Ernest Hemingway
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تاريخ التسجيل : 29/06/2009
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 |  موضوع: Oliver Twist By Charles Dickens  الخميس أكتوبر 15, 2009 1:35 pm | |
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Introduction
In Oliver Twist, Dickens mixes grim realism, and merciless satire as a way to describe the effects of industrialism on 19th-century England, and to criticise the harsh new Poor Laws. Oliver, an innocent child, is trapped in a world where his only alternatives seem to be the workhouse, Fagin's thieves, a prison, or an early grave. From this unpromising industrial/institutional setting, however, a fairy tale also emerges: In the midst of corruption and degradation, the essentially passive Oliver remains pure-hearted; he steers away from evil when those around him give in to it; and, in proper fairy-tale fashion, he eventually receives his reward – leaving for a peaceful life in the country, surrounded by kind friends. On the way to this happy ending, Dickens explores the kind of life an orphan, outcast boy could expect to lead in 1830's London.
Poverty and social class
Poverty is a prominent concern in Oliver Twist. Throughout the novel, Dickens enlarges on this theme, describing slums so decrepit that whole rows of houses are on the point of ruin. In an early chapter, Oliver attends a pauper's funeral with Mr. Sowerberry and sees a whole family crowded together in one miserable room.
This ubiquitous misery makes Oliver's few encounters with charity and love more poignant. Oliver owes his life several times over to kindness both large and small. The apparent plague of poverty that Dickens describes also conveyed to his middle-class readers how much of the London population was stricken with poverty and disease. Nonetheless, in Oliver Twist he delivers a somewhat mixed message about social caste and social injustice. Oliver's illegitimate workhouse origins place him at the nadir of society; as an orphan without friends, he is routinely despised. His "sturdy spirit" keeps him alive despite the torment he must endure. Most of his associates, however, deserve their place among society's dregs and seem very much at home in the depths. Noah Claypole, a charity boy like Oliver, is idle, stupid, and cowardly; Sikes is a thug; Fagin lives by corrupting children; and the Artful Dodger seems born for a life of crime. Many of the middle-class people Oliver encounters—Mrs. Sowerberry, Mr. Bumble, and the savagely hypocritical "gentlemen" of the workhouse board, for example— are, if anything, worse.
Oliver, on the other hand, who has an air of refinement remarkable for a workhouse boy, proves to be of gentle birth. Although he has been abused and neglected all his life, he recoils, aghast, at the idea of victimizing anyone else.This apparently hereditary gentlemanliness makes Oliver Twist something of a changeling tale, not just an indictment of social injustice. Oliver, born for better things, struggles to survive in the savage world of the underclass before finally being rescued by his family and returned to his proper place—a commodious country house.
In a recent film adaptation of the novel, Roman Polanski dispenses with the problem of Oliver's genteel origins by making him an anonymous orphan, like the rest of Fagin's gang.
Oliver is wounded in a burglary.
Symbolism
Dickens makes considerable use of symbolism. The many symbols Oliver faces are primarily good versus evil, with evil continually trying to corrupt and exploit good, but good winning out in the end. The "merry old gentleman" Fagin, for example, has satanic characteristics: he is a veteran corrupter of young boys who presides over his own corner of the criminal world; he makes his first appearance standing over a fire holding a toasting-fork; and he refuses to pray on the night before his execution. The London slums, too, have a suffocating, infernal aspect; the dark deeds and dark passions are concretely characterised by dim rooms, and pitch-black nights, while the governing mood of terror and brutality may be identified with uncommonly cold weather. In contrast, the countryside where the Maylies take Oliver is a pastoral heaven.
Food is another important symbol; Oliver's odyssey begins with a simple request for more gruel, and Mr. Bumble's shocked exclamation, represents he may be after more than just gruel.[12] Chapter 8 — which contains the last mention of food in the form of Fagin's dinner — marks the first time Oliver eats his share and represents the transformation in his life that occurs after he joins Fagin's gang.
The novel is also shot through with a related motif, obesity, which calls attention to the stark injustice of Oliver's world. When the half-starved child dares to ask for more, the men who punish him are fat. It is interesting to observe the large number of characters who are overweight.
Toward the end of the novel, the gaze of knowing eyes becomes a potent symbol. For years, Fagin avoids daylight, crowds, and open spaces, concealing himself in a dark lair most of the time: when his luck runs out at last, he squirms in the "living light" of too many eyes as he stands in the dock, awaiting sentence. After Sikes kills Nancy, he flees into the countryside but is unable to escape the memory of her dead eyes. Charley Bates turns his back on crime when he sees the murderous cruelty of the man who has been held up to him as a model.
Nancy’s decision to meet Brownlow and Rose on London Bridge reveals the symbolic aspect of this bridge in Oliver Twist. Bridges exist to link two places that would otherwise be separated by an uncrossable void. The meeting on London Bridge represents the collision of two worlds unlikely ever to come into contact—the idyllic world of Brownlow and Rose, and the atmosphere of degradation in which Nancy lives. On the bridge, Nancy is given the chance to cross over to the better way of life that the others represent, but she rejects that opportunity, and by the time the three have all left the bridge, that possibility has vanished forever.
When Rose gives Nancy her handkerchief, and when Nancy holds it up as she dies, Nancy has gone over to the "good" side against the thieves. Her position on the ground is as if she is in prayer, this showing her godly or good position.
Characters
The Last Chance
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In the tradition of Restoration Comedy and Henry Fielding, Dickens fits his characters with appropriate names. Oliver himself, though "badged and ticketed" as a lowly orphan and named according to an alphabetical system, is, in fact, "all of a twist." Mr. Grimwig is so called because his seemingly "grim", pessimistic outlook is actually a protective cover for his kind, sentimental soul. Other character names mark their bearers as semi-monstrous caricatures. Mrs. Mann, who has charge of the infant Oliver, is not the most motherly of women; Mr. Bumble, despite his impressive sense of his own dignity, continually mangles the king's English he tries to use; and the Sowerberries are, of course, "sour berries", a reference to Mrs. Sowerberry's perpetual scowl, to Mr. Sowerberry's profession as an undertaker, and to the poor provender Oliver receives from them. Rose Maylie’s name echoes her association with flowers and springtime, youth and beauty, while Toby Crackit’s is a reference to his chosen profession–housebreaking.
Bill Sikes’s dog, Bull’s-eye, has “faults of temper in common with his owner” and is an emblem of his owner’s character. The dog’s viciousness represents Sikes’s animal-like brutality, while Sikes's self-destructiveness is evident in the dog's many scars. The dog, with its willingness to harm anyone on Sikes's whim, shows the mindless brutality of the master. Sikes himself senses that the dog is a reflection of himself and that is why he tries to drown the dog. He is really trying to run away from who he is.[citation needed] This is also illustrated when Sikes dies and the dog does immediately also. After Sikes murders Nancy, Bull’s-eye also comes to represent Sikes’s guilt. The dog leaves bloody footprints on the floor of the room where the murder is committed. Not long after, Sikes becomes desperate to get rid of the dog, convinced that the dog’s presence will give him away. Yet, just as Sikes cannot shake off his guilt, he cannot shake off Bull’s-eye, who arrives at the house of Sikes’s demise before Sikes himself does. Bull’s-eye’s name also conjures up the image of Nancy’s eyes, which haunts Sikes until the bitter end and eventually causes him to hang himself accidentally.
Dickens employs polarised sets of characters to explore various dual themes throughout the novel;[citation needed] Mr. Brownlow and Fagin, for example, personify 'Good vs. Evil'. Dickens also juxtaposes honest, law-abiding characters such as Oliver himself with those who, like the Artful Dodger, seem more comfortable on the wrong side of the law. 'Crime and Punishment' is another important pair of themes, as is 'Sin and Redemption': Dickens describes criminal acts ranging from picking pockets to murder (suggesting that this sort of thing went on continually in 1830's London) only to hand out punishments with a liberal hand at the end. Most obviously, he shows Bill Sikes hounded to death by a mob for his brutal acts, and sends Fagin to cower in the condemned cell, sentenced to death by due process. Neither character achieves redemption; Sikes dies trying to run away from his guilt, and on his last night alive, the terrified Fagin refuses to see a rabbi or to pray, instead asking Oliver to help him escape. Nancy, by contrast, redeems herself at the cost of her own life, and dies in a prayerful pose.
Nancy is also one of the few characters in Oliver Twist to display much ambivalence. Although she is a full-fledged criminal, indoctrinated and trained by Fagin since childhood, she retains enough empathy to repent her role in Oliver's kidnapping, and to take steps to try to atone. As one of Fagin's victims, corrupted but not yet morally dead, she gives eloquent voice to the horrors of the old man's little criminal empire. She wants to save Oliver from a similar fate; at the same time, she recoils from the idea of turning traitor, especially to Bill Sikes, whom she loves. When he was later criticised for giving a "thieving, whoring slut of the streets" such an unaccountable reversal of character, Dickens ascribed her change of heart to "the last fair drop of water at the bottom of a dried-up, weed-choked well".
Oliver Twist; or, The Parish Boy's Progress is (commonly known as Oliver Twist) (1838) is Charles Dickens's second novel. It is about a boy named Oliver Twist, who escapes from an workhouse and meets a gang of pickpocketers in London. The novel is one of Dickens's most well-known works, and has been the subject of numerous film and television adaptations.
Background
Oliver Twist is the first novel in the English language to centre throughout on a child protagonist[1] and is also notable for Dickens's unromantic portrayal of criminals and their sordid lives.[2] The book's subtitle, The Parish Boy's Progress alludes to Bunyan's The Pilgrim's Progress and also to a pair of popular 18th-century caricature series by William Hogarth, "A Rake's Progress" and "A Harlot's Progress".
An early example of the social novel, the book calls the public's attention to various contemporary evils, including the Poor Law that stated that poor people should work in workhouses/poorhouses, child labour and the recruitment of children as criminals. Dickens mocks the hypocrisies of the time by surrounding the novel's serious themes with sarcasm and dark humour. The novel may have been inspired by the story of Robert Blincoe, an orphan whose account of his hardships as a child labourer in a cotton mill was widely read in the 1830s. Obviously, Dickens's own early youth—he was vulnerable, and a child labourer—must have also entered.
Oliver Twist has been the subject of numerous film and television adaptations, and is the basis for a highly successful musical play and the multi Academy Award winning motion picture Oliver!.
Plot summary
Workhouse and first jobs
Oliver Twist is born into a life of poverty and misfortune in a workhouse in an unnamed town (although when originally published in Bentley's Miscellany in 1837 the town was called Mudfog and said to be within 75 miles north of London). Orphaned almost from his first breath by his mother’s death in childbirth and his father’s unexplained absence, Oliver is meagerly provided for under the terms of the Poor Law, and spends the first eight years of his life at a baby farm in the 'care' of a woman named Mrs. Mann. Along with other juvenile offenders against the poor laws, Oliver is brought up with little food and few comforts. Around the time of the orphan’s ninth birthday, Mr. Bumble, a parish beadle, removes Oliver from the baby farm and puts him to work picking oakum at the main workhouse (the same one where his mother worked before she died). Oliver, who toils with very little food, remains in the workhouse for six months, until the desperately hungry boys decide to draw lots; the loser must ask for another portion of gruel. The task falls to Oliver, who at the next meal tremblingly comes forward, bowl in hand, and makes his famous request: "Please, sir, I want some more."
Oliver; "Please, sir, I want some more."
A great uproar ensues. The board of well-fed gentlemen who administer the workhouse, while eating a meal fit for a mighty king, offer five pounds to any person wishing to take on the boy as an apprentice. A brutal chimney sweep almost claims Oliver, but, when he begs despairingly not to be sent away with "that dreadful man" a kindly old magistrate refuses to sign the indentures. Later, Mr. Sowerberry, an undertaker employed by the parish, takes Oliver into his service. He treats Oliver better, and, because of the boy's sorrowful countenance, uses him as a mourner, at children's funerals. However, Mr. Sowerberry is in an unhappy marriage, and his wife takes an immediate dislike to Oliver – primarily because her husband seems to like him – and loses few opportunities to underfeed and mistreat him. He also suffers torment at the hands of Noah Claypole, an oafish but bullying fellow apprentice who is jealous of Oliver's promotion to mute, and Charlotte, the Sowerberry's maidservant, who is in love with Noah.
One day, in an attempt to bait Oliver, Noah insults the orphan’s late mother, calling her "a regular right-down bad 'un". Oliver flies into an unexpected passion, attacking and even besting the much bigger boy. Mrs. Sowerberry takes Noah's side, helps him subdue Oliver, punches and beats Oliver, and later compels her husband and Mr. Bumble, who has been sent for in the aftermath of the fight, into beating Oliver again. Once Oliver is sent to his room for the night, he does something that he hadn't done since babyhood - breaks down and weeps. Alone that night, Oliver finally decides to run away. He wanders aimlessly for a time, until a well-placed milestone sets his wandering feet towards London.
The Artful Dodger and Fagin
George Cruikshank original engraving of the Artful Dodger (centre), here introducing Oliver (right) to Fagin (left)
During his journey to London, Oliver encounters Jack Dawkins, more commonly known by the nickname the "Artful Dodger", although Oliver's innocent nature prevents him from recognising this hint that the boy may be dishonest. Dodger provides Oliver with a free meal and tells him of a gentleman in London who will "give him lodgings for nothing, and never ask for change". Grateful for the unexpected assistance, Oliver follows Dodger to the "old gentleman"'s residence. In this way, Oliver unwittingly falls in with an infamous Jewish criminal known as Fagin, the so-called gentleman of whom the Artful Dodger spoke. Ensnared, Oliver lives with Fagin and his gang of juvenile pickpockets in their lair at Saffron Hill for some time, naively unaware of their criminal occupations. He believes they make wallets and handkerchiefs.
Later, Oliver innocently goes out to "make handkerchiefs" because of no income coming in, with two of Fagin’s underlings: The Artful Dodger and a boy of a humorous nature named Charley Bates. Oliver realises too late that their real mission is to pick pockets. Dodger and Charley steal the handkerchief of an old gentleman named Mr. Brownlow, and promptly flee. When he finds his handkerchief missing, Mr. Brownlow turns round, sees Oliver, and pursues him. Others join the chase and Oliver is caught and taken before the magistrate. Curiously, Mr. Brownlow has second thoughts about the boy – he seems reluctant to believe he is a pickpocket. To the judge's evident disappointment, a bookstall holder who saw Dodger commit the crime clears Oliver, who, by now actually ill, faints in the courtroom. Mr. Brownlow takes Oliver home and, along with his housekeeper Mrs. Bedwin, cares for him.
Bill Sikes
Oliver stays with Mr. Brownlow, recovers rapidly, and blossoms from the unaccustomed kindness. His bliss, however, is interrupted when Fagin, fearing Oliver might "peach" on his criminal gang, decides that Oliver must be brought back to his hideout. When Mr. Brownlow sends Oliver out to pay for some books, one of the gang, a young girl named Nancy, whom Oliver had previously met at Fagin's, accosts him with help from her abusive lover, a brutal robber named Bill Sikes, and Oliver is quickly bundled back to Fagin's lair. The thieves take the five pound note Mr. Brownlow had entrusted to him, and strip him of his fine new clothes. Oliver, dismayed, flees and attempts to call for police assistance, but is ruthlessly dragged back by the Dodger, Charley and Fagin. Nancy, however, is sympathetic towards Oliver and saves him from beatings by Fagin and Sikes.
In a renewed attempt to draw Oliver into a life of crime, Fagin forces him to participate in a burglary. Nancy reluctantly assists in recruiting him, all the while assuring the boy that she will help him if she can. Sikes, after threatening to kill him if he does not cooperate, sends Oliver through a small window and orders him to unlock the front door. The robbery goes wrong, however, and Oliver is shot. After being abandoned by Sikes, the wounded Oliver ends up under the care of the people he was supposed to rob: Rose Maylie, her guardian Mrs. Maylie (unrelated to Rose and raising her as her own niece), and Harry Maylie (Mrs. Maylie's son who loves Rose). Convinced of Oliver’s innocence, Rose takes the boy in and nurses him back to health in 1837.
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