnings to Dickens's moral message? Do Dickens's criticisms and appeals go beyond the religious? If so, what other moral ideals are put forth in Hard Times, and what are their implications?
4. Coketown is, of course, a wholly fictitious city. However, it is a microcosm of England during the time of the Industrial Revolution and is modeled on cities that existed at the time. What are the problems of Coketown, and what are the causes of these problems? As a community, does Coketown accurately or inaccurately portray the ills of nineteenth-century English industrial cities? Does the creation of this fictitious town make Dickens's satire more effective than if he were to situate it in a real city? Why?
5. Since theconditions of life in English factory towns have changed, and many years have passed since the writing of Hard Times, what can be said to be the book's lasting value? Is it primarily historical, painting a picture of the way life was at one time? Is it moral or philosophical? Are the aspects of the novel that were important at the time of its publication still the ones that are valued today?
6. Are Rachael and Stephen realistic characters, even in the context of a satirical novel? What purpose do they serve to the novel as a whole, and which characters are they most starkly contrasted with? How does the scene of Stephen's death stand out in the novel? How is it important to the overarching themes Dickens is trying to convey?
Posted October 31, 2000
Charles Dickens : Hard Times Dickens Hard Times was written for a magazine originally called Household Words and it was published in 1850. It is set at the time of Dickens in an industrial town called Coketown. There are many plots and sub-plots, most of which all join along the way especially towards the end of the novel. The main plot however follows the school. Here are the basic characters in the story: v There is a school called Gradgrind School the master of which is Mr. M¿Choakumchild. This school believes and uses utilitarianism as a base for education. v Thomas Gradgrind works in the school as a teacher and it is his job to force facts into children. v His two children, Louisa and Tom have been brought up in this system all their lives. v Josiah Bounderby is a self-Made man, and he owns a mill, a Bank and he is a businessman, later on in the novel, he marries Louisa. v Bitzer is the bright boy in the Gradgrind School. He grows up to work for Mr. Gradgrind v Sissy Jupe, in educable in Mr. Gradgrind¿s opinion, and she had something different about her that Mr. Gradgrind cannot measure. She is the daughter of a circus clown. v Mr. Sleary owns Sleary¿s riding school, father to Sissy Jupe and performs in a circus. v Mrs. Sparsit, she is a widow and a housewife for Mr. Bounderby. She has come down in society. v Stephen Blackpool works for Mr. Bounderby in his mill. v Rachel also works for Mr. Bounderby and she is Blackpool¿s best friend. v Mrs. Pegler visits Coketown every year. v James Harthouse visits Coketown to make alliance with Mr. Bounderby to help him become a politician. The opening section of the book is set in the classroom with Mr. Gradgrind filling children with facts. The opening sentences read, ¿Now, what I want is, Facts. Teach these boys and girls nothing but Facts¿ This really sets the scene for the whole book, this is also the first sign of utilitarianism. The scene is then described as plain, bare and monotonous. The speaker (Mr. Gradgrind) is even described as having a square forefinger and a square wall of a forehead. Everything is hard, cold and square. Everything can be calculated, such as a square had four equal sides, four corners etc¿ Even from this early in the novel you can tell that there is something wrong with the system. The second chapter is called ¿Murdering the innocents,¿ I think that this suggests that Mr. Gradgrind is killing the children, not physically, but mentally, he is taking away what makes them people, their individuality, the children are becoming more like robots. The words Dickens uses to describe Mr. Gradgrind are all very straightforward, very plain; this is a reflection of himself. Mr. Gradgrind when talking, he always talks about measuring and weighing. The children are then describes as Pitchers (large Jugs) ready to be filled full of facts. Sissy Jupe and Bitzer are seen in the same ray of light in the classroom, but whereas the light makes Sissy look colourful and bright, it makes Bitzer look pale and white, in fact that Dickens says that he is so pale that if he bled he would probably bleed white. Sissy Jupe is seen in Mr. Gradgrind¿s eyes as being in educable, for example in the second chapter Sissy, who has spent all her life with horses and looking after them cannot define a horse, where as Bitzer can perfectly in Mr. Gradgrind¿s eyes here is Bitzer¿s definition of a horse: ¿Quadruped. Graminivorous. Forty teeth, namely twenty-four grinders, four eyeteeth, and twelve incisive. Sheds coat in the spring; in marshy countries, sheds hoofs too. Hoofs hard, but requiring to be shod with Iron. Age known by marks in mouth.¿ What Mr. Gradgrind is trying to do is educate his pupils, but what really is happening is that he is being educated himself. By writing this book, I think Dickens is trying to get across what he thinks about the education system. First of all, he explores utilitarianism, and then he explores what are the consequences this sWas this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged.
Posted February 6, 2010
No text was provided for this review.