EffectAn Analysis on the Effects of Weather on the Plot, Character Development and Theme of Charles Dickens’ Bleak House
Abstract
Weather represents emotions and foreshadows dramatic change throughout Bleak House; both upon its characters and upon society in general. The first metaphor to be dealt with is the fog and its many purposes: it acts to underpin Dickens’ themes and also serves as a descriptive backdrop. At the outset of the novel, the “fog” is constructive in portraying the physical and social climate of the time. Dickens uses this particular symbol of fog throughout the whole novel to collectively represent the masses’ feeling of desolation and also to symbolize the corruption of Chancery and Parliament. The fog is heavy and slow; it does not move abruptly or change, nor does it ever “break”. On the other hand, wind is a stronger force: sudden and inescapable. The east wind relates to the crises faced by individuals. Overall, weather imagery foreshadows what will happen and seemingly warns the characters of the volatile times ahead.
This thesis will examine weather imagery as a tool in the novel and analyze its value in carrying Dickens’ plot, intertwining his numerous characters, and adding weight to his themes. In Dickens’ preface to the novel, he said that: “everything set forth in these pages concerning the Court of Chancery is substantially true”; clearly angling his novel as a sarcastic and even humorous depiction of the cruelty of 18th century British life.
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Table of Contents
Introduction
Bleak House is a social satire written by Charles Dickens. This novel is an inquiry into exploitation of the era with particular focus on human cruelty and the corruption of the Court of Chancery. Dickens’ message is clear: weather, as an entity, is bound to everything. He explores the idea of natural elements dictating the society; mentally and physically poisoning everyone within it. The “fog”, “rain” and “East Wind” are the predominate forces which Dickens refers to. With these symbols in place goes Dickens’ belief that Londoners are not in control of their lives. The people are bound to this external force and unable to make their own decisions. Edgar Johnson in his biography Charles Dickens: His Tragedy and Triumph states:
“Both law and fog are fundamentally symbols of all the ponderous and murky forces that suffocate the creative energies of mankind. They prefigure in darkness visible the entanglements of vested interests and institutions and archaic traditions protecting greed, fettering generous action, obstructing men’s movements, and beclouding their vision.” (Johnson, 1952 p141)
In other words, weather metaphors, and particularly the “fog”, link directly to the bleakness of society. In examining the obvious, perhaps though, not the ultimate theme of the novel: the exploitation of the Court of Chancery upon its weakened victims, it appears that Dickens’ ultimate criticism was of the archaic tradition cemented in the London society; that he equated to a rapidly spreading disease. His use of climate elements: the fog, wind, snow and rain as metaphor underpin these themes and the nature of Bleak House as a criticism. The narrative voice is firm throughout the novel, which Dickens’ strengthen by use of satire: to characterize and to depict institution such as Chancery and the political arena.
The Fog
The fog, arguably one of Dickens’ finest metaphors, is a symbol of everything bleak. More specifically it represents the corruption, ignorance and detachment which he understood to be entrenched in the British society. In using this familiar substance, Dickens was able to evoke and empathetic response in the readers. The readers could identify with the characters of the novel as it is widely accepted that fog, having the ability to shroud or obscure, holds a negative implication. Johnson precisely states that fog “clouds the vision or senses of man” (Johnson, 1952 p141).
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Unlike the more common weather elements, fog is slow in movement and generally stagnant for a prolong period of time. It does not simply act as a backdrop or descriptive device, but rather assumes a character-like role. The fog has the ability to foresee the future, catalyze impending doom and “coincidentally” correlates movement with the drama in the lives of the characters. To highlight this Dickens’ gives the fog foul connotations which heighten the reader’s sympathy towards the struggling characters. Robert Garis argues in his biography that even the most casual reader will find themselves viewing Dickens’ words as “a kind of close and alert inspection not unlike the close analysis of literary study” (Garis, 1965 p20).
Effectively, the foil to the fog is the Chancery and is Dickens’ chief criticism in the Bleak House. He is condescending of this institution which he believed was aimed at self-betterment and would destroy anything in its path to further its own privileged position. Dickens’ believe that “the one great principle of the English law is to make business for itself” (Dickens, 1996 p603).
In calling it the English law, Dickens’ contempt for the whole English political system, and not just his fictional Chancery, is indicated. Here the readers are made fully aware of the voice of Charles Dickens’, in a rather unsubtly manner too.
Although the narration of Bleak House is divided between Esther’s first person retrospect narration and the present tense ubiquitous narration, Dickens’ voice often permeates. Sometimes he utilizes satirical characters, mocking these characters to express his opinion, and at other times simply inserting a wily remark. But all the time Dickens uses weather as a vehicle for condemnation. Midway through Bleak House, the fog is linked to the Chancery as “an oppressive force perpetuating practices which cause unendurable delay expense and unspeakable vexation to its victims” (Dickens, 1996 p604).
Undeniably, the Chancery is a master of continuously accumulating wealth for itself like the mud piling up on the streets. Surprisingly though, it reaches father than the deluded Richard Carstone and Mr. Tangle; managing to destroy street-urchin Jo as well. This is fittingly entailed in Smith’s statement which blames the Court for causing “human waste and suffering” (Smith, 1968 p131).
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The Lord High Chancellor sits at the bar and metaphorically at the center of Dickens’ criticism. He is the controller of this institution which works to help, or in Dickens’ perspective hinder, dispute over wills, trusts and legacies. Dickens said of the chancellor that he was “legally ignorant of his existence” (Dickens, 1996 p16) in that he would hear evidence submitted by the counsel, and not directly from the contestants of the causes.
The Court of Chancery itself can first be discredited for its senseless delays: “At this rater they’ll be at it for seven year” (Dickens, 1996 p631) says Mr. Guppy to Mr. Weevel in their discussion about Jarndyce and Jarndyce. Indeed, “just about everyone seems to be either working for the Law or touched by it.” (Dickens, 1996 p617) Richard Carstone is one such victim of the Law. He is long tormented by the elusive promise of Jarndyce and Jarndyce, a ruse which had sent Tom Jarndyce to his suicide at the barrel of a gun some years prior. But as the ever present shroud of fog condemns, escape for Richard Carstone is quite impossible. As he retains the predisposition to fall for Chancery’s allure, there is nothing that can be done for him. Brown commented on Dickens’ use of fog’s counterpart, the Chancery as: “this shrinking of the whole of life to be encompassed in a narrow, sterile, business mold is seen by Dickens as unforgivable.” (Brown, 1982 p80) For the Law Courts to it brainwashed followers, to individual malice of its partisans Dodson and Fogg, to the parliament’s dealings with the all-encompassing corruption, this world Dickens opens is one of which claims “either no one or someone else is to blame.” (Lucas, 1992 p76)
This is all underpinned by the filth which inhabits and genders the natural climate. Chancery serves as the guardian of Richard Carstone and Ada Clare, almost taking the role of a parental figure. In doing so, Dickens alludes to the fact that Chancery breeds and spreads disease. Further, it employs disciples to take up its underhand work, these disciples while appear in the form of Dodson and appropriately name “Fogg”.
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The benefit of Dickens using third person narrative is to provide the reader with an omnipresent oversight of society in the concentrated present tense. The benefit of using first person narrative is to allow the reader to become connected to the characters, enabling them to identifying their own sufferings with the characters of the book. The importance of Esther’s character in Dickens’ scheme of the novel as a social criticism is for the reader to witness her personal account of interactions with children and victims of Chancery. By this it can be interpreted that everyone is impacted by the corrupted institution and everyone is poisoned by it. Moreover, the damage done to the individual lives engendered by social condition extends to the next generation. Chancery does achieve its aims; bringing Richard to his heart wrenching death. By the novel’s conclusion, Chancery, the political and class system, and poverty continue to exist; these conditions seem to be the very nature of Bleak House’s society. “Heavy persistent fog is not something that tends to lift spirits and brighten faces. Fog serves as a symbol of institutional oppression and human confusion and misery” (Hawthorn, 1987 p37).
Esther says in the latter part of her life that the East Wind does not come back, but she makes no final comment on the rain and storms which engorge Chesney Wold, nor the fog which encompasses London. For that reason it can be argued that Esther is not completely aware of how controlling these natural forces are. Admittedly she does say of the storm which spurred the meeting with her mother, “thinking with awe of the tremendous power by which our little lives are encompassed” (Dickens, 1996 p296).
Storms
In antithesis to the stagnant thickness of the fog, storms and winds are sudden, forceful and destructive; remembering that this does not discredit the equally disparaging nature of fog. Dickens thus reflects characteristics of the storms and wind in a metaphorical sense. He suggests that storms drew out the emotions of particular characters and omen their fate; foreshadowing the impending doom. Storms target individuals and their respective problems, rather than the collective that the fog deals with; the Chancery and the masses. However negative its role may be, it should be noted that the wind does not persecute or torment individuals. Rather, it draws out the truth and galvanizes already inevitable change. Evidence of this is Lady Dedlock’s flight from Chesney Wold which ends in her tragic fate. The violent weather does not occur by coincidence, nor does it just act as a dramatic device, although this is part of its role. More accurately, it amplifies the already present emotions and problems.
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The symbol of weather supports not only the emotions of the characters and the masses but also foreshadows what will happen and seemingly warns the characters. A notable example of this is the storm which signifies Esther and estranged mother Lady Dedlock crossing paths: “the weather broke so sudden on us” (Dickens, 1996 p295).
In this instance, the violent thunder acts to draw Lady Dedlock and Esther into contact with each other. The storm forces Esther, Ada and Mr. Jarndyce from their “favorite spot” (Dickens, 1996 p295) and into the Lodge, where the storm pushed Lady Dedlock as well. Here the rain catalyzes Esther and Lady Dedlock’s second meeting, which strengthens Dickens’ point that their future is pre-determined or controlled by external elements which detract from the control their have over their own lives.
The East Wind
It is evident that Dickens’s view the East Win as fundamental to the story as he had initially titled the book not “Bleak House” but “The East Wind”. He conveys this point through the characterization of Mr. Jarndyce and Esther Summerson: “When I am deceived or disappointed in—the wind, and it’s easterly, I take refuge here.” (Dickens, 1996 p 117) By utilizing the hyphen in the sentence, Dickens alludes to Jarndyce’s confusion. He cannot stipulate what is that that makes him truly deceived and disappointed, but rather puts it down to the weather, indicating two things – that this wind is responsible for Mr. Jarndyce’s bad spirits or that it reflects other troubles. This idea of trouble being associated with the East Wind Dickens drew from the Old Testament. From Genesis 41.5 – 6 particularly generate this idea. The East Wind is link to not only characters but to Bleak House itself, with Esther garnering this wind as one of her “first impression of Bleak House” (Dickens, 1996 p87).
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It must be noted that, although Dickens goes to great lengths to utilize weather metaphorically and typify it, “as often in Dickens the symbol never exhausts the observation that has helped to create its relevance” (Brown, 1982 p56).
Indeed all the elements of climate exist in their own right. The book is, for the most part, set in the hard of a city which is undergoing an industrial revolution. As you would expect, the rapid construction of factories saw excessive pollution and this ultimately resulted in a dense fog, which Guppy colloquially names London’s Specialty. Interestingly, another motive for Dickens’ use of weather is due to his active involvement in reducing pollution in 1849. His brother, Henry Austin, was secretary to the board of health and whom Susan Shatto suggests motivated such ideas in Dickens’ work (Shatto, 1988 p26).
As weather conditions were unusually bad over the period when he was releasing installments of Bleak House, his targeted market – the masses would have been able to easily empathize with anger at the weather conditions. While making the link between the Chancery and the fog is essential to this type of analytical study, much can be learned from the simple emotion Dickens evokes.
The Aftermath
Like any tragedy leaves its aftermath, so too does the torrential rain which plagues the streets of London. In the place of dirt, emerges mud: which is both substantial and immovable. Dickens’ voices his contempt for the money which runs the Law Courts using the analogy of the mud as “accumulating at compound interest” (Dickens, 1996 p13).
“Law and equity and… that kindred mystery, the street mud, which is made of nobody knows what and collects about us no body no whence or how.” (Dickens, 1996 p186) This stays fixed in the readers mind when introduced to the infamous case of Jarndyce and Jarndyce. “Another ruined suitor” (Dickens, 1996 p16), Mr. Tangle is addressing the Lord High Chancellor but is unable to say his name properly, repeating “Mlud” (Dickens, 1996 p16) when he actually means to say “my lord”. The irony of Tangle’s malapropism is evidence of the blurred lines between the Chancery and filth; it also works for its own purpose to denote the poor state of education. A parallel can be drawn from the creation of mud in London’s streets to the moldy remnant left behind by rainstorms which are constant and unyielding at the Dedlock’s manor.
Chasney Wold
“It is a deadened world, and its growth is sometimes unhealthy for want of air” (Dickens, 1996 p20): this is Chasney Wold; with “melancholy trees for islands… a stagnant river” (Dickens, 1996 p20) and profuse rainstorms. Even the aftermath of these torrents leaves “moldy” (Dickens, 1996 p21) remnants. It is a dead place physically and emotionally. In fact, the family “Dedlock” exemplifies the truth of this household: that Lady Dedlock and her husband are more dead than alive. Sir Leicester initially appears to have little care for his wife and is indifferent towards everything but the corrupted institution of parliament that he is occupied with. Lady Dedlock is little different. Emotionally she is “deadly cold” (Dickens, 1996 p570), in constant torment with “guilt” (Dickens, 1996 p579): having to hide her illegitimate daughter whilst also bearing the death of her former love, Captain Hawdon.
Literary Techniques
Just as the weather metaphors are important, so too are the literary techniques Dickens’ used to make sense of them; specifically his use of onomatopoeia or aural imagery, hyperbole, and the present participle emphasize the importance weather has on the themes. In looking at his usage of the present participle which dominates the opening chapter, it is clear that a feeling of propinquity and continuity is conveyed: “The Chancellor is sitting and will always be sitting, just as the smoke will always be lowering down and the fog always creeping and hovering” (Dickens, 1996 p14).
And the effect of creating an atmosphere of continuity and monotony heightens the gloom. Through this simple tense usage, the reader can feel as though they have entered a stagnant world. It also suggests that the laws in place were instigated long ago, and that there is little chance of them changing. Dickens utilizes aural imagery also to heighten the emotions which the climatic symbols represent. In particular the effects of Chasney Wold’s description are as much aural as visual: “the rain on the estate has reduced everything to the silence as of death” (Dickens, 1996 p981).
Hyperbole is a tool rife throughout this book. It in a sense underlines Dickens’ message and draws the reader’s attention to the fundamental themes. “Never can there come a fog too thick, nor can there come mud and mire too deep, to assort with the groping and floundering condition which this High Court of Chancellery holds.” (Dickens, 1996 p14)
“The fog never breaks”
Some reviews have criticized Bleak House’s melodramatic characterization, simplistic and obvious metaphors and neatly tied up ending. Simplistic because they believe that the unfolding of the plot is rather cliché; the antagonists are ruined and the protagonists prevail: every character is given what they deserve. In deconstructing this belief, it is essential to address critics’ so-called neatly tied ending. Although many antagonists, such as Mr. Krook, have their punishments and others their rewards, the recurring gloom does not indivisibly rise. The final chapter – The Close of Esther’s Narrative, in the first person point of view, relays Esther’s gratefulness in an elated tone: saying “I have never known the wind to be in the East for a single moment, since when he took me to the porch to read the name” (Dickens, 1996 p988).
Protagonist Esther is rewarded for her goodness in the latter part of the novel: rising from her illegitimate birth to become the mistress of the new Bleak House. Certainly she has succeeded in her marriage, and the birth of her three children, and she has recovered from many past pains such as the disfigurement or smallpox. However, this change is isolated and not all good characters are rewarded. Jo, for example, is born in poverty and lives on the filth-ridden streets, which harbor the fog; “dreadfully poor and uneducated, he can only react to his circumstance in the parasitic society” (Morris, 1991 p45).
The disease which is bred in Tom-all-alones, hinted by the bleak name itself, neglects the defenseless and appeases the sufferings of the innocent Jo. Esther’s goodness is an awakening from the social disease prevalent London, but she still shows the marks of the pain inflicted upon her. The very fact that the new house she is mistress to still bears the name Bleak House indicates that darkness is still embedded in the society and that her present happiness does not relieve past pains or other misfortunes; for example, Ada’s grief at the loss of Richard Carstone. In order to fully escape the wrongs of the past, they can neither live in London nor in the old Bleak House. Thus, they are forced to move North. Driven out by the weather, not acting out of their own will, but out of the external influence of the weather.
On the other hand, the new Bleak House is filled with life, marriage and birth which inject a sense of hope and renewal. Esther is grateful for the good fortune bestowed up her although she does denote the East Wind as a perpetrator of her unhappiness. Brown makes the common criticism of Bleak House that Esther’s establishment as a mistress of the new Bleak House is a “basic contradiction within the structure of the novel” (Brown, 1982 p65).
Sanders claims that Esther’s move North does, however, “opens up a promise for the future which lightens the encircling gloom” (sanders, 2002 p164).
She is far from successful in her dreams and hopes.
The Snow
The climax of the novel comes at Lady Dedlock’s flight. The chapter in which Lady Dedlock escapes while Esther and Mr. Bucket’s pursue her is aptly name “A Wintry Day and Night”. Throughout chapters LVII to LX, the weather becomes increasingly relentless and destructive: shielding the efforts of Esther and Mr. Bucket in their search for Lady Dedlock. It is unclear why Dickens would have technically killed Lady Dedlock with the fierceness of the snowstorm. Perhaps it was intended metaphorically: to represent her angst finally surfacing and her inevitable demise. Or perhaps he was expressing the barbarity of life and that external forces are capable of destroying goodwill – Esther’s in this case. This climax of plot action sees the establishment of a new weather metaphor: the snow. The snow is not a major metaphor in the novel, nor does it have a very specific function. It symbolizes the pinnacle of dramatic tension.
Conclusion
As is apparent from the title of the novel, the story is one of all-encompassing bleakness. Dickens thus wished to create a cold atmosphere which is harbored corruption and hindered goodness. He did this through use of weather imagery. So he was able to comment on the ensconced corruption of the Parliament and Law Courts, the social discontent, and the acute problem of pollution. Weather, as a common strain, interlinks all the characters in Bleak House. It serves also to provide a realistic backdrop of the time and setting which was fitting for Dickens’ market readership. The metaphor of the fog, cold and snow facilitate the most casual reader, as negative connotations are already understood. There are countless reasons why weather was an appropriate and fundamental tool in establishing his criticism and this thesis has only examined a few of these possibilities. The exact damage Dickens intended weather to have on characters is never crystallized but no doubt its role was both in bringing problems to realization and foreshadowing anarchy.
Works Cited
Brown, James 1982, Dickens: Novelist in the Market-Place. Barnes & Nobel Books, New Jersey.
Dickens, Charles 1996, Bleak House, Penguin Group, England.
Garis, Robert 1965, The Dickens theatre: A reassessment of the novels, Oxford University Press, Oxford.
Hawthorn, Jeremy 1987, Bleak House: The critics debate, Macmillan publishers, London.
Johnson, Edgar 1952, Charles Dickens: His Tragedies and Triumphs, Simon & Schuster, New York.
Lucas, John 1992, Charles Dickens: the Major Novels, Penguin Group, England, pp.71 – 99
Morris, Parn 1991, Bleak House: Open Guides to Literature, Open University Press, Buckingham.
Sanders, Andrew 2002, Dickens and the Spirit of Age, Oxford University Press, New York.
Shatto, Susan 1988, Companion to Bleak House, Unwin Hyman Ltd, London.
Smith, Grahame 1968, Dickens, Money, and Society, University of California Press, Berkeley.
Storey, Graham 1987, Landmarks of World Literature: Dickens: Bleak House, Cambridge University Press, Cambridge.
