Oliver Twist: The Parish Boy’s Progress

WELCOME

Paper:-6  Victorian Literature.

Name:- Sanjaykumar N Jogadiya

Topic:- Oliver Twist: The Parish Boy’s Progress

 

Part:- M.A. Sem-2

RollNo.26

EnrollmentNo.2069108420200017.

Email Id: snjogadiya@amail.com.

Submitted: Smt. S.B. Gardi Department of English M.K.Bhavnagar University.

Introduction:-

Oliver's twist is remarkable for the dull picture of the crimes committed by Dickens and his dreadful life. Many of London's personalities have come up with disciples in the book, while international concerns have grown, sometimes called "The Great London Wrong Crew Case". It was a wonderful number for Athens in London in the Dickens era. The subtitle of the book depicts the De Parish Boys process of the Deep Pilgrims process of Bunin, and the laughter-span series of "A Express" and "A Harlots Launch" written by William Hogarth in the 18th century. Examples of social fabrication, for example, registering people from different neighborhoods, its poor problems, and poor people's working, working in poor people, the exploration of children and children are tragedies. Serious themes of satire, satire, and time-lapse of the time associated with the blurry C may be inspired by the story of the novelist Robert Burt Blanco, an orphan child writing story that was personally entered in the 1830s. Obviously that was the young time when he was writing important and childish.

Virtue versus evil:-

                          Dickens depicts true virtue as invincible, despite its frustrating and compelling evil. Oliver Twist is an innate virtue; He remains selfless, honest and compassionate in all the trials and temptations set in his path. Selfish, insidious and ruthless fagin is his evil nemesis, a corrupter of children and adults who hide behind a mask of charm.

                         The conflict between the two recalls the tradition of "progress" mentioned in the novel's subtitle Parish Boy's Progress. The fun-loving yet 17th-century metaphorical Pilgrim Progress was a popular reading in Dickens's time, though preached by John Bunyan. He trails Christian Everyman's journey to the Celestial City, during which he meets and overcomes the temptation of Oliver, including promises of money, physical fitness and power. As a Christian recognizes the evil behind this temptation, Oliver sees through the rosy portrayal of Fagin and Jake's criminal life and refuses to be his victim. By contrast, Hogarth's famous engraving series illustrates the rack's progress on its protagonist's journey to self-destruction - from inheritance and slander to debt, incarceration and insanity. Readers will see Hogarth's rack reflected in the monks of Ers Liver's half-brother, Monk.

                            The Dick Lovers in The Oliver Twist is a description of the influence of England's industry in the 19th century and the possibility of a terribly realistic and innocent fundamentalist, considering the reasons for the new unpleasant weakness. Oliver, an innocent child, has no choice but to be the funniest in the world at one time: a workshop, a thief in Fagin, a prison or a premature death. These gloomy industrial diplomatic/institutional arrangements, however, are a testament to the point: between corruption and platoon and the impoverished livery of the inevitable form of pure living space, it is the bad state of people around those times in the past. The result of daily endeavors and a sensitive examination like a peaceful life strategy in the country To be able to live in London in the 1830s.

Poverty and social class:

Poverty is a major concern in Oliver Twist. Throughout the novel, Dickens elaborates the subject, the condition of the slums being so dilapidated that all the houses on one line are on the verge of ruin. In an introductory chapter, Oliver accompanies Mr. Sowerberry to a penniless funeral and sees an unhappy family together in an entire room.

                          This nationwide misery inspires Oliver towards some charity and more poignant love. Oliver wants to be indebted to both small and big kindness many times in his life. This vivid description of poverty, which Dikkens has made, also tells middle-class readers how much of London's population was plagued by poverty and disease. However, in Oliver Twist he delivers some mixed messages about social injustice and the salvation of social race. Oliver's illegitimate workshop set him on the decline of society; As an orphan without friends, he is generally despised. His "strong spirit" kept him alive despite the suffering he must endure. However, most of his colleagues deserve to make their way in the midst of the sediment of society and are much more at home in the depths. Noa Claypole, a generous boy like Oliver, is passive, stupid and cowardly; Sykes is a thug, Feagin lives by corrupting children, and the Artful Dodger appears born to live a life of criminality. Many middle-class people whom Oliver met for example Mrs. Sowerberry, Mr. Bumble, and the gentlemen of the hypocritical wild workshop board  all turned out to be evil.

                       On the other hand, Oliver, who has a remarkable refinement air for a workshop boy, proves to be a gentle birth. Although he has been abused and neglected throughout his life, he becomes nervous, surprised at the idea of ​​mistreating someone else. Apparently this hereditary courtesy makes Oliver Twist not only an indictment of social injustice but also a story of a changed child. Born to better things, Oliver struggled a lot to survive in the violent world of the lower classes before being saved by his family and reaching his rightful place - a sprawling rural residence. In a recent film on the novel, Roman Polanski solves the problem of his fine origins by making Oliver an unnamed orphan like Fagin's gang.

Child abuse:-

                       In Oliver Twist, child abuse is both personal and institutional. During his visit to London, Oliver met Jack Dawkins, nicknamed the "Artful Dodger", though Oliver's innocent nature saved him from recognizing that the boy was dishonest. Dodger provided Oliver with a free meal and told him the address of a gentleman in London who would "give him a place to live without anything and never ask for change." Grateful for unexpected help, Oliver followed Dodger to visit the "elderly" residence. Similarly, Oliver meets a notorious Jewish criminal named Feagin, whom the artist Dodger told. Having been seduced, Oliver briefly stayed on Saffron Hill with the postures of Fagin and his pickpockets but was unaware of his criminal development. He used to think that they make purses and handkerchiefs.

                         Children are regularly beaten as punishment; After Noe Claypole, Oliver was beaten by both Parish Beadle and his boss, and charged with attempted murder. In Victorian England, a common punishment for child criminals was the public whip. Dickens finds the practice disgusting. The "good" people in the novel never punish Oliver. However, it should be noted that he is never worthy of punishment. The novel also has other abuses of children: they are locked in dark places, publicly embarrassed, and hungry. For poor little Dick, this institutional abuse proves fatal. Other dangerous and rigorous activities such as child labor also put children at risk, even though they were not seen as child abuse during the Victorian era. Chimney sweeps are just two examples of actions that modern verbs consider derogatory as Oliver's efforts to work long hours and appoint him as an apprentice.

Cnaclution:-

Even the arguable exceptions to the type, Monks, who is wealthy, and Oliver, who is both secretly wealthy and physically pleasant, serve as exceptions that reinforce the rules. Monks are notably different, an outsider even in the criminal realm, and his wealth seems to be the reason. His need to remain mysterious and secretive makes him an outsider, even amongst the group of obvious outcasts. Oliver, with his honest face and innate innocence, aside from unwillingly taking part in crimes, never truly feels at home in the criminal gang. This is evident in the story's narration as well as its plot; the third-person narrator often takes on Oliver's perception, sharing his view as a naive observer with the audience. When the reader learns of his wealth at the story's end, this discomfort makes sense. He cannot be truly criminal because he does not fit the type. Everyone is married, adopted, transported, or hanged. All the loose ends get tied off, and we do mean all: Nancy gets murdered by Sikes, and Sikes accidentally hangs himself, saving the executioner the trouble. Monks' confession enables Oliver to inherit a bit of his father's estate.

Works Cited

BRAKUS, KELVIN. What is the major theme of Dickens' novel Oliver Twist and is it a novel or a novella? Ed. KELVIN BRAKUS. 2010. 8 March 2020 <https://www.enotes.com/homework-help/what-major-theme-dickens-novel-oliver-twist-novel-51805>.

Dickens, Charles. "Oliver Twist: Or, The Parish Boy's Progress,." Dickens, Charles. Oliver Twist: Or, The Parish Boy's Progress,. Vols. Volumes 1-3. Richard Bentley,, 1838. 1-3 vols.

Samples, Megan N. "'This World of Sorrow and Trouble': The Criminal." August 2013. scholarworks.gsu.edu. 8 March 2020 <https://scholarworks.gsu.edu/cgi/viewcontent.cgi?article=1152&context=english_theses>.