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Reviewing The Role Of Women In Hard Times

Throughout CRISIS, the role of women is vital in the development and result to the storyline. In particular they cause Mr Thomas Gradgrind, the antagonistic college teacher, to improve from his philosophy of logical self-interest and utilitarianism to become thoughtful, selfless daddy, sickened by the realisation that his views and life-style have not experienced the best interest of himself, his family and his pupils.

Hard Times was initially printed in 1853, well into the industrial revolution. It has a major impact not only in the story but also the character types. At the start of the e book, Bounderby appears to be a self made man, who has benefited greatly from the professional revolution, as he consistently identifies himself with the phrase "Joshua Bounderby of Coketown. " This formal title provides impression that he is proud of his title and the fact that it is usually followed by a explanation of his hard child years. It seems showing the level of social and monetary mobility of this era, but down the road his mother shows that he had a good childhood. However is not rich he received a good education, the contrary to what Bounderby suggested. This may be a symbol for having less social and financial freedom in the Victorian age or at least how Dickens noticed it. Yet another way to check out it is that success through hard work and from a poor deprived background would have been seen to be virtuous in the Victorian time. This might cause Bounderby to be seen as more committed and hard working than others who had been blessed into wealth.

At first the power and status which the women possessed in this book was in accord to the traditional role of women in Victorian society. They were supposed to try to marry into a prosperous family, have children and then take care of them and her partner. This was certainly what Gradgrind thought or expected should eventually Louisa, his child, when he setup a marriage on her behalf with one of his close friends Bounderby. Because Louisa realized her place and he had been brought up with this thought process, she allows his offer, and marries him. However, when Wayne Harthouse, a complex man from London turns up, she considers what she is absent and realises her unhappiness. She then flees back to her home and confronts Her father about how precisely her upbringing has led her to be detached from her thoughts, marry a guy she will not love and become deeply disappointed. In taking a stand to Gradgrind and Bounderby, two stereotypical men of the Victorian times, and informing them what she assumed could be observed to be representative of women of the time who were starting to make a stand for women's rights and liberation. Just a few years before this book was first shared, a women's rights reform was approved.

Throughout the storyplot, women's assignments, their power and respect seemed to increase. We see this not only in Louisa, but also Cecilia (Sissy) Jupe. At the beginning of the book, Sissy was referred to as "Girl number twenty", by Gradgrind, displaying no value by denoting her to a numerical value. However, from his viewpoint, she was no different to any other girl of her era in importance or uniqueness. But she was different, delivered to college by her father, a clown at the neighborhood circus, and was exactly what Gradgrind hated about modern day modern culture. In her thoughts, her manner of speaking and her views, she was the entire contrary of Gradgrind. Because of this he found it as his task to college and reform her from her utilitarian. When he realizes that her daddy has try to escape, he charitably decides to take her in and brings her up with his children Louisa and Tom. As she gets older, Sissy becomes a much more respected and beloved relation, especially by Louisa. She's enough power and authority to encourage Harthouse to leave Coketown.

Although a smaller role in Hard Times, Rachael and Stephen Blackpool symbolize really the only true requited love in the complete novel. However, ironically they can not be alongside one another as Stephen has already been married. Often referred to as an "angel" by Stephen, Rachael shown as more of symbolic than a personality. "Thou art an Angel. Bless thee, bless thee!" Sissy and Rachael are both socially unimportant individuals, with relatively small parts in the novel. However what they symbolize is the exclusion of moral and innocent people in the utilitarian world of Coketown, something could be seen to stand for Dickens's view of the commercial revolution.

The three main female characters in CRISIS, Mrs Sparsit, Louisa Gradgrind and Sissy Jupe clearly stand for the three sociable classes of the Victorian era. Mrs Sparsit being the distressed upper class gentle girl who may have lost all her riches, Louisa Gradgrind being the center class daughter expected to marry into a rich family and Sissy being the working course circus lady, with few prospects for improvement

Mrs Sparsit's lost prosperity makes a lady of her position much more susceptible. This would be quite comical to the Victorians as almost all of Dickens' viewers' would be middle income, probably disliking top of the classes. Mrs Sparsit's role in the storyplot is usually to be a scheming house keeper who despises her expert Bounderby. She always believes that she actually is much better than everyone who has not had her backdrop. Throughout the book, she plots and programs for her own gain, this eventually ends up with her dropping her position with Bounderby and being forced to live a life with her hated comparative Sweetheart Scadgers, when she found Harthouse declaring his love for Louisa. Mrs Sparsit advised Bounderby and he didn't take it too well. This may have been surprising for Mrs Sparsit who probably thought that she realized what was best for everybody.

Mrs Sparsit's ability is very shown in the second reserve when she recruited Bitzer, a vintage learner of Gradgrind and the product of his coaching method and philosophy. By placing your order him around and getting him to do simple chores, she implies that the ladies in Hard Times have expert and power within the men, in cases like this and Sissy informing Harthouse to leave Coketown.

Louisa differs from the other two women in that she did not understand the Victorian ideals of femininity. Instead, Louisa is silent wintry and outwardly emotionless. This is noticeable when Gradgrind asks her if she'd prefer to marry Bounderby and she appears out the window at the factories and thinks "There seems to be nothing there but languid and monotonous smoke. Yet when the night time comes, Flames bursts out. " Unable to detect feelings, Louisa can only state the fact. However, in this case the actual fact or truth is a metaphor for her repressed love and interest which she feels. If the relationship was to go ahead, then she would not have experienced love.

It seems as though the three feminine people are an anomaly in Coketown, and represent everything which is right about Victorian England, a time of change. Instead of Coketown which ultimately shows everything which is incorrect about the Victorian era, an over industrialised town run by people who only look at facts and numbers rather than taking a look at the views and thoughts of the folks of the people. Hard Times might have been a book to criticise and make fun of utilitarianism. That is why the booklet has been forced to both ends of the variety, from the ultra-utilitarian views and philosophies of Mr Thomas Gradgrind to the free thinking new woman and imaginative Sissy Jupe. Dickens also performed this to make people choose Sissy a lot more the Gradgrind, and therefore prefer free will over utilitarianism.

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