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Overview
The industrial burg of Coketown is dominated by the philosophy of utilitarianism. The mill is the center of commerce. Students in the school are instructed to recite rote facts and figures while repressing any creative instincts. Thomas Gradgrind, the school superintendent, is a strict devotee of practicality and has raised his children, Tom and Louisa, according to this philosophy. It is only Sissy Jupe, a circus girl taken in by the Gradgrinds, who possesses the vision and wonderment to see past the rigid boundaries of cold, hard facts.
A paean to the human spirit, Hard Times is among Dickens’s most cutting works of social commentary.
This ebook has been professionally proofread to ensure accuracy and readability on all devices.
Product Details
| ISBN-13: | 9781504010771 |
|---|---|
| Publisher: | Open Road Media |
| Publication date: | 03/31/2015 |
| Sold by: | Barnes & Noble |
| Format: | eBook |
| Pages: | 496 |
| Sales rank: | 539,234 |
| Lexile: | 1080L (what's this?) |
| File size: | 2 MB |
About the Author
An international celebrity during his lifetime, Charles Dickens (1812–1870) is widely regarded as the greatest novelist of the Victorian era. His classic works include A Christmas Carol, Oliver Twist, David Copperfield, Great Expectations, and A Tale of Two Cities, one of the bestselling novels of all time. When Dickens was twelve years old, his father was sent to debtors’ prison, and the boy was forced to work in a boot-blacking factory to support his family. The experience greatly shaped both his fiction and his tireless advocacy for children’s rights and social reform.
Date of Birth:
February 7, 1812Date of Death:
June 18, 1870Place of Birth:
Portsmouth, EnglandPlace of Death:
Gad's Hill, Kent, EnglandEducation:
Home-schooling; attended Dame School at Chatham briefly and WellingtonRead an Excerpt
Hard Times
By Charles Dickens
OPEN ROAD INTEGRATED MEDIA
Copyright © 2015 Open Road Integrated Media, Inc.All rights reserved.
ISBN: 978-1-5040-1077-1
CHAPTER 1
The One Thing Needful
'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 school-room, 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 cellarage 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.
CHAPTER 2Murdering 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, nonexistent 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 white-washed 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, 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) 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?'
'I'll explain to you, then,' said the gentleman, after another and a dismal pause, 'why you wouldn't paper a room with representations of horses. Do you ever see horses walking up and down the sides of rooms in reality—in fact? Do you?'
'Yes, sir!' from one half. 'No, sir!' from the other.
'Of course no,' said the gentleman, with an indignant look at the wrong half. 'Why, then, you are not to see anywhere, what you don't see in fact; you are not to have anywhere, what you don't have in fact. What is called Taste, is only another name for Fact.' Thomas Gradgrind nodded his approbation.
'This is a new principle, a discovery, a great discovery,' said the gentleman. 'Now, I'll try you again. Suppose you were going to carpet a room. Would you use a carpet having a representation of flowers upon it?'
There being a general conviction by this time that 'No, sir!' was always the right answer to this gentleman, the chorus of No was very strong. Only a few feeble stragglers said Yes: among them Sissy Jupe.
'Girl number twenty,' said the gentleman, smiling in the calm strength of knowledge.
Sissy blushed, and stood up.
'So you would carpet your room—or your husband's room, if you were a grown woman, and had a husband—with representations of flowers, would you?' said the gentleman. 'Why would you?'
'If you please, sir, I am very fond of flowers,' returned the girl.
'And is that why you would put tables and chairs upon them, and have people walking over them with heavy boots?'
'It wouldn't hurt them, sir. They wouldn't crush and wither, if you please, sir. They would be the pictures of what was very pretty and pleasant, and I would fancy—'
'Ay, ay, ay! But you mustn't fancy,' cried the gentleman, quite elated by coming so happily to his point. 'That's it! You are never to fancy.'
'You are not, Cecilia Jupe,' Thomas Gradgrind solemnly repeated, 'to do anything of that kind.'
'Fact, fact, fact!' said the gentleman. And 'Fact, fact, fact!' repeated Thomas Gradgrind.
'You are to be in all things regulated and governed,' said the gentleman, 'by fact. We hope to have, before long, a board of fact, composed of commissioners of fact, who will force the people to be a people of fact, and of nothing but fact. You must discard the word Fancy altogether. You have nothing to do with it. You are not to have, in any object of use or ornament, what would be a contradiction in fact. You don't walk upon flowers in fact; you cannot be allowed to walk upon flowers in carpets. You don't find that foreign birds and butterflies come and perch upon your crockery; you cannot be permitted to paint foreign birds and butterflies upon your crockery. You never meet with quadrupeds going up and down walls; you must not have quadrupeds represented upon walls. You must use,' said the gentleman, 'for all these purposes, combinations and modifications (in primary colours) of mathematical figures which are susceptible of proof and demonstration. This is the new discovery. This is fact. This is taste.'
The girl curtseyed, and sat down. She was very young, and she looked as if she were frightened by the matter-of-fact prospect the world afforded.
'Now, if Mr. M'Choakumchild,' said the gentleman, 'will proceed to give his first lesson here, Mr. Gradgrind, I shall be happy, at your request, to observe his mode of procedure.'
Mr. Gradgrind was much obliged. 'Mr. M'Choakumchild, we only wait for you.'
So, Mr. M'Choakumchild began in his best manner. He and some one hundred and forty other schoolmasters, had been lately turned at the same time, in the same factory, on the same principles, like so many pianoforte legs. He had been put through an immense variety of paces, and had answered volumes of head-breaking questions. Orthography, etymology, syntax, and prosody, biography, astronomy, geography, and general cosmography, the sciences of compound proportion, algebra, land-surveying and levelling, vocal music, and drawing from models, were all at the ends of his ten chilled fingers. He had worked his stony way into Her Majesty's most Honourable Privy Council's Schedule B, and had taken the bloom off the higher branches of mathematics and physical science, French, German, Latin, and Greek. He knew all about all the Water Sheds of all the world (whatever they are), and all the histories of all the peoples, and all the names of all the rivers and mountains, and all the productions, manners, and customs of all the countries, and all their boundaries and bearings on the two and thirty points of the compass. Ah, rather overdone, M'Choakumchild. If he had only learnt a little less, how infinitely better he might have taught much more!
He went to work in this preparatory lesson, not unlike Morgiana in the Forty Thieves: looking into all the vessels ranged before him, one after another, to see what they contained. Say, good M'Choakumchild. When from thy boiling store, thou shalt fill each jar brim full by-and-by, dost thou think that thou wilt always kill outright the robber Fancy lurking within—or sometimes only maim him and distort him!
CHAPTER 3A Loophole
MR. GRADGRIND WALKED HOMEWARD from the school, in a state of considerable satisfaction. It was his school, and he intended it to be a model. He intended every child in it to be a model—just as the young Gradgrinds were all models.
There were five young Gradgrinds, and they were models every one. They had been lectured at, from their tenderest years; coursed, like little hares. Almost as soon as they could run alone, they had been made to run to the lecture-room. The first object with which they had an association, or of which they had a remembrance, was a large black board with a dry Ogre chalking ghastly white figures on it.
Not that they knew, by name or nature, anything about an Ogre Fact forbid! I only use the word to express a monster in a lecturing castle, with Heaven knows how many heads manipulated into one, taking childhood captive, and dragging it into gloomy statistical dens by the hair.
No little Gradgrind had ever seen a face in the moon; it was up in the moon before it could speak distinctly. No little Gradgrind had ever learnt the silly jingle, Twinkle, twinkle, little star; how I wonder what you are! No little Gradgrind had ever known wonder on the subject, each little Gradgrind having at five years old dissected the Great Bear like a Professor Owen, and driven Charles's Wain like a locomotive engine-driver. No little Gradgrind had ever associated a cow in a field with that famous cow with the crumpled horn who tossed the dog who worried the cat who killed the rat who ate the malt, or with that yet more famous cow who swallowed Tom Thumb: it had never heard of those celebrities, and had only been introduced to a cow as a graminivorous ruminating quadruped with several stomachs.
To his matter-of-fact home, which was called Stone Lodge, Mr. Gradgrind directed his steps. He had virtually retired from the wholesale hardware trade before he built Stone Lodge, and was now looking about for a suitable opportunity of making an arithmetical figure in Parliament. Stone Lodge was situated on a moor within a mile or two of a great town—called Coketown in the present faithful guide-book.
A very regular feature on the face of the country, Stone Lodge was. Not the least disguise toned down or shaded off that uncompromising fact in the landscape. A great square house, with a heavy portico darkening the principal windows, as its master's heavy brows overshadowed his eyes. A calculated, cast up, balanced, and proved house. Six windows on this side of the door, six on that side; a total of twelve in this wing, a total of twelve in the other wing; four-and-twenty carried over to the back wings. A lawn and garden and an infant avenue, all ruled straight like a botanical account-book. Gas and ventilation, drainage and water-service, all of the primest quality. Iron clamps and girders, fire-proof from top to bottom; mechanical lifts for the housemaids, with all their brushes and brooms; everything that heart could desire.
Everything? Well, I suppose so. The little Gradgrinds had cabinets in various departments of science too. They had a little conchological cabinet, and a little metallurgical cabinet, and a little mineralogical cabinet; and the specimens were all arranged and labelled, and the bits of stone and ore looked as though they might have been broken from the parent substances by those tremendously hard instruments their own names; and, to paraphrase the idle legend of Peter Piper, who had never found his way into their nursery, If the greedy little Gradgrinds grasped at more than this, what was it for good gracious goodness' sake, that the greedy little Gradgrinds grasped it!
(Continues...)
Excerpted from Hard Times by Charles Dickens. Copyright © 2015 Open Road Integrated Media, Inc.. Excerpted by permission of OPEN ROAD INTEGRATED MEDIA.
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Table of Contents
Introduction Acknowledgements A Note on the Text Select BibliographyCharles Dickens: A Brief Chronology
HARD TIMES: FOR THESE TIMES
Appendices: Contemporary Documents
Appendix A: The Composition of the Novel
- Household Words Partners’ Agreement
- Announcements in Household Words
- Dickens’s Working Memoranda
- Mentions in Dickens’s Letters
Appendix B: Contemporary Reviews of the Novel
- Athanaeum (12 August 1854)
- Examiner (9 September 1854)
- Gentleman’s Magazine (September 1854)
- British Quarterly Review (October 1854)
- Rambler (October 1854)
- South London Athanaeum and Institution Magazine (October 1854)
- Westminster Review (October 1854)
- Blackwood’s Edinburgh Magazine (April 1855)
Appendix C: On Industrialization: Commentary
- Thomas Carlyle
- “Signs of the Times,” Edinburgh Review (June 1829)
- Chartism (1839)
- Past and Present (1843)
- Andrew Ure, The Philosophy of Manufactures (1836)
- P. Gaskell, Artisans and Machinery (1836)
- J.S. Mill
- “Bentham,” London and Westminster Review (August 1838)
- Principles of Political Economy(1848)
- Arthur Helps, The Claims of Labour (1844)
- Friedrich Engels, The Condition of the Working Class in England in 1844 (1845)
- Charles Dickens, “On Strike,” Household Words (11 February 1854)
- Henry Morley, “Ground in the Mill,” Household Words (22 April 1854)
- Harriet Martineau, The Factory Controversy: A Warning Against Meddling Legislation (1855)
- 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)
- John Ruskin, “Unto This Last,” Cornhill Magazine (August 1860)
Appendix D: On Industrialization: Fiction
- Harriet Martineau, A Manchester Strike (Illustrations of Political Economy No. 7) (1832)
- Frances Trollope, Life and Adventures of Michael Armstrong (1840)
- “Charlotte Elizabeth,” Helen Fleetwood (1841)
- Elizabeth Stone, William Langshawe, the Cotton Lord (1842)
- Benjamin Disraeli
- Coningsby (1844) (i)
- Coningsby (1844) (ii)
- Sybil (1845)
- Elizabeth Gaskell
- Mary Barton (1848) (i)
- Mary Barton (1848) (ii)
- North and South (1855)
- Charlotte Bronte, Shirley (1849)
- Charles Kingsley
- Yeast (1850)
- Alton Locke (1850)
- Fanny Mayne, Jane Rutherford, or The Miners’ Strike (1854)
Explanatory Notes
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Reading Group Guide
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?
