Whether I shall turn out to be the hero of my own life, or whether that station will be held by anybody else, these pages must show. — David Copperfield

Charles Dickens, with his quill dipped in both ink and wit, embroidered stories that resonate with timeless themes. Born on 7 February 1812 in the United Kingdom, Dickens, celebrated as a luminary of Victorian literature, unwound a narrative mosaic transcending the peripheries of mere storytelling, exploring the social nuances of his epoch. Amidst the character sketches, the thematic strands of powerlessness, social class struggle and institutional cruelty surface prominently, portraying a vivid panorama of a society entwined in its own complexities.

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In Dickens’ oeuvre, the perennial theme of the powerlessness of children unfolds as a poignant exploration of societal neglect within the austere landscape of Victorian England. The portrayal of youthful vulnerability, from the destitution etched in the narrative of Oliver Twist to the indomitable spirit exemplified by David Copperfield, unfurls as a stark reflection of the harsh realities that ensnared the young during this era. This thematic undertone, ever present and deeply affecting, bears the imprint of Dickens’ own childhood tribulations, enriching the accounts with personal poignancy.

Oliver Twist, the orphaned protagonist, epitomises the innocence exploited by a callous society. The harsh realities of child labour, neglect and the absence of a nurturing environment are expressed through Oliver’s journey. Similarly, David Copperfield’s tumultuous childhood mirrors the vulnerability of the young, underscoring Dickens’ indictment of a society that often disregards the needs of its most defenceless members. Interestingly, in Oliver Twist, Dickens crafts a powerful critique of the Poor Law Amendment Act of 1834, revealing the deplorable conditions within workhouses.

Dickens penned this literary work as a direct response to the draconian measures imposed by the act. He sought to reveal the dual nature of the government’s cruelty, both passive and active, towards the destitute and helpless. The legislation dictated that the indigent could access public aid solely if they resided and toiled within designated workhouses. Beggars faced the spectre of imprisonment, while debtors found themselves incarcerated, oftentimes accompanied by their entire families, a punitive strategy that virtually guaranteed the perpetuation of their indebtedness.

Workhouses, deliberately designed to be wretched, served as grim deterrents, intended to dissuade the impoverished from seeking public support. The overarching philosophy underlying these punitive measures rested on the belief that the deliberate imposition of miserable conditions would act as a deterrent, preventing able-bodied ‘paupers’ from succumbing to idleness and lethargy. A pervasive theme in Dickens’ works, the struggle within social classes permeates his novels, providing a searing commentary on the arbitrary nature of wealth and privilege.

The dichotomy between Pip’s aspirations for gentility in Great Expectations and his humble beginnings exemplifies the pervasive societal hierarchy that Dickens challenges. The disparity between the haves and the have-nots becomes a vehicle for Dickens to expose the inherent injustices of the Victorian class structure. Through nuanced characterisations, he unravels the complexities of a society where favouritism and undeserved respect perpetuate social inequality. In A Tale of Two Cities, social inequality and class conflict emerge as volatile forces leading to upheaval and the French Revolution.

The aristocracy, embodied by figures like Monseigneur, has long prioritised personal pleasure and opulence over societal well-being. Employing a satirical tone, the narrator mocks the upper classes by detailing the elaborate ritual surrounding the aristocrat’s morning cup of chocolate, highlighting the excessive number of servants involved. “Deep would have been the blot upon his escutcheon if his chocolate had been ignobly waited on by only three men”, he notes.

The theme of class introduces a layer of moral complexity as Dickens condemns the cruelty of both the upper and lower classes. While he supports the revolutionary cause and empathises with the plight of the French peasantry, Dickens does not shy away from critiquing the violent methods employed by the revolutionaries. The chapters concerning the Marquis Evrémonde vividly depict an oppressive aristocracy that callously exploits and suppresses the impoverished masses.

However, Dickens is cautious in his portrayal of the peasants’ response to oppression. He contends that responding to cruelty with cruelty does not lead to a genuine revolution but perpetuates the cycle of violence. The author’s scepticism and warnings about the consequences of such retaliatory actions are evident in his depictions of the grisly scenes where people sharpen their weapons and engage in the macabre Carmagnole dance. Dickens encapsulates his perspective on revolution in the final chapter, articulating the precarious descent from oppressed to oppressor.

He underscores that sowing the seeds of rapacious licence and oppression anew will yield the same destructive outcomes. Despite viewing the French Revolution as a symbol of transformation and rebirth, Dickens emphatically asserts that its violent means were fundamentally contradictory to its intended end. Bildungsroman, another literary device dear to Dickens, provides a lens through which he explores the profound impact of absent or flawed father figures.

David Copperfield’s life story, reflecting Dickens’ own experiences, emphasises the vital role of paternal influence in shaping character and happiness. Great Expectations stands as another exemplary in the genre, tracing Pip’s journey from infancy to mature professionalism. The novel showcases not only physical development but also a significant evolution in Pip’s understanding of life’s priorities. Initially driven by aspirations for social ascent, his transformation culminates in humility and a profound grasp of genuine happiness.

The novel’s focus on Pip’s psychological and emotional maturation, presented through first-person narration, aligns seamlessly with the hallmark traits of the bildungsroman genre. In a departure from the societal (patriarchal) norms of his time, Dickens introduces female characters who defy traditional roles. Peggotty and Aunt Betsey, in David Copperfield, emerge as embodiments of strength, challenging the constraints placed upon women. Great Expectations further explores the subversion of gender roles through characters like Estella and Biddy.

Estella, shaped by her upbringing, challenges conventional expectations of femininity with cynicism and manipulation, while Biddy stands as a symbol of kindness and strength, defying societal norms. Dickens also expresses that the success of a marriage hinges on achieving equality between both spouses. Dickens uses the Strong couple as an illustration in David Copperfield, asserting that marital happiness thrives when neither partner is subordinate. The Strongs neither view each other as inferior, serving as a positive example. Conversely, Dickens censures characters who seek superiority over their spouses. Mr Murdstone’s efforts to shape David’s mother’s character prove detrimental, as they crush her spirit. By compelling Clara into submission under the guise of improvement, Murdstone renders her meek and voiceless.

The seamless interplay of narrative elements, ranging from the delineation of the vulnerability of children to the incisive critique of social class dynamics and institutional injustices, attests to Dickens’ adroit craftsmanship. His body of work stands as a corroboration to the enduring pertinence of his insights into the complexities of human nature and societal paradigms. As we conclude this literary odyssey, we are compelled to recognise the perennial relevance of his tales, which beckon contemporary readers to contemplate the timeless quandaries of ethics, justice and the human condition.

(The writer is a journalist on the staff of The Statesman.)