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Hard Times

by Charles Dickens

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EN
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EPUB
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Set in the fictional industrial town of Coketown, the novel examines the social and economic disparities of Victorian England through the lives of its inhabitants. The story centres on Thomas Gradgrind, a utilitarian schoolmaster committed to facts and reason, and his children Louisa and Tom, whose lives are shaped by his strict principles. It also follows Josiah Bounderby, a boastful factory owner, and Stephen Blackpool, a mill worker facing hardship. Dickens uses these characters to critique the dehumanising effects of industrialisation and utilitarian philosophy, illustrating the struggles of workers and the moral dilemmas of those in power during the mid-19th century.

Published in 1854, the novel employs satire to portray the moral and social consequences of prioritising facts and material progress over human compassion. It highlights the division between the wealthy capitalists and the impoverished working class, questioning if a society driven solely by utilitarian values can achieve happiness. The narrative offers a critical view of Victorian industrial society, reflecting Dickens' concern with social justice and human dignity in a rapidly changing world.

From the opening pages

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-room for the hard facts stored inside. The speaker’s obstinate carriage, square coat, square legs, square shoulders,—nay, his very neckcloth, trained 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. MURDERING THE INNOCENTS Thomas Gradgrind , sir. A man of realities. A man of facts and calculations. A man who proceeds upon the principle that two and two are four, and nothing over, and who is not to be talked into allowing for anything over. Thomas Gradgrind, sir—peremptorily Thomas—Thomas Gradgrind. With a rule and a pair of scales, and the multiplication table always in his pocket, sir, ready to weigh and measure any parcel of human nature, and tell you exactly what it comes to. It is a mere question of figures, a case of simple arithmetic. You might hope to get some other nonsensical belief into the head of George Gradgrind,

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