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 By

Charles Dickens

harles Dickens was born on February 7, 1812, the son of John and Elizabeth Dickens.
John Dickens was a clerk in the Naval Pay Office. In 1824 he was imprisoned for debt. His wife and
children, with the exception of Charles, who was put to work at Warren's Blacking Factory, joined
him in the Marshalsea Prison. When the family finances were put at least partly to rights and his
father was released, the twelve-year-old Dickens, already scarred psychologically by the
experience, was further wounded by his mother's insistence that he continue to work at the
factory. His father, however, rescued him from that fate, and between 1824 and 1827 Dickens was
a day pupil at a school in London. At fifteen, he found employment as an office boy at an
attorney's, while he studied shorthand at night. His brief period at the Blacking Factory haunted
him all of his life — he spoke of it only to his wife and to his closest friend, John Forster — but the
dark secret became a source both of creative energy and of the preoccupation with the themes of
alienation and betrayal which would emerge, most notably, in David Copperfield and in Great
Expectations.

In 1829 he became a free-lance reporter at Doctor's Commons Courts, and in 1830 he met
and fell in love with Maria Beadnell, the daughter of a banker. By 1832 he had become a very
successful shorthand reporter of Parliamentary debates in the House of Commons, and began
work as a reporter for a newspaper.

In 1833 his relationship with Maria Beadnell ended, probably because her parents did not
think him a good match. In the same year his first published story appeared, and was followed,
very shortly thereafter, by a number of other stories and sketches. In 1834, still a newspaper
reporter; he adopted the soon to be famous pseudonym (‫")افسانوی نام‬Boz." His father was once
again arrested for debt, and Charles, much to his chagrin, was forced to come to his aid. Later in
his life both of his parents (and his brothers) were frequently after him for money. In 1835 he met
and became engaged to Catherine Hogarth.

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 The first series of Sketches by Boz was published in 1836, and that same year Dickens was
hired to write short texts to accompany a series of humorous sporting illustrations by Robert
Seymour, a popular artist. Seymour committed suicide after the second number, however, and
under these peculiar circumstances Dickens altered the initial conception of The Pickwick Papers ,
which became a novel. The Pickwick Papers continued in monthly parts through November 1837,
and, to everyone's surprise, it became an enormous popular success. Dickens proceeded to marry
Catherine Hogarth on April 2, 1836, and during the same year he became editor of Bentley's
Miscellany, published (in December) the second series of Sketches by Boz, and met John Forster,
who would become his closest friend and confidant as well as his first biographer.

After the success of Pickwick, Dickens started a full-time career as a novelist, producing work
of increasing complexity at an incredible rate, although he continued, as well, his journalistic and
editorial activities. Oliver Twist was begun in 1837, and continued in monthly parts until April 1839.
It was in 1837, too, that Catherine's younger sister Mary, whom Dickens idolized, died. She too
would appear, in various guises, in Dickens's later fiction. A son, Charles, the first of ten children,
was born in the same year.

Nicholas Nickleby got underway in 1838, and continued through October 1839, in which year
Dickens resigned as editor of Bentley's Miscellany. The first number of Master Humphrey's
Clock appeared in 1840, and The Old Curiosity Shop, begun in Master Humphrey, continued
through February 1841, when Dickens commenced Barnaby Rudge, which continued through
November of that year. In 1842 he embarked on a visit to Canada and the United States in which
he advocated international copyright and the abolition of slavery.

In that same year, Dickens and his family toured Italy, and were much abroad, in Italy,
Switzerland, and France, until 1847. Dickens returned to London in December 1844, when The
Chimes was published, and then went back to Italy, not to return to England until July of 1845.
1845 also brought the debut of Dickens's amateur theatrical company, which would occupy a great
deal of his time from then on. The Cricket and the Hearth, a third Christmas book, was published in
December, and his Pictures From Italy appeared in 1846 in the "Daily News," a paper which
Dickens founded and of which, for a short time, he was the editor.

In 1847, in Switzerland, Dickens began Dombey and Son, which ran until April 1848. The Battle
of Life appeared in December of that year. In 1848 Dickens also wrote an autobiographical
fragment, directed and acted in a number of amateur theatricals, and published what would be his
last Christmas book, The Haunted Man, in December. 1849 saw the birth of David Copperfield,
which would run through November 1850. In that year, too, Dickens founded and installed himself
as editor of the weekly Household Words, which would be succeeded, in 1859, by All the Year
Round, which he edited until his death. 1851 found him at work on Bleak House, which appeared
monthly from 1852 until September 1853.

In 1853 he toured Italy with Augustus Egg and Wilkie Collins, and gave, upon his return to
England, the first of many public readings from his own works. Hard Times began to appear weekly
in Household Words in 1854, and continued until August. Dickens's family spent the summer and
the fall in Boulogne. In 1855 they arrived in Paris in October, and Dickens began Little Dorrit, which

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continued in monthly parts until June 1857. In 1856 Dickens and Wilkie Collins collaborated on a
play, The Frozen Deep, and Dickens purchased Gad's Hill, an estate he had admired since
childhood.

The Dickens family spent the summer of 1857 at a renovated Gad's Hill. Hans Christian
Anderson, whose fairy tales Dickens admired greatly, visited them there and quickly wore out his
welcome. Dickens's theatrical company performed The Frozen Deep for the Queen, and when a
young actress named Ellen Ternan joined the cast in August, Dickens fell in love with her. In 1858,
in London, Dickens undertook his first public readings for pay, and quarreled with his old friend
and rival, the great novelist Thackeray. More importantly, it was in that year that, after a long
period of difficulties, he separated from his wife. They had been for many years "tempermentally
unsuited" to each other. Dickens, charming and brilliant though he was, was also fundamentally
insecure emotionally, and must have been extraordinarily difficult to live with.

In 1859 his London readings continued, and he began a new weekly, All the Year Round. The
first installment of A Tale of Two Cities appeared in the opening number, and the novel continued
through November. By 1860, the Dickens family had taken up residence at Gad's Hill. Dickens,
during a period of reference, burned many personal letters, and re-read his own David Copperfield,
the most autobiographical of his novels, before beginning Great Expectations, which appeared
weekly until August 1861.

1861 found Dickens doing another series of public readings in London, readings which would
continue through the next year. In 1863, he did public readings both in Paris and London, and
reconciled with Thackeray just before the latter's death. Our Mutual Friend was begun in 1864,
and appeared monthly until November 1865. Dickens was in poor health, due largely to consistent
overwork.

In 1865, an incident occurred which disturbed Dickens greatly, both psychologically and
physically: Dickens and Ellen Ternan, returning from a Paris holiday, were badly shaken up in a
railway accident in which a number of people were injured.

1866 brought another series of public readings, this time in various locations in England and
Scotland, and still more public readings, in England and Ireland, were undertaken in 1867. Dickens
was now really unwell but carried on, compulsively, against his doctor's advice. Late in the year he
embarked on an American reading tour, which continued into 1868. Dickens's health was
worsening, but he took over still another physically and mentally exhausting task, editorial duties
at All the Year Round.

During 1869, his readings continued, in England, Scotland, and Ireland, until at last he
collapsed, showing symptoms of mild stroke. Further provincial readings were cancelled, but he
began upon The Mystery of Edwin Drood.

Dickens's final public readings took place in London in 1870. He suffered another stroke on
June 8 at Gad's Hill, after a full day's work on Edwin Drood, and died the next day. He was buried at
Westminster Abbey on June 14, and the last episode of the unfinished Mystery of Edwin
Drood appeared in September.
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Key Facts

FULL TITLE · A Tale of Two Cities

AUTHOR · Charles Dickens
TYPE OF WORK · Novel
TIME AND PLACE WRITTEN · 1859, London
DATE OF FIRST PUBLICATION · Published in weekly serial form between April20, 1859, and
November 26, 1859
SETTING (TIME) · 1775–1793
SETTING (PLACE) · London and its outskirts; Paris and its outskirts
Short Summary:
It is the year 1775, and England and France are undergoing a period of social violent
disturbance and turmoil. Lucie Manette is a young woman who has been raised as an orphan and a
ward (‫نگران‬،‫ )بالغ‬of Tellson's bank. She learns that her father is alive and has recently been released
from prison after eighteen years of unjust imprisonment. She travels to the French suburb of Saint
Antoine with Mr. Jarvis Lorry. Mr. Lorry is a longtime Tellson's employee and had managed her
father's affairs before his imprisonment. They find her father at the home of Ernest Defarge, who
has housed the doctor since his release. Though her father is on the brink of insanity, she solemnly
vows that she will recover him. The family returns to London. After time, the doctor begins to
recover and resumes his practice. Though, he occasionally returns back to his trance-like state, he
slowly returns to himself. Throughout the process, he and Lucie become extremely close.

After a period of five years, Lucie and her father are called to testify in the trial of Charles
Darnay. Charles Darnay is a French citizen and London resident and has been accused of treason
against England. Lucie reluctantly gives circumstantial evidence against Darnay. However, Darnay
is ultimately saved when a witness cannot positively indentify Darnay because of his striking
resemblance with Sydney Carton, a lawyer in the court. Darnay is ultimately freed, and this
circumstance draws everyone involved closer together. Darnay, along with Mr. Lorry, becomes a
friend of the family, and Sydney Carton becomes a regular visitor. Sydney is not welcome one--he
is frequently drunk, often ill humour and vulgar in his manner. Though the others complain of
Carton's manner, one evening he told Lucie that she has awakened feelings in him. She asks if she
can help him, and he says no, but that he wants her to know that he cares for her deeply. Lucie
eventually marries Darnay.

A year passes. Darnay returns to France to attend to the business. He pays a visit to his
uncle. His uncle is a corrupt aristocrat and is so cruel that when his carriage driver recklessly ran
over and killed a peasant's child, he blamed the peasants for being in the way. Dannay’s uncle is
murdered at his chateau when he was there.

Darnay returns to England, and several more years pass. He and Lucie have a daughter. One
day, Mr. Lorry tells to Darnay that he has received a letter addressed to a Marquis St. Everyone in

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care of Tellson's. Darnay says that he knows the man and will deliver the letter. In truth, Darnay is
the Marquis St. Evrémonde, a descendant of the corrupt rulers of France. The letter is from an old
friend who has been put in prison unjustly and who fears that he will soon be executed. Darnay
realizes that he must go.

He leaves for France without telling his wife. He quickly realizes that the situation is worse
than he could have imagined. A Revolution has taken place; the peasants have overthrown the
government and are murdering anyone who they feel represents the old guard. Darnay is
immediately taken into custody, though he tries desperately to explain that unlike his uncle and
father, he is on the peasants' side and wants to help them. They disregard his testimony, and none
other than Ernest Defarge, who has since become a Revolutionary, sends Darnay to prison. By this
time, Lucie and her father have learned that Darnay has returned to France, aware that Darnay is
probably in grave danger; they reached France to help him. Mr. Lorry is also present takings care of
Tellson’s French office. The Revolutionaries treat Dr. Manette as a hero.

When Darnay is tried for his life in front of a corrupt tribunal Dr. Manette's testimony saves
him. He is freed, but before even one day passes, he is re-arrested because of Madam Defarge
(Ernest's cruel and vengeful wife), a leading Revolutionist, who wants to finish whole Evremonde
family. On the following day Darnay is tried, convicted and sentenced to death by the tribunal. Dr.
Manette, knows that the situation is hopeless and shattered by the trial, reverts to his old
abnormal state.

By this time, Sydney Carton has arrived in Paris. He learns about Darnay’s new trial and
impeding execution. He also overhears (‫)اتفاق سے سن لینا‬a plot against the lives of Lucie, her father
and her daughter. Acting quickly, he tells Mr. Lorry to have a carriage prepared an hour before the
execution. He reaches to the prison on the day of Charles' execution with the help of a spy ( ‫)جاسوس‬
and an informer. But once he gets inside, he uses his physical resemblance to Darnay. He enters
Dannay’s cell and drugs him. He then exchanges clothing with him, and the spy smuggles Darnay
out of the prison and into a waiting carriage that also includes Dr. Manette, Lucie, and Mr. Lorry.
He tells no one of his plan, and not even the Manettes know it. They are waiting in their carriage
for Carton, fully expecting that he will join them and that they will leave France in a hurry. The rest
of the family is in danger because of Madame Defarge, who wants to denounce all of them. The
peasant that the Evrémonde brothers murdered was her brother, and she wants revenge against
Darnay and his entire family. The spy smuggles Charles to the waiting carriage, and the family
escapes France. Carton, however, goes to the guillotine and dies for Lucie, fulfilling his promise to
her that he would die "to keep a life you love beside you." Just before he dies, he thinks to himself
that his final act is far better than anything else he has ever done.

Just before he is beheaded, Sydney Carton prophesied for a better society emerging from
the holocaust (‫ )عالمگیر بربادی‬and of his own survival in the memories of the Darnay family, and he
faces death in serenity () and triumph.

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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,

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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.
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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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.

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.
Q 1:

What is the significance of the title of the novel “A Tale of Two Cities”?

Answer:

The title, “A Tale of Two Cities”, is symbolic and significant as the novel describes the
incidents revolving around the two cities-London and Paris against the background of the French

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Revolution. The events in the two cities are artistically balanced by the writer. The alternate
movement between the two cities highlights the contrast between them.

Before the present title is decided upon, Charles Dickens thought about various other titles.
In the preface to “A Tale of Two Cities”, he says that the idea of this novel came while he was
acting in Frozen Deep. Various other titles came to his mind. He thought about, “Buried Alive”,
“One of Those Days”, “The Thread of Gold”, “The Doctor of Beauvais”, “Recalled to Life”. But
finally he settled for “A Tale of Two Cities”. “Buried Alive” would only have been Dr. Manett’s
story. “Recalled to Life” would also have been appropriate as most of the characters, Lucie,
Charles, Sydney, Jarvis Lorry, Jerry Cruncher and Dr. Manette, are recalled to life or resurrected
(‫ )پھر سے زندہ ہونا‬in some way or the other. However, the title “A Tale of Two Cities” is even more
appropriate and symbolic as it assumes universal significance.

In fact the two cities, London and Paris, are introduced at the beginning as if they were two
characters. London as well as Paris is being administrated badly. In London, robberies are
common, religious intolerance; superstitions, greed and death are dominant. The priest, military
officers, nobility, aristocrats are all corrupt. Spiritually, socially and politically, there are no moral
standards. People are victims of the divine rights of the nobility and of fate. The poor and the rich
are robbing and being robbed. The hangman (‫پھانسی دینے واال‬،‫ )جالد‬too is busy in hanging people for
miscellaneous deeds, ranging from murders to small thefts. Law and order is in a sad state. Paris is
not in a better state.

Death lurks (‫ )گھات لگانا‬in every nook and corner as the ruthless aristocrats exploit the
masses. The monarchy (‫ )شاہی حکومت‬is equally corrupt. Economic instability is accompanied by
prejudice, indiscriminate (killing and lack of trials. Corruption and injustice )‫بغیر اصول کے‬،‫بال امتیاز‬
‫لگان دینے‬reigns in churches and courts. The aristocrats are supposed to look after the tenants (
)‫مزارع‬،‫والے‬but they are blind to their needs. Hunger is written on every face and the flowing wine
is symbolic of the bloodshed of the Revolution. St. Antoine Street is a miniature (‫ )چھوٹی تصویر‬Paris
where hunger and bloodshed are common features.

The lives of the characters are interwoven by means of the two cities. Dr. Manette is
imprisoned in France for eighteen years, for championing the poor and truth. Refuge and
restoration is only possible in England. Charles Evrémonde too leaves France, the country of his
birth, for England, where he gets peace of mind.

However, England is no refuge. Though Lucie, her father and Charles live peacefully in Soho
Square, they are compelled by fate to move to Paris, where violence engulfs them. Neither of the
two cities is peaceful heaven. The events in France engulf the lives of the characters in England.
Violence, hatred and the Revolution spare none, not even England and overrun the life of the
people in England.

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 The moral corruption is a little better in England. In London, the mock funeral of Cly can be
contrasted with the genuine but violent funeral of Foulon in Paris. Paris is hub of mob violence,
murders and butchery. The old Bailey Court in London is a place of sensational executions,
whereas the courts in Paris do not give the prisoners any opportunity to be tried. The prisoners are
at the mercy of the aristocrats. While conservative England is not heading towards any Revolution,
France is heading towards the French Revolution.

The cities can be contrasted in the other way too. While the French characters appear to
stand for hatred, the English characters appear to stand for love. Marquis Evermonde, Madam
Defarge, Defarge stand for hatred, Dr. Manette, Lucie, Jarvis Lorry, Miss Prose and Sydney Carton
stand for love. However, love and hatred are not restrained to any particular city. Defarge, a
Frenchman, is loyal to Dr. Manette; Sydney, an Englishman, moves pessimism to love, from
England to Paris.

Sydney Carton, an Englishman, is redeemed (‫ )نجات دالنا‬in Paris, where he performs the
ultimate sacrifice. Injustice and betrayal (‫ )دھوکہ دہی‬love and hatred, honesty and unity constitute a
part of both the countries. Ultimately, love triumph through the process of redemption,
irrespective of location.

London and Paris are placed side by side. While book one moves from Paris to England,
book two, continuously moves between the two. While all the characters and both the cities
merge in book three. Dirty streets, hunger and blood differentiate Paris from the peace and
tranquility (‫ ٓاسائش‬،‫ )خاموشی‬of Soho Street in book two.

To conclude, it can be said that parallelism and contrast between the two cities link and
merge them. The title is highly remindful and symbolic as the two cities stand for the universe and
humanity in general.

Q 2:

Discuss the plot construction in “The Tale of Two Cities” by Charles Dickens.

Answer:

The plot of a novel is an integral (‫ضروری‬،‫ )مکمل‬part of the story. It should be logical,
credible (meaningful and full of suspense. Whereas the story has a beginning, middle )‫قابل اعتبار‬
‫و ہ‬،and end with a focus on central idea or ideas, the plot is a logical, causative ( ) and artistic
relation between the beginning, middle and end. Charles Dickens as a novelist has all types of
plots. His later novels have organic (‫ )زندگی کے قریب‬and complex plots which are made interesting
due to humour, suspense and sensational events. In “The Tale of Two Cities”, he has artistically
interwoven two tales, two cities, history and story, public and private life and a variety of themes
through few selected characters, suspense, symbolism, parallelism and contrast.

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Dual Location:

In “A Tale of Two Cities”, the story moves simultaneously between London and Paris. The
political and social atmosphere in the two cities is miserable as hunger and death walk in search of
the preys in the two cities. The scenes in London are more peaceful as compared to Paris, though
poverty, hunger and violence and brutality are present in both cities.

Public and Private lives:

Dickens seems to have interwoven the historical theme with the private events. This has led to a
unity of impression and a fairy tale quality. It is tale of old wrongs, Dr. Manette’s imprisonment,
two lovers (Lucie and Charles) who are caught in the political events of the times. They are victim
of unjust chaos that prevails in France. Ironically, Dr. Manette’s letter becomes the cause of his
son-in-law’s sufferings. The wrongs done by his ancestors visited Charles in spite of the fact that he
tried to make amends for their sins. However, he is saved by the sacrifice and death of Sydney
Carton who resembles him physically. Sydney, the wastrel (‫نکما‬،‫ ) ٓاوارہ‬loves Lucie and finds salvation
in sacrificing his life for her.

Parallelism and Contrast:

The two themes, two places, history and story, the private and public life of the characters
are woven artistically. In spite of the cruelty of and hatred, love and resurrection get triumph. All
this is portrayed by means of parallelism and contrast.

Love and Hatred:

At every stage of the novel, love and hatred are highlighted. Love and hatred coexist in both
of the cities. The brutality of the Revolutionaries is contrasted with the love and honesty of Dr.
Manette and Lucie. The corruption in London is contrasted with the integrity (‫ )راست بازی‬of Mr.
Lorry and Miss Prose. In the novel, we see Ernest Defarge is on the horns of dilemma. At one level,
he is a zealous (‫تشدد پسند‬،‫ )متعصب‬rebel against aristocracy and at another he betrays his slightest
loyalty that he still sustain (‫برداشت کرنا‬،‫ )رکھنا‬for Dr. Manette. Thus hatred and love motivate the
characters, irrespective (‫ )اس سے قطع نظر‬of the city to which they belong. Ultimately, Sydney’s love
for humanity triumph over the hatred of the Revolutionaries.

Coincidences:

In the course of the story, many things happen unexpectedly. In spite of the coincidences
there is a witty suspension of disbelief as the readers realize that it is not a typical love story.
Though at times the turn of events seem like of a fantastic fairy tale, the story is interesting and
there is dramatic element of suspense as to what will happen next. In fact, at time the
coincidences seem superficial. But later events add up to the climax. It is a coincidence that Sydney
and Charles look alike, that Sydney overhears Madam Defarge making plans to kill Lucie that

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Sydney is present in France at the end. Though a lot of events seem unbelievable, they add a
dramatic touch, heighten the suspense and seem acceptable as a part of life.

Pathos and Humour:

Besides coincidences, Dickens makes use of comedy, pathos and humour to hold our
interest. The humour of character is interwoven with the pathos created by situations. Dr.
Manette’s release, Lucie’s resurrection with her father, the arrest of Charles and his parting ( ‫علیحدہ‬
‫ )ہونا‬and reunion with Lucie, Dr. Manette’s reaction to the arrest of Charles, Sydney’s sacrifice are
all full of pathos and creates the right effect. But, a serious and tragic note is made lively by comic
relief at times.

Suspense:

The element of suspense is present from the beginning till the end. Throughout our
curiosity is aroused as to who is Dr. Manette? Why has he been imprisoned? What will happen to
him? What did Defarge find in cell 105? There is suspense at each and every stage as the plot
moves forward. However, all loose threads are tied logically at the end as our curiosity dies out.

Tight Structure:

In fact, no event is really superfluous. Even seemingly superfluous events like Charles’ trial
at Old Bailey court, Barsad’s accusation of Charles for treason (‫بغاوت‬،‫ )غداری‬Sydney’s judging his
resemblance to Charles, Sydney’s promise to Lucie that he would do something great for her,
Madam Defarge’s intense hatred, all add to the plot of the novel. In the end the climax seems
believable. Eventually, all events lead to Sydney’s sacrifice and act of love.

The Theme as a Part of the Plot:

The structure of the novel brings out Dickens’ philosophy of life. The theme of resurrection
and renunciation (‫ترک کرنا‬،‫ )دست براداری‬and the French Revolution are an integral part of the plot.
Sydney’s peaceful death stands for the triumph of love over hatred. Madam Defarge’s violent
death symbolizes the defeat of hatred and evil. The two themes of resurrection and renunciation
are linked with the Revolution.

Weaknesses:

In spite of tight structure, “A Tale of Two Cities” has raised a lot of controversies. While
some regard it Dickens’ best novel, other feel it is not convincing. Madam Defarge’s death is
considered inconsistent even though Dickens called it an act of divine justice. Even Sydney’s death
is regarded as highly romantic filled with so much sentimentality. However, that is not the case.

Conclusion:

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 To conclude, it can be said that characters and situations, two venues, facts and fictions,
symbolism, parallelism, suspense, humour and pathos etc. have led to the excellent and balanced
plot of “A Tale of Two Cities”.

Q 3:

Discuss Dickens’ views about Revolution with reference to the novel “A Tale of Two
Cities”.

Answer:

The background and the main subject of “A Tale of Two Cities” is the French Revolution.
Actually, Dickens was inspired by Carlyle’s book the “The French Revolution, which he read again
and again. As a result, Dickens has mixed private lives with this dramatic and historical event. It is a
novel about historical events and personal tragedy. As it is an expression of Dickens’ view about
the French Revolution, the private lives of the characters mirror the Revolution and their lives are
mirrored by it.

Conditions in France:

At that time, the social and political conditions in France and England were horrible. In
France, it were even worst, where monarchs (‫ )بادشاہ‬believed in divine rights of kings. The French
King, Louis XV, known as the butterfly king, was uncaring and had a spendthrift () wife. ‫فضول خرچ‬
During this period, the noblemen enjoyed special rights and were exempted from taxes. As a result
of this, the common people had to pay double taxes. This exploitation of the masses was seen in
all fields of life. The rich even went so far as to dishonor poor peasant women. The economic
differences between the haves and have-nots obviously dissatisfied the poor and oppressed. The
economic differences and exploitation obviously lead to political revolts and uprising. The
Revolution is an inevitable consequence of this tyranny and exploitation. Many crimes are
committed by the Revolutionaries in the name of liberty and vengeance.

Though Dickens highlights the social and political events, he is of the opinion that mass
murders and bloodshed are not the answer. The salvation lies in moral regeneration and not social
and political uprising. Though he stands for the poor and oppressed but does not consider the
Revolution as an ideal solution. In “A Tale of Two Cities” Dickens describes the exploitation of the
poor by the aristocracy and the subsequent furry of Revolutionaries who executed similar evil
deeds to take revenge.

The cause of the Revolution is stressed all along. The whole novel highlights the poverty and
hunger, the callousness and cruelties of the noblemen. The aristocracy created such an
atmosphere that ultimately bursts into an explosive Revolution.

Scenes of Violence:
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 The novel is full of horrible scenes related to the Revolution. Dickens focus on the mass-
butcheries, the injustice, the bloodthirsty mob, the sharpening of weapons at grindstone, the
guillotine (‫)سر قلم کرنے والی مشین‬, heads bouncing, all are clearly portrayed as monstrous and
inhuman. The violent aspects of the Revolution are further highlighted in the fall of Bastille;
Defarge’s cutting of Governor’s head, the hanging of Foulon and the burning of the chateau ( ‫فرانس‬
‫ا )میں ایک محل‬In short, the novel is full of scenes of violence and bloodshed.

A Meaningless Horror:

By focusing on the causes and ugly aspects of the Revolution Dickens tries to highlight the
meaningless horror of the Revolution. It is shown to be monstrous, inhuman and unjust. The cruel
cycle of violence and hatred is never ending. There is no ending to tyranny and cruelty. Dickens
points out that suffering, oppression and injustice lead to diseased society, uprising, bloodshed
and murders.

Moral Regeneration:

According to Dickens, the Revolution is not the solution of oppression and suffering. What is
required is love and moral regeneration. This is highlighted through Sydney’s sacrifice and
prophecy at the end. He says:

“I see a beautiful city and a brilliant people rising from the abyss (‫کھائی‬،‫)غار‬and in their
struggles to be truly free, in their triumphs and defeats, through long years to come.”

Thus, his vision of a brilliant city can come true only through love and sacrifice from each
and every man, rich or poor.

A Lens for Others:

Through this picture of the French Revolution, Dickens seems to be warning England that
poverty and suffering in England can also lead to a Revolution like the one in France. Dickens,
basically a humanitarian, stands for the poor. He is against Revolution and Revolutionaries as
bloodshed and vengeance are their main motives. Dickens insists on the meaningless horror of the
monstrous Revolution with its crazy Revolutionaries who are no better than savages and animals.
The Revolution is a moral disorder born out of suffering, oppression and indifference. The
Revolutionaries return evil for evil. However, when aristocrats become victims his sympathies shift
towards the victims. Though, the aristocrats deserve what they get, the fury of the oppressed
replaces one set of oppressors by another. Dickens’ hatred and fear of violence makes him a
champion of love and hatred.

Conclusion:

Thus we see that Dickens in not a Revolutionary. Though, he feels that the Revolution is a
natural consequence of social oppression, he is not a champion of the Revolution. He does not
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approve the violence, as he feels it is self-destructive. That is why, Madam Defarge who personifies
that hatred and vengeance of the revolutionaries, loses her life in the final struggle between the
forces of hatred and love. In the ultimate analysis love is the answer to hatred and violence,
oppression and cruelty.

Q 4:

What are the major themes in “A Tale of Two Cities”?

Or

Resurrection and renunciation are the major themes of the novel “A Tale of Two Cities”.

Answer:

The main themes of “A Tale of Two Cities” are resurrection and renunciation. Originally
resurrection is taken in religious terms as the resurrection of Jesus Christ. But here, it is taken in
various forms and this main theme is illustrated again and again as it overshadows the social,
political and love themes in the novel.

Resurrection in Various Forms:

Resurrection is found in various forms through various characters. All three men in Lucie’s
life are resurrected in some form or other. While her father is resurrected physically and mentally,
Charles is resurrected physically and Sydney is resurrected spiritually. Besides physical and spiritual
resurrection, various characters in the novel are resurrected in a comic way. Various characters are
recalled to life in some way or other. While Charles and Dr. Manette’s life is restored, Sydney loses
his life and is spiritually resurrected.

Mental Resurrection:

Initially, Dickens had planned to call his novel “Buried Alive”, as this was the main idea
behind the novel. The novel starts with the release or recall to life of Dr. Manette who was buried
alive for eighteen years in the Bastille. His daughter Lucie, who had always thought that he was
dead, is shocked to find that he her father is not dead but had been imprisoned for such a long
time. She promises to bring him back to life. With love and care she resurrects him to life mentally
and intellectually. Every time he faces a problem, he goes back into his past but is resurrected and
emerges mentally stronger.

Physical Resurrection:

Charles Darnay, Marquis Evermonde’s nephew atones (‫ )کفارہ ادا کرنا‬for the sins of his
ancestors and disowns his legacy and country. He comes to England to lead a decent and simple
life. Thus he is resurrected as he atones for the bloodshed caused by his ancestors. Later on, in

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England he is accused of being a spy but at the last minute he escapes the gallows due to his
resemblance with Sydney. This too is a form of resurrection. History is repeated once again when
Charles goes to Franc to help his former servant, Gabelle. There he is arrested by the
revolutionaries and is condemned (‫ )سزا دینا‬to death. Though, he is released by Dr. Manett’s efforts
but he is rearrested arrested because of a letter written by the doctor when he had been in prison.
This letter is used against Charles and he is condemned to death. At the last moment, he is saved
by Sydney Carton who dies for him.

Spiritual Resurrection:

Though Charles is resurrected from death, again and again, it is Sydney who is actually
resurrected spiritually. Though an intelligent man, he is a wastrel (‫ ٓاوارہ‬،‫ )نکما‬who is totally
demoralized with life. His love for Lucie inspires him with courage, faith and humanity and he
promises to repay the compassion () she has shown to him. Thus, when Charles is condemned to
death, he planes to die for him. He remembers his father’s funeral, where the priest had said,

“I am the Resurrection and the life”.

He planes to bring life to Charles and makes a plane for his ultimate sacrifice. He drugs
Charles, exchanges clothes with him and sent him in a carriage to Lucie, Jarvis Lorry and Dr.
Manette. Sydney, thus, becomes Christ like figure full of love and compassion. Before dying he has
a vision of the entire city and its people rising from chaos and gaining freedom. In fact, he
visualizes the resurrection of the city and the masses. His sacrifice makes him to achieve ultimate
resurrection.

Grotesque (‫بے جوڑ‬،‫ )کئی طرح کی‬Resurrection:

Roger Cly and Foulon are resurrected in a grotesque way. While Cly fakes death to escape
the anger of his animies, Foulon fakes death to escape the fury of the revolutionaries as he once
told the people to eat grass, when they were dying with hunger. Thus their resurrection is comical.
Miss Pross’ brother’s resurrection is also comical.

Political Resurrection:

Besides the resurrection of characters, there is social and political resurrection. The
oppressed French masses revolt against their exploiters so that they can face a better life. Though,
they aim for social and political regeneration, they are so overcome by emotions that they go for
violence. Stability might take time but the resurrection is seen through Sydney’s ultimate vision.

A Warning to England:

Another theme closely related to the resurrection theme is that revolution can happen
anywhere. The cruel and heartless ruling class in France compelled the people to revolt. Dickens
seems to be saying that this can happen in England too.
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A Meaningless Horror:

Another underlying theme is Dickens’ view that Revolution is monstrous by its activities. He
intends to point out the meaningless horrors of the Revolution, the bloodshed and butcheries.

Renunciation:

Another theme is renunciation. While Charles renounces his legacy, Sydney renounces his
life. Charles’ act of renunciation raises him in high esteem as it is an illustration of his generosity
and humanity. Sydney’s renunciation of his life makes him achiever of tragic dignity. He dies for
humanity thus his renunciation is Christ like.

The Theme of Love:

Related to these is the theme of love, which is major theme in the novel. Lucie’s love
comforts Dr. Manette, Charles, Miss Prose, Jarvis Lorry and Sydney. Lucie’s love transforms Sydney
into a Christ like figure. While love regenerates all these characters, hatred degenerate evil
characters like Madam Defarge. Ultimately, Sydney’s act of sacrifice symbolizes the triumph of love
over hatred.

Conclusion:

To sum up, we may say that “A Tale of Two Cities” have multiple themes which are
interwoven artistically. The various themes are expressed through a group of private individuals
who are swept into the whirlpool of public event like the Revolution.

Q 5:

“A Tale of Two Cities” is a historical novel. Discuss. Or “A Tale of Two Cities” is

related to a most influential incident of history, but it is not complete historical book.
Comment.

Answer:

“A Tale of Two Cities” is a historical novel related to the period before and all through
the French Revolution. Previously, Dickens had written one historical novel, Barnaby Rudge, which
dealt with a period of English history. When he wrote “A Tale of Two Cities” he was feeling great
interest in history. However, “A Tale of Two Cities” is not a complete story of French Revolution.

As a historical novel, A Tale of Two Cities” has obvious limitations. It does not give a
complete picture of either the English or the French political world of those critical years (1775-
1793). In this novel, Dickens describes the beginning of discontent in France, the rising
dissatisfaction of people with the aristocrats and the turmoil caused by the public fury and the
cruelties committed by the revolutionaries during the years of French Revolution. Dickens does not

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describe the progress and culmination of French Revolution. He gives us brief and scattered
account of the main event. But, by this he tries to convey to us all the horror of the French
Revolution. He gives us no systematic analysis of the causes of the French Revolution. At the same
time, Dickens takes no notice of the leading historical personalities of the French Revolution, such
as Mirabeau, Lafayette, Robespierre and Napoleon. He does not show the struggle of the
government for money in the time of depression, the difficulties of parliament and philosophical
thinking behind the Revolution.

Dickens main concern was to show that extreme injustice leads to violence. In the first part
of the novel, Dickens sympathizes with the poor and downtrodden, but in the end these very
people become villains and he rejects them. Dickens first reference to the cause of the French
Revolution comes in the Chapter called “The Wine Shop”. Here he uses the symbol of the mill to
convey the grinding poverty through which the people of Saint Antoine are passing. Then there are
three chapters in which the callousness and the arrogance of a particular noble are described.

Dickens main achievement lies in mixing the personal lives of a group of private characters
with the events of French Revolution. These private individuals are Dr. Manette, Lucie Manette,
Darnay and Carton. Although, the major characters have no ideological interest in the Revolution
yet they are driven into the main whirlpool of the Revolution and have to suffer. The death
sentence of Charles is the most unjust when we see that he is on the side of the people. In his
humanity, he even gives up the property of his family. Furthermore, he was in France to save the
life of a poor man who was in danger. The others are drawn into the whirlpool for the sake of
Darnay. Sydney’s sacrifice is due to Lucie’s involvement.

Although. Dickens does not give systematic theory about the Revolution yet there is his
definite view about it. In this respect, he also seems to have been influenced by Carlyle. Dickens
shows that past is the storehouse of moral lessons and a terrible moral drama. He has a definite
aim in writing this novel, as he wants to show the effect of social order on the lives of the
individuals. The lives of both Dr. Manette and Sydney Carton are example of it. Dr. Manette’s
coming back to the steam of life illustrates the course of new order. Sydney’s noble death proves
the possibility of rebirth through love. According to one critic, there is no other piece of fiction in
which domestic life of a few simple private people is in such a manner interwoven with a terrible
public event, so that one seems to be the part of the other.

The fact is that Dickens considers revolution as monster. The scenes of violence that are
described in “A Tale of Two Cities” are really horrible. The lesson that Dickens wants to teach us
through this novel is that violence leads to violence and hatred is the result of hatred. He wanted
that government should not allow the people to become frustrated and angry that they are
compelled to revolt and become not only violent, but also ruthlessly violent. If all the noblemen
had behaved like Charles and all the intellectuals had exposed the social evils like Dr. Manette,
then there would not have been any such violent revolution. Dickens never forgets that the French

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Revolution was the result of unspeakable suffering, intolerable oppression and heartless
indifference. Society was diseased before the fever broke out. And this conclusion about the
French Revolution is stated in the final chapter of his novel as:

“Crush the humanity out of shape once more, under similar hammers, and it will twist itself
into the same tortured forms. Sow the same seed of rapacious ( ) license and ‫لٹیرا‬،‫غارتگر‬
oppression again over again, and it will surely yield the same fruit according to its kind.”

Q 6:

Discuss Dickens art of characterization. Or Dickens is known as a creator of living

characters. Do you agree?

Answer:

Dickens is one the greatest creators of characters in English fiction. There is large diversity
(‫فرق‬،‫ )نیارنگ‬of characters in his novels. A mere glance on any of his novels is enough to prove his
ability of creating amazing characters. Dickens tries to create variety of individuals in his novels,
but he never tries to probe (‫اندازہ لگانا‬،‫ )جھانکنا‬deep into them.

“A Tale of Two Cities” is an evidence of Dickens’ ability of character portrayal. Here too the
range is fairly wide, though we do not find the study of inner working of human mind. Some of the
characters like Defarge and Madam Defarge are truly memorable. It is important to note that
Dickens’ purpose was to allow the character to reveal themselves through incidents and through
their deeds and actions rather than their dialogues. However, Dickens did not fully succeed in
achieving his purpose. Dialogues in this novel also play as much part in revealing the characters as
they did in his earlier novels. In fact, it would not be wrong to say that dialogues play an even more
important part in revealing characters than incidents.

The characters in “A Tale of Two Cities” have sharply been individualized. Each character
has his or her own recognition. Each stands out in our imagination and memory as a separate
person clearly differentiated from others. Dr. Manette is an outstanding personality, despite of his
repeated intervals of insanity. Mr. Lorry, the old bachelor, who has grown gray haired in the
service of Tellson’s Bank, is another impressive figure, distinct from everybody else. Sydney Carton
and Charles Darnay though have similar physical appearance has been sharply differentiated. Lucie
represents entirely different womanhood as compared to Madam Defarge. Never was there
greater and sharper contrast than we find between these two women. Miss prose belongs to
different category altogether. Likewise, Mr. Stryer and Jerry Cruncher, though both of them are
comic characters, have been clearly distinguished from each other. Even a minor character like the
mender of road has been made to live before us. I

n spite of Dickens’ aim, the fact remains that the above mentioned characters revealed
much themselves through dialogues and much less than incidents and action. For example,
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different traits of Dr. Manette’s character reveal through his conversation with different
characters, not through his actions. In fact, there is hardly any action that he performs. Sometimes,
we do find him busy in shoe making but that is only when he gets a shock and becomes
temporarily insane. When Charles Darnay shows his intentions to marry his daughter, it is through
his dialogue with Charles that we come to know that he is a loving father and a kindhearted friend.
Similarly, it is through one of his long conversation with Mr. Lorry we come to know why he
sometimes goes back to the state of insanity.

Charles Darnay also reveals the essential traits of his character through dialogue. Of course,
one of his basic traits appears through action also. That happens when after reading Gabelle’s
letter, he at once goes to Paris to save him. That shows his deep sympathetic nature and his
disregard for personal danger. But his love for Lucie appears mainly through his dialogues.
Darnay’s humanitarianism is revealed to us through his dialogues with his uncle. He says that
Evrémonde family has done many wrongs to the poor and that he would like to atone some of
those wrongs and he had decided to give up his entire claim to the family property and the family
title.

In Sydney Carton’s case, his action to give life for the sake of the husband of that woman to
whom he loves is of the highest importance. It is this action, which raises him to the status of the
hero. When he is on the point of death, he looks sublime and prophetic. But all the other traits of
Carton’s character appear through dialogues. He has a dialogue with Darnay immediately after
Darnay’s acquittal by the court at the Old Bailey. In the course of dialogue, Carton says that he is a
disappointed drudge (‫ )معمولی کام کرنے واال‬and he cares for no man on earth and no man on earth
cares for him. When Darnay is gone, Carton looks at the mirror and says that he hates Darnay even
though there is physical resemblance between them. Then there is a dialogue between Carton and
Stryver. From this dialogue we come to know that Carton is a seesaw kind of man, up one minute
and down the next.

To conclude, it can be said that though Dickens aimed to described his character through
their actions and events, but he could not do this properly. The most of characters in the novel
revealed themselves much through the medium of their dialogues rather than their actions and
events.

Q 7:

Symbolism in “A Tale of Two Cities” is in abundance. Is it a justified analysis? Or “A

Tale of Two Cities” has symbolic importance. Elaborate.

Answer:

“A Tale of Two Cities” is full of symbols and symbolic imagery. An author uses symbolism in
order to give wider meanings to his writings. The symbolic meanings are generally veiled or it may

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lie at a deeper level than the surface level. Thus, the use of symbolism gives additional meanings
to those which are apparent on the surface. “A Tale of Two Cities” is full of symbols. Symbolism is
an essential element in the structure of the novel.

The very opening chapter employs two symbols. These are Woodman symbolizes fate and
the Farmer symbolizes death. Here the Woodman is not just a worker in the woods, and the
Farmer is just not the tiller (‫ )کاشتکار‬of the soil. The Woodsman represents or symbolizes Fate,
while the Farmer represents Death. The idea is that these two forces are at work in France to bring
about destruction and bloodshed and to ruin human happiness.

The manner in which the author describes the journey of the mail-coach in the second
chapter has also a symbolic significance. It is an uphill journey (‫ )پہاڑی کے اوپر کی طرف سفر‬the mud
and the mail are all so and; the hill, the harness (‫ )گھوڑا گاڑی کا سامان‬heavy that the horses have a
difficult time of it. There is atmosphere of suspicion all around. The guards suspect the passengers;
the passengers suspect one another and the guard, they all suspect everybody else and the
coachman is sure of nothing except the horses. This whole scene gives the picture of violent scenes
of the French Revolution.

The Broken Wine Cask outside Defarge’s shop and passing peasants’ fight to lick the spilling
wine is symbol of people’s hunger. The hunger is both, for food and for political freedom. The wine
is directly associated with blood, as a drunken figure writes 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 the same
streets.

Madam Defrage’s knitting is a whole network of symbols. Into her needle work she stitches
the list of names of all those who condemned to die in the name of new republic. On the
metaphorical level, it is the symbol of coldblooded vengeance of revolutionaries.

The Marquis Evrémonde stands as a symbol of the ruthless aristocratic cruelty on which the
French Revolution wants to overcome.

The symbol of mill is also used by Dickens artistically. A mill grinds wheat into flour which is
used by human beings for food. But, here the mill performs different function. Here, we are told
that the people of Saint Antoine had undergone a terrible grinding and re-grinding in the mill. It is
a kind of mill that grinds the young people old. Later, the furious members of the revolutionary
crowd are described as sharpening their bloody hatchets (‫ )کلہاڑی‬knives, bayonets (‫ )سنگین‬and
swords on grindstone. Both the mill and the grindstone are thus used as the symbol of the
destruction, which people in France face.

The Bastille is another important symbol. Hundreds of prisoners have been languishing
(‫ناتواں ہونا‬،‫ )کمزور ہونا‬in the prison for years and years, neglected, uncared for, almost neglected.
The inhabitants of Saint Antoine, under the leadership of Defarge and Madam Defarge capture
Bastille after a brief assault upon it. They were greatly jubilant after catching this place of authority
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and tyranny. The governor is arrested and Madam Defarge cut his head with her own hands with a
knife.

Later in the story, La Guillotine becomes the symbol of cruelties committed by the
revolutionaries. If the Bastille was the symbol of the tyranny of the government of King Luis and of
the aristocratic class of France, La Guillotine has reversed the process. Now it is the turn of
aristocracy and the nobility to be prosecuted and tyrannized over. La Guillotine is mercilessly
beheading all the eloquent, the powerful, the beautiful and the good. La Guillotine is thus a symbol
of the brutalities and the barbarities committed by the poor and downtrodden when they come
into power. La Guillotine is an ugly and horrible symbol as Bastille previously was.

Some of the characters are also symbolic. Madam Defarge symbolizes hatred and evil. She
certainly has a motive and a reason for her revengeful and bloodthirsty attitude, but all her
wickedness and bloodthirstiness cannot be justified. Miss Pros on the other hand is personification
of love. Sydney Carton too serves as a symbolic purpose. His sacrifice symbolizes the way by which
the highest human aspiration and moral regeneration can be achieved.

In short, it can be said that “A Tale of Two Cities” in one of the best novels of Dickens
where symbols play a significant and thematic role. It is mastery of great novelist that he has used
nominal things for great purpose.

Q 8:

Bring out the comic elements in “A Tale of Two Cities”.

Answer:
A Tale of Two Cities is predominantly a serious and tragic novel. But it is not lacking in
humour also. According to some critics there is deficiency of humour in this novel. But in such a
kind of serious novel, the expectation of too much of humour is not a reasonable thing. Much
quantity of humour would have weakened the emotional effects. But, despite of all this, the novel
does have comic scenes. There are some scenes and also some characters which show glimpses of
Dickens’ skilful use of humour.

Miss Pross, as a source of comdedy:

Miss pross is obviously intended to be a comic character, but she has a serious side of her
personality also. She is deeply attached to Lucy. Her appearance and her ill-tampared manners
amuse us. She calls Lucy “My precious bird and my bird”, which shows her affection for her. Her
powerful pushes makes Mr. Lorry think that the attacker must be a man. She asks Mr. Lorry what
kind of a banker he is to have frightened a young girl to death. It is a brief episode but an amusing
one. On one his visits to the house, she told Mr. Lorry that “Dozens of people” have started visiting
the house. When Mr. Lorry tried to confirm, she replies “Hundreds”. Here Dickens comments

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humorously that it was characteristics of that lady to exaggerate. Another moment of her comic
presentation is when she confronts Madam Defarge. It is the most important scene in which
Defarge killed in conflict with Miss Pross. No doubt, this is a serious scene, but Miss Pross’
participation in the scene makes it comic.

Jerry Cruncher and his expedition:

Jerry Cruncher and his expedition: Jerry Cruncher too is meant to be a comiccharacter. When he passes the
message to Mr. Lorry, “Recalled to Life” he is puzzled and bewildered by the wording of the message and thinks that
Mr. Lorry must have been drunk when the spoke those words. Jerry tells himself that he would be in a, “blazing bad
way if recalling to life were to come into fashion”. We realize the significance of this remark when later we find Jerry
digging dead bodies to sell them to a surgeon. If recalling to life will come into fashion, Jerry will lose his business.
This is a comic touch of Jerry, but the most interesting and comic scene is presented in his family life. Jerry has a
feeling that his wife is always praying against his prosperity. Whenever he finds her praying, he says “What do you
mean by flopping yourself down and praying against me?” She replies she is not against but for him. He says, “You
weren’t”. He then instigates his son against her mother. He snubs and beats his wife. He constantly calls himself “an
honest tradesman”. All these peculiarities of Jerry Cruncher like the eccentricities of Miss Pross are humorous. The
whole account of Jerry Cruncher’s fishing expedition is comic. He told his wife and son that he would be going fishing
that night with some friends. Actually having seen the funeral of Roger Cly he had decided to go to the graveyard with
his friends to dig out his body to sell to the surgeons. Jerry’s son feeling inquisitive about his father’s mysterious
activities went after them. Eventually, he sees his father and some mend digging out coffin from the grave. He feels so
frightened that he runs back home feeling all the time being chased by the coffin. The next morning, Jerry gives his
wife a nice beating because he found no success in his fishing expedition on account of her prayers against him.
The coffin was found to contain stones and dust and no dead body. Later, Young Jerry asks his father what a
Resurrection Man is. At first, Jerry evades the question but later replies that a Resurrection Man is an honest
tradesman who deals in scientific goods. Young Jerry says that he would also like to be one and Jerry inwardly
congratulates himself for his son’s ambition. Later in the final part of the novel, he seems to be repentant of his sins
and makes two promises to Miss Pross. That he will never take those poor things out and that he will never interfere
with his wife’s flopping. Pross is not able to understand, but these promises give a slight comic touch to the situation.

Mr. Stryver – a source of comedy: Mr. Stryver is another comic character about whom the writer says that he had
a way of “shouldering himself morally and physically into companies and conversations.” He is proud of his success
and wealth and pompously exhibits them before Carton, but is too foolish to understand that a girl doesn’t want only
those things. He proposes to Lucie but is rejected and later gets married to a rich widow with three sons. He often
boasts that a girl called Lucie has always tried to cA Tale of Two Citiesh him as a husband but he was never caught by
her.

Amusing touches in Mr. Lorry’s Portrayal: Although Lorry is a serious man, but there are some humorous
touches to his personality. He repeatedly calls himself “a man of business” when he refers to any work he says “a

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matter of business”. In other words, Lorry has humorous mannerism. On one occasion, Lorry says to Miss Pross, “I
am a mere dull man of business, and you are a woman of business”.

Ironic Remarks and Comments: There are a number of ironic remarks in the novel which provide humor of the
reader. The writer says that “Madame Defarge saw nothing” actually she every thing and nothing could escape his
vigilant eyes. There is also irony in the description of Tellison’s Bank. We are told that the partners who ran this back,
“were proud of its smallness, proud of its incommodious, proud of its darkness, proud of its ugliness.” These ironic
remarks also provoke a smile if not a laughter.

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