نقد و بررسی رمان A Tale of Two Cities نوشته ی Charles Dickens

[*زهره*]

[h=3]Context[/h] Charles Dickens was born in Portsmouth, England in 1812. As the second of eight children in a very poor family, he lived a difficult childhood. Eventually, his father was sent to debtor’s prison, and Dickens himself went to work at the age of twelve to help pay off the family’s debt. This troublesome time scarred Dickens deeply and provided him with substantial material for such stories as Great Expectations, Oliver Twist, and David Copperfield. Steeped in social criticism, Dickens’s writing provides a keen, sympathetic chronicle of the plight of the urban poor in nineteenth-century England. During his lifetime, Dickens enjoyed immense popularity, in part because of his vivid characterizations, and in part because he published his novels in installments, making them readily affordable to a greater number of people.

The Industrial Revolution, which swept through Europe in the late eighteenth century, originated in England. The rapid modernization of the English economy involved a shift from rural handicraft to large-scale factory labor. Technological innovations facilitated unprecedented heights of manufacture and trade, and England left behind its localized, cottage-industry economy to become a centralized, hyper-capitalist juggernaut of mass production. In tandem with this transformation came a significant shift in the nation’s demographics. English cities swelled as a growing and impoverished working class flocked to them in search of work. As this influx of workers into urban centers continued, the bourgeoisie took advantage of the surplus of labor by keeping wages low. The poor thus remained poor, and often lived cramped in squalor. In many of his novels, Dickens chronicles his protagonists’ attempts to fight their way out of such poverty and despair.
A Tale of Two Cities, originally published from April through November of 1859, appeared in a new magazine that Dickens had created called All the Year Round. Dickens started this venture after a falling-out with his regular publishers. Indeed, this period in Dickens’s life saw many changes. While starring in a play by Wilkie Collins entitled The Frozen Deep, Dickens fell in love with a young actress named Ellen Ternan. Dickens’s twenty-three-year marriage to Catherine Hogarth had become a source of unhappiness in recent years, and, by 1858, Hogarth had moved out of Dickens’s home. The author arranged to keep Ternan in a separate residence.
Dickens’s participation in Collins’s play led not only to a shift in his personal life, but also to a career development, for it was this play that first inspired him to write A Tale of Two Cities. In the play, Dickens played the part of a man who sacrifices his own life so that his rival may have the woman they both love; the love triangle in the play became the basis for the complex relations between Charles Darnay, Lucie Manette, and Sydney Carton in A Tale of Two Cities. Moreover, Dickens appreciated the play for its treatment of redemption and rebirth, love and violence. He decided to transpose these themes onto the French Revolution, an event that embodied the same issues on a historical level. In order to make his novel historically accurate, Dickens turned to Thomas Carlyle’s account of the revolution. Contemporaries had considered Carlyle’s version to be the first and last word on the French peasants’ fight for freedom.
Dickens had forayed into historical fiction only once before, with Barnaby Rudge (1841), and the project proved a difficult undertaking. The vast scope and somewhat grim aspects of his historical subject forced Dickens largely to abandon the outlandish and often comic characters that had come to define his writing. Although Jerry Cruncher and Miss Pross embody some typically Dickensian quirks—exaggerated mannerisms, idiosyncratic speech—they play only minor roles in the novel. While critics continue to debate the literary merits of the novel, no one denies the light that the novel sheds on Dickens’s development as a novelist. More experimental than the novels that precede it, A Tale of Two Cities shows its author in transition. Dickens would emerge from this transition as a mature artist, ready to write Great Expectations (1860–1861) and Our Mutual Friend (1864–1865).

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[*زهره*]

[h=3]Plot Overview[/h] The year is 1775, and social ills plague both France and England. Jerry Cruncher, an odd-job man who works for Tellson’s Bank, stops the Dover mail-coach with an urgent message for Jarvis Lorry. The message instructs Lorry to wait at Dover for a young woman, and Lorry responds with the cryptic words, “Recalled to Life.” At Dover, Lorry is met by Lucie Manette, a young orphan whose father, a once-eminent doctor whom she supposed dead, has been discovered in France. Lorry escorts Lucie to Paris, where they meet Defarge, a former servant of Doctor Manette, who has kept Manette safe in a garret. Driven mad by eighteen years in the Bastille, Manette spends all of his time making shoes, a hobby he learned while in prison. Lorry assures Lucie that her love and devotion can recall her father to life, and indeed they do.

The year is now 1780. Charles Darnay stands accused of treason against the English crown. A bombastic lawyer named Stryver pleads Darnay’s case, but it is not until his drunk, good-for-nothing colleague, Sydney Carton, assists him that the court acquits Darnay. Carton clinches his argument by pointing out that he himself bears an uncanny resemblance to the defendant, which undermines the prosecution’s case for unmistakably identifying Darnay as the spy the authorities spotted. Lucie and Doctor Manette watched the court proceedings, and that night, Carton escorts Darnay to a tavern and asks how it feels to receive the sympathy of a woman like Lucie. Carton despises and resents Darnay because he reminds him of all that he himself has given up and might have been.
In France, the cruel Marquis Evrémonde runs down a plebian child with his carriage. Manifesting an attitude typical of the aristocracy in regard to the poor at that time, the Marquis shows no regret, but instead curses the peasantry and hurries home to his chateau, where he awaits the arrival of his nephew, Darnay, from England. Arriving later that night, Darnay curses his uncle and the French aristocracy for its abominable treatment of the people. He renounces his identity as an Evrémonde and announces his intention to return to England. That night, the Marquis is murdered; the murderer has left a note signed with the nickname adopted by French revolutionaries: “Jacques.”
A year passes, and Darnay asks Manette for permission to marry Lucie. He says that, if Lucie accepts, he will reveal his true identity to Manette. Carton, meanwhile, also pledges his love to Lucie, admitting that, though his life is worthless, she has helped him dream of a better, more valuable existence. On the streets of London, Jerry Cruncher gets swept up in the funeral procession for a spy named Roger Cly. Later that night, he demonstrates his talents as a “Resurrection-Man,” sneaking into the cemetery to steal and sell Cly’s body. In Paris, meanwhile, another English spy known as John Barsad drops into Defarge’s wine shop. Barsad hopes to turn up evidence concerning the mounting revolution, which is still in its covert stages. Madame Defarge sits in the shop knitting a secret registry of those whom the revolution seeks to execute. Back in London, Darnay, on the morning of his wedding, keeps his promise to Manette; he reveals his true identity and, that night, Manette relapses into his old prison habit of making shoes. After nine days, Manette regains his presence of mind, and soon joins the newlyweds on their honeymoon. Upon Darnay’s return, Carton pays him a visit and asks for his friendship. Darnay assures Carton that he is always welcome in their home.
The year is now 1789. The peasants in Paris storm the Bastille and the French Revolution begins. The revolutionaries murder aristocrats in the streets, and Gabelle, a man charged with the maintenance of the Evrémonde estate, is imprisoned. Three years later, he writes to Darnay, asking to be rescued. Despite the threat of great danger to his person, Darnay departs immediately for France.
As soon as Darnay arrives in Paris, the French revolutionaries arrest him as an emigrant. Lucie and Manette make their way to Paris in hopes of saving him. Darnay remains in prison for a year and three months before receiving a trial. In order to help free him, Manette uses his considerable influence with the revolutionaries, who sympathize with him for having served time in the Bastille. Darnay receives an acquittal, but that same night he is arrested again. The charges, this time, come from Defarge and his vengeful wife. Carton arrives in Paris with a plan to rescue Darnay and obtains the help of John Barsad, who turns out to be Solomon Pross, the long-lost brother of Miss Pross, Lucie’s loyal servant.
At Darnay’s trial, Defarge produces a letter that he discovered in Manette’s old jail cell in the Bastille. The letter explains the cause of Manette’s imprisonment. Years ago, the brothers Evrémonde (Darnay’s father and uncle) enlisted Manette’s medical assistance. They asked him to tend to a woman, whom one of the brothers had raped, and her brother, whom the same brother had stabbed fatally. Fearing that Manette might report their misdeeds, the Evrémondes had him arrested. Upon hearing this story, the jury condemns Darnay for the crimes of his ancestors and sentences him to die within twenty-four hours. That night, at the Defarge’s wine shop, Carton overhears Madame Defarge plotting to have Lucie and her daughter (also Darnay’s daughter) executed as well; Madame Defarge, it turns out, is the surviving sibling of the man and woman killed by the Evrémondes. Carton arranges for the Manettes’ immediate departure from France. He then visits Darnay in prison, tricks him into changing clothes with him, and, after dictating a letter of explanation, drugs his friend unconscious. Barsad carries Darnay, now disguised as Carton, to an awaiting coach, while Carton, disguised as Darnay, awaits execution. As Darnay, Lucie, their child, and Dr. Manette speed away from Paris, Madame Defarge arrives at Lucie’s apartment, hoping to arrest her. There she finds the supremely protective Miss Pross. A scuffle ensues, and Madame Defarge dies by the bullet of her own gun. Sydney Carton meets his death at the guillotine, and the narrator confidently asserts that Carton dies with the knowledge that he has finally imbued his life with meaning.

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[*زهره*]

[h=3]Character List[/h] Charles Darnay - A French aristocrat by birth, Darnay chooses to live in England because he cannot bear to be associated with the cruel injustices of the French social system. Darnay displays great virtue in his rejection of the snobbish and cruel values of his uncle, the Marquis Evrémonde. He exhibits an admirable honesty in his decision to reveal to Doctor Manette his true identity as a member of the infamous Evrémonde family. So, too, does he prove his courage in his decision to return to Paris at great personal risk to save the imprisoned Gabelle.


Sydney Carton - An insolent, indifferent, and alcoholic attorney who works with Stryver. Carton has no real prospects in life and doesn’t seem to be in pursuit of any. He does, however, love Lucie, and his feelings for her eventually transform him into a man of profound merit. At first the polar opposite of Darnay, in the end Carton morally surpasses the man to whom he bears a striking physical resemblance.


Doctor Manette - Lucie’s father and a brilliant physician, Doctor Manette spent eighteen years as a prisoner in the Bastille. At the start of the novel, Manette does nothing but make shoes, a hobby that he adopted to distract himself from the tortures of prison. As he overcomes his past as a prisoner, however, he proves to be a kind, loving father who prizes his daughter’s happiness above all things.


Lucie Manette - A young French woman who grew up in England, Lucie was raised as a ward of Tellson’s Bank because her parents were assumed dead. Dickens depicts Lucie as an archetype of compassion. Her love has the power to bind her family together—the text often refers to her as the “golden thread.” Furthermore, her love has the power to transform those around her. It enables her father to be “recalled to life,” and it sparks Sydney Carton’s development from a “jackal” into a hero.


Monsieur Defarge - A wine shop owner and revolutionary in the poor Saint Antoine section of Paris, Monsieur Defarge formerly worked as a servant for Doctor Manette. Defarge proves an intelligent and committed revolutionary, a natural leader. Although he remains dedicated to bringing about a better society at any cost, he does demonstrate a kindness toward Manette. His wife, Madame Defarge, views this consideration for Manette as a weakness.

Madame Defarge - A cruel revolutionary whose hatred of the aristocracy fuels her tireless crusade, Madame Defarge spends a good deal of the novel knitting a register of everyone who must die for the revolutionary cause. Unlike her husband, she proves unrelentingly blood-thirsty, and her lust for vengeance knows no bounds.


Jarvis Lorry - An elderly businessman who works for Tellson’s Bank, Mr. Lorry is a very business-oriented bachelor with a strong moral sense and a good, honest heart. He proves trustworthy and loyal, and Doctor Manette and Lucie come to value him as a personal friend.

Jerry Cruncher - An odd-job man for Tellson’s Bank, Cruncher is gruff, short-tempered, superstitious, and uneducated. He supplements his income by working as a “Resurrection-Man,” one who digs up dead bodies and sells them to scientists.

Miss Pross - The servant who raised Lucie, Miss Pross is brusque, tough, and fiercely loyal to her mistress. Because she personifies order and loyalty, she provides the perfect foil to Madame Defarge, who epitomizes the violent chaos of the revolution.

Marquis Evrémonde - Charles Darnay’s uncle, the Marquis Evrémonde is a French aristocrat who embodies an inhumanly cruel caste system. He shows absolutely no regard for human life and wishes that the peasants of the world would be exterminated.

Mr. Stryver - An ambitious lawyer, Stryver dreams of climbing the social ladder. Unlike his associate, Sydney Carton, Stryver is bombastic, proud, and foolish.

John Barsad - Like Roger Cly, John Barsad is a British spy who swears that patriotism is his only motive. Barsad falsely claims to be a virtuous man of upstanding reputation.

Roger Cly - Like John Barsad, Roger Cly is a British spy who swears that patriotism alone inspires all of his actions. Cly feigns honesty but in fact constantly participates in conniving schemes.

Gabelle - The man charged with keeping up the Evrémonde estate after the Marquis’ death, Gabelle is imprisoned by the revolutionaries. News of his internment prompts Darnay to travel to France to save him.


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[*زهره*]

Analysis of Major Characters

Sydney Carton

Sydney Carton proves the most dynamic character in A Tale of Two Cities. He first appears as a lazy, alcoholic attorney who cannot muster even the smallest amount of interest in his own life. He describes his existence as a supreme waste of life and takes every opportunity to declare that he cares for nothing and no one. But the reader senses, even in the initial chapters of the novel, that Carton in fact feels something that he perhaps cannot articulate. In his conversation with the recently acquitted Charles Darnay, Carton’s comments about Lucie Manette, while bitter and sardonic, betray his interest in, and budding feelings for, the gentle girl. Eventually, Carton reaches a point where he can admit his feelings to Lucie herself. Before Lucie weds Darnay, Carton professes his love to her, though he still persists in seeing himself as essentially worthless. This scene marks a vital transition for Carton and lays the foundation for the supreme sacrifice that he makes at the novel’s end.

Carton’s death has provided much material for scholars and critics of Dickens’s novel. Some readers consider it the inevitable conclusion to a work obsessed with the themes of redemption and resurrection. According to this interpretation, Carton becomes a Christ-like figure, a selfless martyr whose death enables the happiness of his beloved and ensures his own immortality. Other readers, however, question the ultimate significance of Carton’s final act. They argue that since Carton initially places little value on his existence, the sacrifice of his life proves relatively easy. However, Dickens’s frequent use in his text of other resurrection imagery—his motifs of wine and blood, for example—suggests that he did intend for Carton’s death to be redemptive, whether or not it ultimately appears so to the reader. As Carton goes to the guillotine, the narrator tells us that he envisions a beautiful, idyllic Paris “rising from the abyss” and sees “the evil of this time and of the previous time of which this is the natural birth, gradually making expiation for itself and wearing out.” Just as the apocalyptic violence of the revolution precedes a new society’s birth, perhaps it is only in the sacrifice of his life that Carton can establish his life’s great worth.


Madame Defarge

Possessing a remorseless bloodlust, Madame Defarge embodies the chaos of the French Revolution. The initial chapters of the novel find her sitting quietly and knitting in the wine shop. However, her apparent passivity belies her relentless thirst for vengeance. With her stitches, she secretly knits a register of the names of the revolution’s intended victims. As the revolution breaks into full force, Madame Defarge reveals her true viciousness. She turns on Lucie in particular, and, as violence sweeps Paris, she invades Lucie’s physical and psychological space. She effects this invasion first by committing the faces of Lucie and her family to memory, in order to add them to her mental “register” of those slated to die in the revolution. Later, she bursts into the young woman’s apartment in an attempt to catch Lucie mourning Darnay’s imminent execution.

Dickens notes that Madame Defarge’s hatefulness does not reflect any inherent flaw, but rather results from the oppression and personal tragedy that she has suffered at the hands of the aristocracy, specifically the Evrémondes, to whom Darnay is related by blood, and Lucie by marriage. However, the author refrains from justifying Madame Defarge’s policy of retributive justice. For just as the aristocracy’s oppression has made an oppressor of Madame Defarge herself, so will her oppression, in turn, make oppressors of her victims. Madame Defarge’s death by a bullet from her own gun—she dies in a scuffle with Miss Pross—symbolizes Dickens’s belief that the sort of vengeful attitude embodied by Madame Defarge ultimately proves a self-damning one.

Doctor Manette

Dickens uses Doctor Manette to illustrate one of the dominant motifs of the novel: the essential mystery that surrounds every human being. As Jarvis Lorry makes his way toward France to recover Manette, the narrator reflects that “every human creature is constituted to be that profound secret and mystery to every other.” For much of the novel, the cause of Manette’s incarceration remains a mystery both to the other characters and to the reader. Even when the story concerning the evil Marquis Evrémonde comes to light, the conditions of Manette’s imprisonment remain hidden. Though the reader never learns exactly how Manette suffered, his relapses into trembling sessions of shoemaking evidence the depth of his misery.

Like Carton, Manette undergoes a drastic change over the course of the novel. He is transformed from an insensate prisoner who mindlessly cobbles shoes into a man of distinction. The contemporary reader tends to understand human individuals not as fixed entities but rather as impressionable and reactive beings, affected and influenced by their surroundings and by the people with whom they interact. In Dickens’s age, however, this notion was rather revolutionary. Manette’s transformation testifies to the tremendous impact of relationships and experience on life. The strength that he displays while dedicating himself to rescuing Darnay seems to confirm the lesson that Carton learns by the end of the novel—that not only does one’s treatment of others play an important role in others’ personal development, but also that the very worth of one’s life is determined by its impact on the lives of others.

Charles Darnay and Lucie Manette

Novelist E. M. Forster famously criticized Dickens’s characters as “flat,” lamenting that they seem to lack the depth and complexity that make literary characters realistic and believable. Charles Darnay and Lucie Manette certainly fit this description. A man of honor, respect, and courage, Darnay conforms to the archetype of the hero but never exhibits the kind of inner struggle that Carton and Doctor Manette undergo. His opposition to the Marquis’ snobbish and cruel aristocratic values is admirable, but, ultimately, his virtue proves too uniform, and he fails to exert any compelling force on the imagination.

Along similar lines, Lucie likely seems to modern readers as uninteresting and two-dimensional as Darnay. In every detail of her being, she embodies compassion, love, and virtue; the indelible image of her cradling her father’s head delicately on her breast encapsulates her role as the “golden thread” that holds her family together. She manifests her purity of devotion to Darnay in her unquestioning willingness to wait at a street corner for two hours each day, on the off chance that he will catch sight of her from his prison window. In a letter to Dickens, a contemporary criticized such simplistic characterizations:

The tenacity of your imagination, the vehe-mence and fixity with which you impress your thought into the detail you wish to grasp, limit your knowledge, arrest you in a single feature, prevent you from reaching all the parts of the soul, and from sounding its depths.


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While Darnay and Lucie may not act as windows into the gritty essence of humanity, in combination with other characters they contribute to a more detailed picture of human nature. First, they provide the light that counters the vengeful Madame Defarge’s darkness, revealing the moral aspects of the human soul so noticeably absent from Madame Defarge. Second, throughout the novel they manifest a virtuousness that Carton strives to attain and that inspires his very real and believable struggles to become a better person.



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[*زهره*]

[h=3]Themes, Motifs & Symbols[/h] [h=4]Themes
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Themes are the fundamental and often universal ideas explored in a literary work.​

[h=5]The Ever-Present Possibility of Resurrection[/h] With A Tale of Two Cities, Dickens asserts his belief in the possibility of resurrection and transformation, both on a personal level and on a societal level. The narrative suggests that Sydney Carton’s death secures a new, peaceful life for Lucie Manette, Charles Darnay, and even Carton himself. By delivering himself to the guillotine, Carton ascends to the plane of heroism, becoming a Christ-like figure whose death serves to save the lives of others. His own life thus gains meaning and value. Moreover, the final pages of the novel suggest that, like Christ, Carton will be resurrected—Carton is reborn in the hearts of those he has died to save. Similarly, the text implies that the death of the old regime in France prepares the way for the beautiful and renewed Paris that Carton supposedly envisions from the guillotine. Although Carton spends most of the novel in a life of indolence and apathy, the supreme selflessness of his final act speaks to a human capacity for change. Although the novel dedicates much time to describing the atrocities committed both by the aristocracy and by the outraged peasants, it ultimately expresses the belief that this violence will give way to a new and better society.

Dickens elaborates his theme with the character of Doctor Manette. Early on in the novel, Lorry holds an imaginary conversation with him in which he says that Manette has been “recalled to life.” As this statement implies, the doctor’s eighteen-year imprisonment has constituted a death of sorts. Lucie’s love enables Manette’s spiritual renewal, and her maternal cradling of him on her breast reinforces this notion of rebirth.
[h=5]The Necessity of Sacrifice[/h] Connected to the theme of the possibility of resurrection is the notion that sacrifice is necessary to achieve happiness. Dickens examines this second theme, again, on both a national and personal level. For example, the revolutionaries prove that a new, egalitarian French republic can come about only with a heavy and terrible cost—personal loves and loyalties must be sacrificed for the good of the nation. Also, when Darnay is arrested for the second time, in Book the Third, Chapter 7, the guard who seizes him reminds Manette of the primacy of state interests over personal loyalties. Moreover, Madame Defarge gives her husband a similar lesson when she chastises him for his devotion to Manette—an emotion that, in her opinion, only clouds his obligation to the revolutionary cause. Most important, Carton’s transformation into a man of moral worth depends upon his sacrificing of his former self. In choosing to die for his friends, Carton not only enables their happiness but also ensures his spiritual rebirth.

[h=5]The Tendency Toward Violence and Oppression in Revolutionaries[/h] Throughout the novel, Dickens approaches his historical subject with some ambivalence. While he supports the revolutionary cause, he often points to the evil of the revolutionaries themselves. Dickens deeply sympathizes with the plight of the French peasantry and emphasizes their need for liberation. The several chapters that deal with the Marquis Evrémonde successfully paint a picture of a vicious aristocracy that shamelessly exploits and oppresses the nation’s poor. Although Dickens condemns this oppression, however, he also condemns the peasants’ strategies in overcoming it. For in fighting cruelty with cruelty, the peasants effect no true revolution; rather, they only perpetuate the violence that they themselves have suffered. Dickens makes his stance clear in his suspicious and cautionary depictions of the mobs. The scenes in which the people sharpen their weapons at the grindstone and dance the grisly Carmagnole come across as deeply macabre. Dickens’s most concise and relevant view of revolution comes in the final chapter, in which he notes the slippery slope down from the oppressed to the oppressor: “Sow the same seed of rapacious license and oppression over again, and it will surely yield the same fruit according to its kind.” Though Dickens sees the French Revolution as a great symbol of transformation and resurrection, he emphasizes that its violent means were ultimately antithetical to its end.

[h=4]Motifs
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Motifs are recurring structures, contrasts, and literary devices that can help to develop and inform the text’s major themes.​

[h=5]Doubles[/h] The novel’s opening words (“It was the best of times, it was the worst of times. . . .”) immediately establish the centrality of doubles to the narrative. The story’s action divides itself between two locales, the two cities of the title. Dickens positions various characters as doubles as well, thus heightening the various themes within the novel. The two most important females in the text function as diametrically opposed doubles: Lucie is as loving and nurturing as Madame Defarge is hateful and bloodthirsty. Dickens then uses this opposition to make judgments and thematic assertions. Thus, for example, while Lucie’s love initiates her father’s spiritual transformation and renewal, proving the possibility of resurrection, Madame Defarge’s vengefulness only propagates an infinite cycle of oppression, showing violence to be self-perpetuating.

Dickens’s doubling technique functions not only to draw oppositions, but to reveal hidden parallels. Carton, for example, initially seems a foil to Darnay; Darnay as a figure reminds him of what he could have been but has failed to become. By the end of the novel, however, Carton transforms himself from a good-for-nothing to a hero whose goodness equals or even surpasses that of the honorable Darnay. While the two men’s physical resemblance initially serves only to underscore Carton’s moral inferiority to Darnay, it ultimately enables Carton’s supremely self-elevating deed, allowing him to disguise himself as the condemned Darnay and die in his place. As Carton goes to the guillotine in his double’s stead, he raises himself up to, or above, Darnay’s virtuous status.
[h=5]Shadows and Darkness[/h] Shadows dominate the novel, creating a mood of thick obscurity and grave foreboding. An aura of gloom and apprehension surrounds the first images of the actual story—the mail coach’s journey in the dark and Jerry Cruncher’s emergence from the mist. The introduction of Lucie Manette to Jarvis Lorry furthers this motif, as Lucie stands in a room so darkened and awash with shadows that the candlelight seems buried in the dark panels of the walls. This atmosphere contributes to the mystery surrounding Lorry’s mission to Paris and Manette’s imprisonment. It also manifests Dickens’s observations about the shadowy depths of the human heart. As illustrated in the chapter with the appropriate subheading “The Night Shadows,” every living person carries profound secrets and mysteries that will never see the light of day. Shadows continue to fall across the entire novel. The vengeful Madame Defarge casts a shadow on Lucie and all of her hopes, as emphasized in Book the Third, Chapter 5. As Lucie stands in the pure, fresh snow, Madame Defarge passes by “like a shadow over the white road.” In addition, the letter that Defarge uses to condemn Darnay to death throws a crippling shadow over the entire family; fittingly, the chapter that reveals the letter’s contents bears the subheading “The Substance of the Shadow.”

[h=5]Imprisonment[/h] Almost all of the characters in A Tale of Two Cities fight against some form of imprisonment. For Darnay and Manette, this struggle is quite literal. Both serve significant sentences in French jails. Still, as the novel demonstrates, the memories of what one has experienced prove no less confining than the walls of prison. Manette, for example, finds himself trapped, at times, by the recollection of life in the Bastille and can do nothing but revert, trembling, to his pathetic shoemaking compulsion. Similarly, Carton spends much of the novel struggling against the confines of his own personality, dissatisfied with a life that he regards as worthless.

[h=4]Symbols
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Symbols are objects, characters, figures, and colors used to represent abstract ideas or concepts.
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[h=5]The Broken Wine Cask[/h] With his depiction of a broken wine cask outside Defarge’s wine shop, and with his portrayal of the passing peasants’ scrambles to lap up the spilling wine, Dickens creates a symbol for the desperate quality of the people’s hunger. This hunger is both the literal hunger for food—the French peasants were starving in their poverty—and the metaphorical hunger for political freedoms. On the surface, the scene shows the peasants in their desperation to satiate the first of these hungers. But it also evokes the violent measures that the peasants take in striving to satisfy their more metaphorical cravings. For instance, the narrative directly associates the wine with blood, noting that some of the peasants have acquired “a tigerish smear about the mouth” and portraying a drunken figure scrawling the word “blood” on the wall with a wine-dipped finger. Indeed, the blood of aristocrats later spills at the hands of a mob in these same streets.

Throughout the novel, Dickens sharply criticizes this mob mentality, which he condemns for perpetrating the very cruelty and oppression from which the revolutionaries hope to free themselves. The scene surrounding the wine cask is the novel’s first tableau of the mob in action. The mindless frenzy with which these peasants scoop up the fallen liquid prefigures the scene at the grindstone, where the revolutionaries sharpen their weapons (Book the Third, Chapter 2), as well as the dancing of the macabre Carmagnole (Book the Third, Chapter 5).
[h=5]Madame Defarge’s Knitting[/h] Even on a literal level, Madame Defarge’s knitting constitutes a whole network of symbols. Into her needlework she stitches a registry, or list of names, of all those condemned to die in the name of a new republic. But on a metaphoric level, the knitting constitutes a symbol in itself, representing the stealthy, cold-blooded vengefulness of the revolutionaries. As Madame Defarge sits quietly knitting, she appears harmless and quaint. In fact, however, she sentences her victims to death. Similarly, the French peasants may appear simple and humble figures, but they eventually rise up to massacre their oppressors.

Dickens’s knitting imagery also emphasizes an association between vengefulness and fate, which, in Greek mythology, is traditionally linked to knitting or weaving. The Fates, three sisters who control human life, busy themselves with the tasks of weavers or seamstresses: one sister spins the web of life, another measures it, and the last cuts it. Madame Defarge’s knitting thus becomes a symbol of her victims’ fate—death at the hands of a wrathful peasantry.
[h=5]The Marquis[/h] The Marquis Evrémonde is less a believable character than an archetype of an evil and corrupt social order. He is completely indifferent to the lives of the peasants whom he exploits, as evidenced by his lack of sympathy for the father of the child whom his carriage tramples to death. As such, the Marquis stands as a symbol of the ruthless aristocratic cruelty that the French Revolution seeks to overcome.


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[*زهره*]

[h=3]Key Facts[/h] full title · A Tale of Two Cities

author · Charles Dickens
type of work · Novel
genre · Historical fiction
language · English
time and place written · 1859, London
date of first publication · Published in weekly serial form between April 20, 1859, and November 26, 1859
publisher · Chapman and Hall
narrator · The narrator is anonymous and can be thought of as Dickens himself. The narrator maintains a clear sympathy for the story’s morally good characters, including Sydney Carton, Charles Darnay, Doctor Manette, and Lucie Manette. Though he criti-cizes ruthless and hateful figures such as Madame Defarge, who cannot appreciate love, he understands that oppression has made these characters the bloodthirsty creatures they have become.
point of view · The narrator speaks in the third person, deftly switching his focus between cities and among several characters. The narrator is also omniscient—not only revealing the thoughts, emotions, and motives of the characters, but also supplying historical context to the events that occur, commenting confidently upon them.
tone · Sentimental, sympathetic, sarcastic, horrified, grotesque, grim
tense · Past
setting (time) · 1775–1793
setting (place) · London and its outskirts; Paris and its outskirts
protagonist · Charles Darnay or Sydney Carton
major conflict · Madame Defarge seeks revenge against Darnay for his relation to the odious Marquis Evrémonde; Carton, Manette, Lucie, and Jarvis Lorry strive to protect Darnay from the bloodthirsty revolutionaries’ guillotine.
rising action · The ongoing murder of aristocrats after the storming of the Bastille; Darnay’s decision to go to Paris to save Gabelle; the Defarges’ demand that Darnay be arrested
climax · During a court trial, Defarge reads aloud a letter that he has discovered, which Manette wrote during his imprisonment in the Bastille and which indicts Darnay as a member of the cruel aristocratic lineage of Evrémonde (Book the Third, Chapter 10). In this climactic moment, it becomes clear that Madame Defarge’s overzealous hatred of Darnay can end only in death—either his or hers.
falling action · The jury’s sentencing of Darnay to death; Darnay’s wish that Manette not blame himself; Carton’s decision to sacrifice his life to save Darnay
themes · The ever-present possibility of resurrection; the necessity of sacrifice; the tendency toward violence and oppression in revolutionaries
motifs · Doubles; shadows and darkness; imprisonment
symbols · The wine that spills out of the cask in Book the First, Chapter 5, symbolizes the peasants’ hunger and the blood that will be let when the revolution comes into full swing; Madame Defarge’s knitting symbolizes the vengefulness of the common people; the Marquis is a symbol of pure evil—the Gorgon’s head symbolizes his absolute coldness toward the suffering of the poor.
foreshadowing · The wine cask breaking outside Defarge’s wine shop; the echoing footsteps in the Manettes’ sitting room; the resemblance between Carton and Darnay; Carton’s indication of this resemblance in a London court, which results in Darnay’s acquittal; Doctor Manette’s reaction after learning Darnay’s true identity

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