Formalist reading of Hard Times

1. In the average Dickens work the poverty etc. of Victorian England is incidental to the
actual story – here, as the title suggests – it is more important than that.
2. Here he is ‘possessed by a comprehensive vision’ to critique Victorianism and more
especially the Utilitarianism which underlies it.
3. Utilitarianism is represented by the Thomas Gradgrind figure, a schoolmaster –
raising his own children and others in the manner of Mill.
4. Josiah Bounderby, to whom Gradgrind marries off his daughter, is symbolic of
ruthless, individualistic capitalism. Caring only of material possessions he is a self-
asserting self-made man; though not so in reality.
5. Opening scene in school room, ironic in case of Sissy Jupe – father a horse-breaker
though she doesn’t know what horse is. Bitzer’s description beginning “quadruped.
Graminivorous.”
6. Sissy’s inability to learn Gradgrind’s hard-facts is telling of the kind of person she is,
of the kind of ‘sovereign and indefeasible humanity’ she represents. She cannot give
in to an education which sees her as “girl number twenty”, she is not a number but a
living, breathing human being.
7. In describing Sissy and Bitzer; former is described as of a “lustrous colour” shining in
sun-beam, latter’s “cold eyes” and skin “unwholesomely deficient in the natural
tinge”. Sissy is full of creative life, and her physiognomy reflects that. Bitzer the
same.
8. On way home Gradgrind spots his son and daughter trying catch a glimpse of the
circus – they reject their father’s rigorous teaching methods. The description of the
circus performers evokes their athletic skill and vitality. A family of them, enjoying
themselves in contrast to the Gradgrind’s.
9. ‘Richness of life’ characterises the work. Writes with ‘poetic force of evocation’. Semi
prose-poetry.
10. Recognises certain manifestations of kindness amongst the absolute squalor of the
urban, Victorian world. Thomas Blackpool, for example.
11. Bounderby incapable of change, not, however, Gradgrind who does exhibit a
semblance of kindness now and then – as when he brings Sissy home, latent good
underlying all people.
12. The critique of Utilitarianism is undertaken in a subtle fashion – Gradgrind would
perhaps have a somewhat kind character if “only he had made some mistake in the
arithmetic that balanced it years ago”.
13. In telling Louisa about the Bounderby proposal – because he knows it is not apt, his
daughter deserves better than such a man – he is far from being collected. He is “at a
loss” as to how to tell her. He is disconcerted by her Gradgrindian replies,
anticipating her emotions would more readily tell.
14. He urges her to confine herself “rigidly to fact” instead of asking questions of love.
An opportunity to surround himself in facts and technical language then takes him
away from his earlier sympathy.
15. Turning the calculation away from emotional concerns and to algebraic, logical
analysis makes it all devoid of meaning.
16. Louisa marries Bounderby to please her brother – the only object of affection
available to her. To himself only thinks of “number one”, the partial consequence of
his utilitarian upbringing.
17. When Louisa collapses in a “heap at his feet” because we know he always “meant to
do right” it is unsurprising to see him sympathise with her plight.
18. The other product of his system, Tom, dresses as black servant to commit robbery of
safe.
19. Tom, in order to vindicate his crimes, asks his father “How can I help laws?” seeing as
there must needs be some dishonest men in positions of trust. Utilitarian principles
used to justify his crime.
20. Gradgrind tries to argue Bitzer into not bringing Tom away. Bitzer replies that his
heart is accessible to “reason” but to “nothing else”. Using Gradgrindian arguments
he takes Tom back to Coketown.
21. Near final passage with Mr Sleary speaking about Sissy’s father’s dog and the fact the
world contains those who care about more than self-interest. A wonderful passage
in which Dickens’ ability to reach wider audience is seen. A popular entertainer in
the vein of Shakespeare.
22. Harthouse, proof that the new hard men are often in league with the old upper class.
Also Mrs. Sparsit always describe as having “roman nose”. A jab at British class
snobbery.
23. Descriptions of Coketown, machines as elephant-like up there with Blake in attacking
Industrialised England.