Outline of “Hard Times An Analytic Note” by F. R. Leavis

“Hard Times An Analytic Note” is a chapter taken from the book The Great
Tradition by FR Leavis. In the chapter, FR Leavis analyzes the novel Hard Times by Charles Dickens from his critical perspective. 

F R Leavis and his Idea of Criticism

F R Leavis is a British critic who appreciates the high seriousness and moral depth of literature. He rejects the idea that literature has only aesthetic function and argues that literature should be closely related to criticism of life. Therefore, it is the duty of a literary critic to assess works according to the author's and society's moral position.

F R Leavis’ Observations on Hard Times

Leavis comments that Hard Times is a masterpiece of Charles Dickens. It has  all the strength of Dickens’ genius and also the strength of a serious work of art. He argues that the novel didn't get the critical attention it deserves because of the traditional approach to English novels. This approach assumes that novelists have to reproduce realistic portrayals of life in their works. The test of their characters is based on their resemblance with actual people living in the outside world. Leavis argues that this approach is uncritical and it has neglected significant works like Hard Times and The Europeans by Henry James.

In the following parts of the chapter, he lists out the strength of the novel and why he called it a masterpiece.

1. Leavis considers literature as a powerful force for moral and social improvement. Hence he appreciates Hard Times for making its moral and ethical intention strikingly forceful in all significant aspects of the story including character, episode etc… Though the intention or purpose is very forceful in other works of Dickens, it does not form a complete whole in organising  other texts.

2. The restraining of creative energy by profound inspiration is another distinctive feature of Hard Times. The inspiration is given in the title itself.

3. Dickens’ criticism is usually casual and incidental. His criticism of the evils of Victorian society is just another ingredient of his work. But in Hard Times, he has a comprehensive vision which enables him to expose the role of the Utilitarian philosophy formulated by John Stuart Mill in sanctioning the inhumanities of Victorian civilization. The hard philosophy of Utilitarianism is represented by Thomas Gradgrind, an Esquire and a Member of Parliament from Coke town, who strictly follows the philosophy and brings up his children as per the doctrine. Leavis further observes that he is still respectable because he follows the philosophy sincerely and impartially. Gradgrind gets his daughter Louisa married to Josiah Bounderby, a banker, merchant and manufacturer. He is presented as a crude individualist who is neither sincere nor impartial in his adherence to philosophy. He is interested in self-assertion, power and material success and shows no interest in ideas or ideals. Leavis considers Dickens’ criticism of the philosophy highly inspired and creative.

4. Levis is fascinated by the art of the novel. Dickens has rendered his full critical vision without compromising his position as a great popular entertainer. He combines flexibility with consistency and depth which is a rare achievement in his works. The flexibility of his art renders the ironic school scene at the opening of the novel quite effective.

5. The distinctive way of blending irony with flexibility creates a truly dramatic and profoundly poetic work. This enables the novelists to establish the conventional persona of Sissy Jupe to a potently symbolic role. She is part of the poetically creative operation of Dickens’ genius in Hard Times.

6. The novelist renders moral and spiritual differences in terms of sensation so that the symbolic intention comes out of metaphors and concrete situations. The novel's critique of Utilitarianism is built on the characterization of Sissy Jupe and Bitzer. The first is associated with the horse riders and the circus and the latter with the school and Utilitarianism. Sissy stands for vitality and goodness and receives lustrous bliss of sun whereas Bitz is cold, logical, factual, self interested and mechanical. The horse rider Sleary and the circus also invoke kindness, human vitality and goodness. Though the skills of the circus artists are not appreciated by Gradgrind and Bounderby, the circus represents art and the sight of triumphant human activity. By presenting the circus as a symbol of human activity, emotions and vitality, Dickens expresses his profound reaction to industrialism which resembles the critique of materialism by DH Lawrence.

7. Leavis anticipates objections of readers in portraying the circus and horse riding as symbols of human activity and vitality. They may ask whether the symbolization of the circus is sentimentally false or far fetched. He explains that the virtues and qualities that Dickens presents are true and they are necessary for his criticism of Utilitarianism. In addition, the novelist does not misrepresent human nature. Hence, the objections are invalid.

8. The extraordinary flexibility of the art of Hard Times is explicit in the dialogues. Some passages of the novel are ordinary but others have the ironic pointedness of a Jonsonian comedy. The dialogue in the school room scene and Gradgrind’s final exchange with Bitzer are supreme examples. The conversation between Gradgrind and Louisa after she left Mr. James Harthouse is an example for ‘literary’ dialogues.

9. The diversity of the novel is not limited to the dialogues alone. There is an astonishing richness of life in every part of the novel and it is presented incredibly real. According to Leavis, Dickens does not write ‘poetic prose’ but he writes with poetic force that invokes the effects of a poetic work.

10.  Leavis stresses on the symbolism of horse riding by stating that Dickens is open to life and sees human kindness and virtues even in the midst of ugliness and banality. He does not show any recoil or disgust in the portrayal of Sleary though he appeared game eyed, brandy soaked and sagging. The presentation of Sleary as a humane, anti-Utilitarian positive is not sentimentality but a testament of Dickens’ genius. The portrayal of Stephen Blackpool, the good, victimised working-man is an example of Dickens’ presentation of sentimental characters. The characterisation of Sissy jupe is different. She shares the strength of horse riding and is fully convincing in the role assigned to her. Her strength is revealed when she asks Mr James Harthouse to leave Coke town and stop bothering Louisa with his attention. In addition, her role helps Dickens to establish the difference between Gradgrind and Bounderby. Gradgrind is capable of humane feelings which is shown when he takes Sissy Jupe home whereas Bounderby is a Jonsonian character in the sense that he is incapable of change. Gradgrind shows a change in character when he admits that life has proved his philosophy wrong. This, according to Leavis, shows that Dickens’ art is much more flexible and inclusive than that of Ben Jonson.

11. Leavis considers the scene in which Gradgrind and Louisa discuss the marriage proposal of Bounderby as a triumph of ironic art. In the conversation, Louisa is cold and reserved and performs as an example of her fathers ideals. She tries in vain to understand him that she is a living creature and not an emotionless houyhnhnm.

12. The psychology of the development of Louisa and Tom is perfect in the novel. She has no emotional outlet except her love of her brother and she marries Bounderby for him. Tom plans to avenge the way he was brought up and decides to rob the bank he was employed at. Disturbed by the advances of James Harthouse, Louisa seeks refuge in her father’s house and informs him of the futility of following his philosophy in her life. This is a moment of realisation for Gradgrind as his love of children overpowers his ideals. The philosophy of Utilitarianism is effectively refuted here.

13. The character of Tom is a sardonic comedy imagined with great intensity and done with a sure touch of genius. There is a scene in which Gradgrind recognises Tom in guise of a comic negro servant and it is Sleary who helps him to escape. In the following conversation between Tom and Gradgrind, Dickens effectively blends satire and pathos. Leavis calls Dickens a poetic dramatist and associates his flexibility in the interpretation of life to that of Shakespearian dramas. Interestingly, it is Bitz, the ideal student of Gradgrind’s school, who prevents Tom's escape. The eventual escape of Tom is an example of Dicken’s high-fantastic comedy. The moral of the fable is conveyed by Mr Sleary who explains that Sissy’s father was certainly dead else his performing dog would not have returned to horse riding. The emotional tie and trust between the human and the dog can be contrasted with the objective description of the horse by Bitz in the opening scene of the novel.

14. In the following part of the chapter, Leavis lists out some of the criticisms raised against the novel. First of all, Dickens has limited understanding of trade unionism and industrial England. His portrayal of trade union leaders like Slackbridge is used to symbolise the manipulative and dogmatic side of unions rather than its positive aspects. Secondly, his lack of insights into the role of religion in Victorian industrial society. He depicts religious establishments as various places of ugliness, but does not present the moral and spiritual importance. Thirdly, his understanding of politics is also very limited.

15. In spite of all the limitations listed above, Leavis concludes the essay stating that Dickens’ understanding of Victorian civilization is adequate to his purpose. His command over word, phrase, rhythm and image can be matched with that of Shakespeare and he can be described as a great poet.