Hard Times

 26    Elements of Fiction

Page 67

Nineteenth-century English novelist Charles Dickens opens his novel Hard Times with a description of the central character, Mr. Gradgrind. Even before his rather appropriate name is revealed, Dickens makes sure the reader understands what Mr. Gradgrind is like. Discuss the direct and indirect methods used to characterize him in the following passage. From Hard Times CHARLES DICKENS

‘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[1]room for the hard facts stored inside. The speaker’s obstinate carriage, square coat, square legs, square shoulders — nay, his very neckcloth, trained JAG_88063_03_ch03_pp0059-0122.in66 66 4/29/10 12:08:31 PM 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. [1854]

 

Answer

In this passage from Charles Dickens' Hard Times, the character of Mr. Gradgrind is vividly portrayed through both direct and indirect characterization. Dickens uses a combination of explicit description and subtle, symbolic details to establish Gradgrind's personality, values, and worldview.

Direct Characterization:

1. Explicit Statements About His Beliefs:

Gradgrind's opening lines directly reveal his philosophy: "Now, what I want is, Facts. Teach these boys and girls nothing but Facts. Facts alone are wanted in life." This repetition of the word "Facts" emphasizes his obsession with utilitarianism and empirical knowledge, leaving no room for imagination, emotion, or creativity. His rigid, dogmatic approach to education and life is immediately clear.

2. Physical Description:
   Dickens provides a detailed description of Gradgrind's appearance, which directly reflects his personality. His "square forefinger," "square wall of a forehead," "wide, thin, and hard set" mouth, and "inflexible, dry, and dictatorial" voice all paint a picture of a man who is as rigid and unyielding in his physicality as he is in his beliefs. His "square coat, square legs, square shoulders" further reinforce this image of a man who is angular, harsh, and devoid of softness or warmth.

Indirect Characterization:

1. Symbolism in Physical Appearance:
   Gradgrind's physical features are not just described for visual effect; they symbolize his character. His "square wall of a forehead" suggests a mind that is closed off and impenetrable, while his eyes, described as being in "two dark caves, overshadowed by the wall," imply a lack of vision or insight beyond the superficial. His hair, "bristled on the skirts of his bald head," resembles a "plantation of firs," which could symbolize his attempt to shield himself from anything that might challenge his rigid worldview. The description of his head as having "scarcely warehouse-room for the hard facts stored inside" humorously suggests that his mind is so crammed with facts that there is no space for anything else.
2. Actions and Gestures:
   Gradgrind's mannerisms further reveal his character. His "square forefinger" underscoring every sentence on the schoolmaster's sleeve is a gesture of authority and control, emphasizing his dictatorial nature. His "obstinate carriage" and the way his neckcloth seems to "take him by the throat" suggest a man who is not only rigid in his beliefs but also constrained by them, as if he is a prisoner of his own ideology.
3. Setting and Context:
   The setting of the "plain, bare, monotonous vault of a school-room" mirrors Gradgrind's personality. The stark, lifeless environment reflects his utilitarian philosophy, which values facts over creativity, beauty, or imagination. The description of the children as "little vessels" ready to have "imperial gallons of facts poured into them" dehumanizes them, reducing them to empty containers to be filled with information. This metaphor underscores Gradgrind's mechanistic view of education and his disregard for the individuality and emotional needs of the children.
4. Tone and Language:
   The tone of the passage is dry, authoritative, and unyielding, much like Gradgrind himself. The repetition of the word "Facts" and the use of imperatives ("Teach these boys and girls nothing but Facts") create a sense of urgency and absolutism. The language is devoid of warmth or emotion, reflecting Gradgrind's own lack of empathy and his single-minded focus on utilitarianism.

Conclusion:

Through both direct and indirect methods, Dickens crafts a powerful portrait of Mr. Gradgrind as a man who is rigid, authoritarian, and obsessed with facts at the expense of all else. His physical appearance, actions, and the setting all serve to reinforce his character, creating a vivid and memorable figure who embodies the dehumanizing effects of a purely utilitarian worldview. This passage sets the stage for the novel's critique of industrialization and the neglect of imagination and emotion in Victorian society.