Ideas of sociable change and progressive ideals are prominent in many nineteenth century functions of books. Charles Dickens’ Hard Times is known as a prime example of a interpersonal criticism novel, putting dominant ideas of that time period period, including utilitarianism and social school, to the check. Dickens uses specific literary techniques which might be highly effective in shocking the reader into understanding Dickens’ sights. Dickens uses symbolism, satire, and synecdoche, among other literary approaches, to emphasize his argument.
Perhaps the most beneficial technique is significance. Dickens uses it to exaggerate some ideas that may or else be forgotten in the overall complexity of the novel. A symbolic motif running throughout the novel is the farming cycle, and the idea of reaping what is sown. In the first chapters from the novel, Gradgrind, Bounderby and McChoakumchild “sow the seeds” of Fact into the fresh, fertile heads of children. The only seeds grown are those of Fact, and fancy and feeling will be discouraged and tamped down by adults. In the second part of the book, the characters begin to “reap” what they “sowed” in the children at the beginning of the novel. The doctrine of fact by itself begins to create problems since characters just like Louisa and Tom end up unable to help to make any right decisions, or perhaps feel any emotions in any way. In part 3 of the book, the harvesting is “garnered”, or placed, and the audience is hit with the accurate inadequacy with the seeds sown so long before. Disasters just like Louisa’s destroyed marriage, Stephen’s death, and Tom’s undoing occur, and the characters whom originally grown the seed products are left with nothing to maintain them. This kind of use of obscure symbolism dramatically and sometimes cruelly highlights Dickens’ disgust with the utilitarian projet of truth, and the reader is unable to disregard his disdain. By using this meaning, Dickens not simply expresses his disgust and disagreement numerous facets of utilitarianism, but also backs up his hatred with predictions of what will happen to the people if an entire society were based solely in fact.
Dickens as well uses épigramme to incite the reader’s vehemence intended for social modify. In speaking about many of the characters’, and, indeed, Coketown’s, love of simple fact, he retreats into an almost carefully reverent perspective. He covers the fact that a majority of of the chapels are unattended by the functioning masses: “A town so sacred actually and so triumphal in its assertion, of course that got on well? For what reason no¦who belonged to the eighteen (religious) denominations? Because, the person who did, the laboring people did not¦” (Book the first: Ch. V, pg. 38). He continually reephasizes the concepts preached by Gradgrind and Bounderby, that Facts are the main one scripture needful above some other facet of lifestyle, including faith itself. Intended for Gradgrind, research and fact utterly ingest him, giving him almost no time to pay attention to your need for enjoyment peace that may be often exemplified by religion. Gradgrind even goes so far as to replace the term “God” while using word “Fact” in the statement “God forbid”, often exclaiming “Fact prohibit! ” when faced with anything fanciful, such as the circus. All these facets combine to create a highly satirical watch of Coketown as a place where the religious beliefs is not only one of The almighty but one of fact. Dickens backs this up further more by continuously inserting religions allusions and fragments of prayers into descriptions of Coketown or perhaps passages that talk about fact. This satirical view of any much deeper reality causes the reader to pause and forces even though on the garbled reality of the world in which fact and science, both equally subject to man fallacy, possess replaced a higher power.
Dickens utilizes synecdoche in order to exaggerate and bring through the true mechanization of the people so widespread in the industrial age. He often identifies the Coketown workers as “the masses” and his characters often generalizes them because “the hands”, all seeking the same items, all carrying out the same issues, and all part of nothing but the overall working equipment of the town. In general, the is not really spoken of, instead the full represents the consumer. This is a helpful viewpoint for those such as Gradgrind and Bounderby to take since it is the view that creates one of the most profit. Nevertheless , through his extensive use of this synecdoche, Dickens shows that it creates a vicious pattern, where the town can be destroyed if only a single small portion of the working whole begins asking yourself, and where the people trapped in the routine become below human.
Dickens questions the greater suggestions driving commercial age itself, the tips of identity as opposed to earnings and result, and he causes viewers to likewise question these ideas as they see the wreck of the people of Coketown, both the employees and the commanders, such as Bounderby and Gradgrind.