The two main themes of Charles Dickens’s “hard times” are one of true love and the other of maturity. Whether it is love for family, love for money, or love for oneself, the theme of true love returns again and again throughout “Rough Times.” In this analysis, the main character development of both Mr. Gradgrind and Louisa will be highlighted, while the scenes where they cover. Louise’s decision to marry Mr. Bounderby was made. So Cap. I will compare Chapter 12 of Book 12 with Chapter 12 of Book 2 to show this character development and maturation. in Louisa from a timid and passive girl to a more rounded character. Also, the confrontation between Louisa and Mr. Gradgrind involving Louisa’s desire to experience growth outside of her marriage to Mr. Bounderby will be explored in a deeper sense and viewed through a directorial eye. The directorial eye will be used to “a href=”https://e-info.vn/tag/charles-dickens”>Charles Dickens’ theme of true love while showing Louise’s transformation into an independent woman. Also, some dialogues will be discussed and changed between father and daughter in Chapter 12 of Book II.
The concept of love permeates the entire story, but especially in chapter 12 of book 2, where Louisa reports with honesty and utter despair to her father that her anger has been suppressed. Dickens’s use of parallel structures or recurring themes conveys his main message in the novel and this is done through the concept of true love. Through the use of parallel structures, it becomes clear that Louise is sacrificing her inner happiness by offering Mr. Bounderby in marriage. It is a tribute to the writing of Charles Dickens’s mastery that he develops with the reader; that there can be happiness only in true love, while anything else leads to pain and misery.
Louisa states “Father, I have always known. In this struggle I almost repulsed and crushed my better angel into a devil” (Dickens 217).
This report describes Louisa’s complete unhappiness in her marriage with Lord Bounderby. Louisa then goes on to say “…the ordinary mortified state of my mind, as I know you proposed to me my husband. I took him” (Dickens 217).
It almost seems like Louisa is having her first mid-life crisis here as she finally opens her eyes to the mistakes she made in marrying Mr. Bounderby. This is a great breakthrough in Louisa’s character to show such passionate passion in contrast to earlier in the book where Louisa is described by Mr. Harthouse as “…ill at ease…” (Dickens 129) while in the presence of Mr. .
Later, Tom claims that Louise did not want to marry Mr. Bounderby and that it was only to help Tom with his gasses (Dickens 133). This description of Louisa’s behavior alludes to Louisa’s innocence, natural hair care, self-sacrifice and immaturity in decision. To marry Mr. Bounderby.
In order to present an accurate analysis and present the reason for Louise’s passionate transgression in Chapter 12 of Book 2 before her father, it must be connected with Mr. Bounderby’s consent to marry Mr. Gradgrind in Chapter 15 of Book 1, with his consent to marry without affection, Mr. Bounderby’s desire to marry Louise and Louisa passively accepts the offer, giving in to her inner desires. This scene shows the inner conflict that is going on in Louisa. One part of him wants to please his father and do right by the family, the other wants to pursue his own happiness. This is actually an example of utilitarianism in reverse, where Louisa does not actually achieve her own happiness, but satisfies her father’s desires. There are several instances in which Mr. Gradgrin offers Louise the opportunity to speak or dismiss the proposal of marriage, but she sits passively as if she does not choose to marry.
Instead of asserting herself, Louisa answers, “Father,” said Louisa, “do you think you love Mr. Bounderby?” and “Do you ask me to love Mr. Bounderby?”
If Louisa did not want to marry Mr. Bounderby it would be time to talk about the place, and let her father decide for her. It can be said that social pressure, her brother Tom’s financial hardships, innocence, and Louisa’s wish to make her happy father. a> these are the things that compel Louise to say thus to Mr. Bounderby. It is this tendency to external pressures that creates Louisa’s misery throughout much of the book. Other allusions to Louisa’s despair included the scene where Louisa visits with her dying mother “…
Louise seems to envy her sister’s capacity for affection and lasciviousness, while she denies those parts within herself. It might have been simpler if Louisa had spoken about her apprehensions about marrying Mr. Bounderby earlier, rather than later in the story. However, this development would have reduced Louise’s character and the strength of the dialogue in “Descent”.
Charles Dickens in chapter 15 of book 1 brought to light that Mr. Gradgrind believed that Louise was rational without passions, while omitting the duality of Louise’s character, which is also caring, innocent, deeply wise (96).
Mr. Gradgrind describes his daughter as “…not impetuous, not amorous, all from the strong reason and calculation you are wont to see” (Dickens 96)
This is Dickens’ use of the capacity of negativity, which is the ability to hold two opposing characters together. Louisa is indeed rational and dispassionate, sometimes even passionate, at other times also romantic and perhaps even impulsive. This is later in Chapter 12 of Book 2. These are the two different Louises, one passive in Chapter 15 of Book 1, the other passionate, mature, and still innocent in Chapter 12 of Book 2, which make up the whole. , a combination of talent. This shows Dickens’ ability to create multi-dimensional characters that change and evolve over the course of the book, along with the story.
Now the directorial eye will add Chapter 15 of Book 1 and Chapter 12 of Book 2 to highlight Dickens’ themes of interest and Louisa’s growth in womanhood. As “Father and Daughter” begins, the camera pans over Mr. Gradgrind’s shoulder with Louisa on his shoulder. background This emphasizes Mr. Gradgrind’s position as a proud authority figure. Louisa would have her hair twisted, without make-up and appear very young to emphasize Louisa’s innocence. As the dialogue progresses and the marriage proposal is spoken, the camera focuses on Louisa’s expressions and captures any emotional responses.
After Mr. Gradgrind states “Louisa, my, you are the subject of a proposal of marriage…” and “…Mr. Bounderby has has a Place of marriage to me…” (Dickens 97). An expression of fear and shock soon passed over Louisa’s face; his face pales, and then turns to a solemn expression. A character like this would demand the gifts of Natalie Portman or Spencer Locke.
As the scene ends, Louise would follow the camera to the coat rack where she would choose a black coat and leave the house in the winter snow. Louisa’s choice of a black dress symbolized her mourning and loss of innocence. When Louisa was leaving the house some blue color was added to the scenes to show Louisa’s sense of melancholy. Thus, in most cases, Louise would appear in black clothes, to show her pain and suggest the loss of her innocence.
In Chapter 12 of Book 2, the dialogue gains strength, but there are a few techniques that could have been added by the director to accentuate themes such as the use of characters and Louisa’s progress towards independence. When he intervened, Louisa wanted to walk across the bridge, representing the new connections he had found in himself and strengthening his character. The lightning would remain but the season would be spring which represented the possibility of new beginnings. Despite the darkness of the night the flowers appear as Louisa approaches the house. While Louisa deals with her misery, the camera would take a more neutral position and emphasize both characters in the story, thus showing the equality between father and daughter. In the background, a lightning bolt can be seen and show a crash outside the window. The use of lightning often represents an imminent conflict. But in this case the lightning represented Louisa’s inner illumination and now pointed her on the path of truth and happiness. As Louisa removes her shirt, she puts on a red dress that emphasizes her inner emotions and growth into full womanhood.
Even the room would be darkened to allow the image of the fire in Louis’s eyes to match the dialogue “… (Mr. Gradgrind) saw open Like “A Christmas Carol” another Dickens classical In the film Scrooge has an inner awakening and begins to live life to the fullest through the generosity of his soul. .
In the end, “Hard Times” is a classic without reference not only for its character development, but also for its use of theme. The themes of industrialization, maturity, true love and social pressures were prevalent in Dickens’ time and are still relevant today. This is why this novel has to be read more than once so that the deeper meanings of each character flow through the pages over time.
Works cited
Dickens, Charles. Difficult times New York: David Campbell Publishers, 1992.
Dactatism. 14 Aug 2008
Difficult times 14 Aug 2008
Difficult times Internet Movie Database. 14 Aug 2008
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