A STUDY OF CHARACTERS AND SETTINGS TO REVEAL THE VICTORIAN AGE SOCIAL STRATIFICATION IN CHARLES DICKENS’ OLIVER TWIST

AN UNDERGRADUATE THESIS

Presented as Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra in English Letters

By

INDHY AGIVIENA PUTRI

Student Number: 024214064

ENGLISH LETTERS ST UDY PROGRAMME DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS SANATA DHARMA UNIVERSITY YOGYAKARTA 2007

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Your future depends on many things, but mostly on you. (Frank Tyger)

Alhamdulillahirobil’alamin! I always thank to Allah SWT for whataver I got. (Indhy Putri)

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This undergraduate thesis is dedicated to: My Beloved Family and Lovely Friends

v ACKNOWLEDGEMENTS

The first and foremost, I would like to bestow my deepest gratitude to

Allah SWT for giving me His blessing, strength, chance, and patience.

Secondly, my greatest appreciation goes to my beloved parents, Papa

Bambang and Mama Andrina who always give me love, encouragement, and motivation to be a better woman. I thank my brothers Faisal and Raka for their love and craziness in many ways. My gratitude is also extended to Eyang, Om, and Tante, for the never ending pray. I owe many thanks to my big brother

Purwarno, SS. M.A. for his great suggestions and supports and for always being my very patient teacher.

A special thank is due to my advisor, Drs. Hirmawan Wijanarka M. Hum., who has always given me his precious time in guiding me to finish this thesis and for his patience and kindness. A special thank is also for my co-advisor

Tatang Iskarna S.S. M.Hum. for correcting my thesis so that I could complete this thesis. It was memorable moments when I discussed with him . I owe big thanks for his help to realize my ideals. Thanks are also due to all lecture rs in Sanata

Dharma University for teaching me many things.

My gratitude also goes to all my best friends; Nita, Sella, Kuncup, Orie,

Rina, Adik Lucky, Mbak Dede’(98), Eko, Bondan, Leo and for those whom I cannot mention one by one, for their fun lives and ideas during my time in Jogja.

Thanks for Amelia girls and all my friends of class 2002. I am proud to know you all.

Last but not least, I address my genuine gratitude to my beloved Ay, Mas

Uddin in Korea. Many thanks are addressed for his love, laugh, strength, supports, critics, and guidance. I also thank his family for loving me so much.

vi TABLE OF CONTENTS

TITLE PAGE ...... i APPROVAL PAGE ...... ii ACCEPTANCE PAGE ...... iii MOTTO PAGE ...... iv DEDICATION PAGE...... v ACKNOWLEDGEMENTS ...... vi TABLE OF CONTENTS...... vii ABSTRACT...... ix ABSTRAK...... x

CHAPTER I: INTRODUCTION...... 1 A. Background of the Study ...... 1 B. Problem Formulation...... 3 C. Definition of Terms ...... 3

CHAPTER II: THEORETICAL REVIEW ...... 5 A. Review of Related Studies ...... 5 B. Review of Related Theories ...... 7 1. Theories on Character and Characterization...... 7 2. Theories on Setting...... 9 3. Theories of Literature and Society ...... 11 4. Theories of Social Stratification ...... 12 5. Theories Victorian Age Social Stratification ...... 15 6. Theories of Marxism and view of class ...... 17 C. Review on the Author’s Historical Biographical Background ...... 21 D. Theoretical Framework...... 22

CHAPTER III: METHODOLOGY...... 24 A. Object of the Study...... 24 B. Approach of the Study...... 25 C. Method of the Study...... 26

CHAPTER IV: ANALYSIS...... 27 A. The Portrayal of Characters and Settings ...... 27 1. The Parochial World ...... 28 a. The Work House...... 28 b. The Poor ...... 37 c. The Tradesmen...... 42 2. The Criminal World ...... 44 3. The Respectable People ...... 49 B. The Victorian Social Stratification Revealed through Characters and Setting In Oliver Twist...... 52 1. Middle Class ...... 53 2. Lower Middle Class...... 56 3. Lower Class...... 57

vii 4. Under Class...... 60

CHAPTER V: CONCLUSION...... 64

BIBLIOGRAPHY...... 67

APPENDICS A. Summary of the Novel ...... 69 B. Table of Settings in the Victorian Age ...... 72 C. Table of Victorian Age Social Stratification...... 73

viii ABSTRACT

INDHY AGIVIENA PUTRI. A Study of Characters and Setting to Reveal the Victorian Age Social Stratification in Charles Dickens’ Oliver Twist. Yogyakarta: Department of English Letters, Faculty of Letters, Sanata Dharma University, 2007.

Oliver Twist tells about a young orphan boy who lives with a lot of mysteries around him. Dickens describes the novel without loosing sight of the workhouse in which the story begins and many interesting scenes are depicted in the Victorian age . The writer analyzed the Victorian Age Social Stratification through the portrayal of the characters and settings depicted in Oliver Twist. The story of Oliver is related to the tales of other characters of the story, and the settings portray the condition prevailing at that time. Oliver portrays the feeling of despair that Dickens experienced as a child. The writer, in this thesis, would analyze (1) how the characters and settings are portrayed in Oliver Twist, and (2) how the Victorian Age social stratification is revealed through the characters and settings in Oliver Twist. To do the analysis, the write r did several steps. First, the writer conducted close reading on the novel to get a deeper understanding about the topic, especially about the problems stated above. Next, the writer wrote down all the information that she considered important to her study. The next step she took was to find the secondary references. She obtained some essential information from books on literature. After getting all the selected data, the writer started to analyze the problems and apply those related theories in the analys is. The analysis focuses on obtaining the answers of two questions stated in the problems formulation. In this part, firstly, she answered the first problem by finding how the setting and characters are presented in the novel. In this case, she paid attention to the whole text focusing on the characters’ attitudes and conditions that indicate them as the portrayal of their respective classes. The next step, she answer ed the second problem by finding out the Victorian social stratification of the story seen from the setting and characters using Marxist criticism. Finally, she drew her conclusions. The result of the analysis shows that the characters and settings truly represent the Victorian age social stratification. The setting begins in the parochial world which is divided into three parts; the workhouse, the tradesmen, and the poor. Then the setting continues to the criminal world. The last one is the world of the Victorian middle-class. Then she found four divisions of the Victorian Age social stratification based on some theories. The first one is the Middle-cla ss which is presented by Mr. Brownlow and his friends. The setting and their behavior toward others portray the condition of the middle class social stratification. Second is the Lower Middle Class which is represented by tradesmen family. Third is the Lower Class which is represented by the staff of the workhouse. The last one is the Under Class which is presented by The Lord of Underworld, Fagin, and his gang of thie ves.

ix ABSTRAK

INDHY AGIVIENA PUTRI. A Study of Characters and Setting to Reveal the Victorian Age Social Stratification in Charles Dickens’ Oliver Twist. Yogyakarta: Department of English Letters, Faculty of letters, Sanata Dharma University, 2007.

Oliver Twist menceritakan tentang seorang anak lelaki yatim piatu yang hidup penuh dengan misteri di sekelilingnya. Dickens menggambarkan novel ini tanpa mengabaikan keadaan workhouse di mana menjadi awal dari cerita dan banyak bagian menarik di zaman Victoria. Penulis menganalisa gambaran kondisi stratif ikasi social pada zaman Victoria melalui karakter dan seting di dalam novel Oliver Twist. Oliver menggambarkan keputusasaan Dickens pada masa kecil. Dalam thesis ini, penulis akan menganalisa (1) bagaimana karakter dan seting digambarkan di dalam Oliver Twist, dan (2) bagaimana stratifikasi sosial zaman Victoria dipaparkan melalui karakter dan seting dalam Oliver Twist. Dalam menganalisa, penulis melakukan beberapa langkah. Pertama, penulis melakukan pembacaan seksama agar diperoleh pemahaman le bih mendalam mengenai drama tersebut, khususnya berkenaan dengan masalah yang diungkap di atas. Lalu, penulis menulis semua informasi yang dianggap penting. Langkah selanjutnya adalah mencari referensi kedua. Penulis mendapatkan informasi pentingdari buku-buku literature. Setelah memperoleh seluruh data, penulis akan memulai menganalisa dan menerapkan seluruh teori yang berkaitan. Kemudian, penulis menjawab masalah pertama dengan mendeskripsikan karakter dan seting dalam novel. Dalam hal ini, penulis akan memfokuskan pada tingkah laku karakter dan keadaan yang dapat menjadi fakta. Kemudian, penulis menganalisa bagaimana stratifikasi sosial zaman Victoria digambarkan dalam Oliver Twist melalui seting dan karakter dengan menggunakan pendekatan Marxism. Kemudian, langkah terakhir adalah menarik kesimpulan dari hasil analisa. Hasil analisa menunjukkan bahwa tokoh dan seting benar mewakili stratifikasi sosial zaman Victoria. Setingnya berawal di lingkungan biasa. Lingkungan biasa dibagi menjadi tiga bagian; workhouse, pedagang, dan rakyat miskin. Kemudian seting berlanjut pada dunia kejahatan. Yang terkhir adalah lingkungan kaum terhormat. Selanjutnya penulis menemukan empat bagian stratifikasi sosial zaman Victoria berdasarkan beberapa theori. Yang pertama adalah Middle Class yang diwakili oleh Tuan Brownlow dan teman-temannya. Seting dan tingkah laku mereka kepada sesama menggambarkan kondisi stratifikasi sosial kelas menengah. Kedua adalah Lower Middle Class yang diwakili oleh keluarga pedagang. Ketiga adalah Lower Class yang dipresentasikan oleh pekerja di workhouse. Yang terakhir adalah Under Class yang diwakili oleh Fagin; raja kejahatan, dan kawanan pencurinya.

x CHAPTER 1

INTRODUCTION

A. Background of the Study

Analyzing a novel is considered important when we try to understand a piece of literary work. We need to interpret it as our own way even though many critics have discussed a lot of things in the same novel. In interpreting a novel, the expression of one’s mind and creativity is thrown.

When analyzing a literary work, it would be better if we analyze the separate elements that build the literary work. This idea is strengthened by Kenney’s statement in his book How To Analyze Fiction.

To analyze a literary work is to identify the separate parts that make it up (this corresponds roughly to the notion of treating it to process), to determine the relationship among parts, and to discover the relation of the parts to the whole (1966: 5)

The idea of Hankle and Kenney has inspired me to write a thesis, which analyzes the elements of Oliver Twist. The characters’ condition and setting in relation with the Victorian social stratification in the novel are interesting to analyze. However, it does not mean that I will neglect the other elements.

Dickens as master of realism has filled the pages of the novel with incidents and characters with precision and details. Through his observation and experience, he could project the social evils during the nineteenth century, which did much to depict the social condition of that time. It would be apt to quote the words of John

Foster: “The art of copying from nature as it really exists in the common walks

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had not been carried out by anyone to greater perfection, or to better results in the way of combination.” (http: pinkmonkey.de.olivertwist.htm) His works are full of wit and tenderness, and they do not only entertain but reform people.

Oliver Twist is a simple story of an innocent boy’s struggle for survival.

The work came out in twenty-four monthly installment (1837-9) in Bentley’s

Miscellany. The childhood experiences of Dickens have been transferred into the early pages of the novel and Oliver portrays the feeling of despair. “Dickens transforms this simple story into a moving one through his gripping narration, convincing character delineation, masterly irony, mirthful humor, and casual style” (http: pinkmonkey.de.olivertwist.htm) The story sounds believable and rings interesting true life of a young orphan who lives with a otl of mysteries around him without any knowledge about it.

Dickens introduces humor and irony in the novel. All the scenes, in which some characters appear, either alone or along with others, provide comic relief and irony to the readers. However, it has the hidden meanings inside it. One of the examples, which I put forward to be the title of this thesis, is about the existence of characters and setting in the novel. They support the idea that Dickens wants to convey.

Oliver Twist is chosen because the pr esentation of the characters’ condition, setting, and social background are very interesting to discuss in such a way that they can make the story more vivid through the description of their attitudes and behavior. The setting created in the story lead to the presence of characters’ conditions, which later reflect and function to reveal social stratification at 3

Victorian age. This study tries to analyze the novel from a different angle which means it analyzes the characters’ condition and the revelation of the Victorian social stratification through the setting of Victorian age.

B. Problem Formulation

Referring to the background of the study, there are two questions formulated as follows:

1. How are characters and setting portrayed in Oliver Twist?

2. How is the Victorian age social stratification revealed through the

characters and settings in Oliver Twist?

C. Definition of Terms

In this part, I will clarify the meaning of some significant terms that are used in this study to avoid misunderstanding on reading this thesis.

1. Characters

Characters are the persons, in a dramatic or narrative work, endowed with moral and dispositional qualities that are expressed in what they say-the dialogue-and what they do-the action. (Murphy, p.21)

2. Setting

The setting of a narrative or dramatic work is the general locale and the historical time in which its action occurs; the setting of an episode or scene within a work is the particular physical location in which it takes place (Murphy, p.157). 4

3. Victorian Era

The Victorian Era of Great Britain is considered the height of the British industrial revolution and the apex of the British Empire. It is often defined as the years from

1837 to 1901, when Queen Victoria reigne d, through many historians believe that the passage of the Reform act 1832 marks true inception of a new cultural era.

The Victorian era was preceded by the Regency era and came before the

Edwardian period. They would find that the Victorian did not consider their age stable and secure. Whether they belonged to upper, middle, or lower classes, they through themselves as living in time of troubles (Ausuble, 1955: 9).

4. Social Stratification

According to Dobriner, the stratification system in a society is essentiality the distributive system of that society. When a society evolves to the points of surplus, the distribution becomes more complex because there is simply more to be distributed. The stratification system generally receives comparatively greater amounts of wealth, status, and power. Depending on the stratification system, any of these here variables may predominate in society in time and place. Social stratification is largely a condition that builds in a community after a certain level of development (Dobriner, 1994: 214-228) .

CHAPTER II

THEORETICAL REVIEW

A. Review of Related Studies

Dickens originally entitled the novel Oliver Twist: the Parish Boy’s

Progress but it has since been shorten to simply Oliver Twist. Dickens initially published Oliver Twist in the format of serial publication. It also contains an aspect of social reality as Dickens details the Poor Laws and workhouses. The poor laws were portrayed as the priority to the publication of the novel. The novel reveals the world of the Poor Laws by describing in detail the life of a prostitute, an orphan, a gang of thieves, and other groups in the underworld of civilization.

Dickens narrates the story of Oliver by relating the tales of other characters of the story. As a boy Dickens suffered economic insecurity and humiliation. It was the time when he felt misery, humiliation, and despair. Oliver portrays the feeling of despair that Dickens experienced as a child. Dickens had come across such people living in the streets of London, as he was familiar with every section of the city. He was also aware of the condition of the paupers living in workhouses managed by the parish. As stated by Jennifer Lenz, “Oliver Twist is the story of an orphan who unwittingly stumbles upon his hidden fortune.”

(http://caxton.stockton.edu/victoriannovels/stories) The tale depicts the orphan boy born into a workhouse without parents and is forced to struggle the life.

Oliver is unloved and unwanted from the open of the novel. However, as the novel progresses, Oliver finds his fortunes and having a variety of friends in high

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places because of his honest and kindness. The novel depicts the figures of bad and good characters in the society.

Dickens described and commented the story in detail, which make the reader experience the conditions in the Victorian Age. As Kenneth Hayens writes,” His attitudes are that of a man talking unrestrainedly to a large audience and occasionally addressing it. His style is the natural outcome of that attitude”

(http://www.online-literature.com/dickens/olivertwist/) Dickens made the story into a moving one through his casual style, strong characters, and maste rly irony.

As Ella Westland stated, “the plot opposes innocence and corruption, good and bad characters. Dickens shifts rapidly between sentiment and sensation, storytelling and satire, murderous melodrama and dream” (Ella, 1992: XII).

She also wrote tha t Dickens’s Blacking Factory experience did not make him unique. He concerned about what might happen in middle class at this crucial stage in the formation of the Victorian structure” (Ella, 1992: XXII).

The writer considers that the reviews are very helpful. In this thesis, the writer is going to analyze deeper Dickens’s criticisms towards the setting and characters to reveal the Victorian social stratification in Oliver Twist, which have not been analyzed yet. The writer wants to find out the Victorian Social

Stratification that is presented through the setting and characters so that the readers will understand about the social structure as Dickens writes on his works with a good style, masterly irony, and strong character that built the story.

Dic kens uses such aspects to make the beauty of the novel.

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B. Review of Related Theories

1. Character and Characterization

Character is the object of this study. Therefore, in order to understand clearly about the characterization, I draw some theories about character and personality of the people of the people in a literary work from some books.

Firstly, I will discuss the characterization theory based on M.J. Murphy in

Understanding Unseens (1972). This book provides nine ways of how an author may revea l the characters’ personalities and traits to the readers in literary work.

They are as follow s:

1. Personal description

It is about the description of a person’s appearance and clothes from the author’s point of view. The person appearance can be description of face, skin, eyes, and so on.

2. Character as seen by another

Instead of describing a character directly, the author can describe him through the eyes and opinions of another (1972: 162). We can obtain a lot of information about what kind of person is the protagonist from the other characters’ opinions about her.

3. Speech

The author can give us an insight into the other character of one of the person in the book through what that person says. Whenever a person speaks, whenever he is in a conversation with another, whenever he puts forward an opinion, he is giving us clues to his character (1972: 164). We can see one’s character is reading the speech or the dialogue from the text. 8

4. Past life

By getting the reader learn something about a person’s past life; the author can give us a clue to events that have help to shape a person’s character (1972: 166).

5. Conversation of others

The author can give us clues to a person’s character through the conversations of other people and things they say about him (1972: 167)

6. Reactions

The author can give us a clue to a person’s character by letting us know how that person reacts to various situations and events (1972: 168). We can judge one’s character from the way he faces a particular problem.

7. Direct comment

The author can describe one’s character direction (1972: 170). We know one’s character from the author’s description.

8. Thoughts

The author can give direct knowledge of what a person is thinking about (1972:

171).

9. Mannerisms

The author can describe one’s mannerism, habits, or idiosyncrasies that may also tell us something about his character (1972: 172). We can describe one’s character only by looking at his mannerisms, habits behaviour, and so on.

E.M. foster in his book Asp ect of the Novel gives differentiation between flat and round character. A flat character is built around “a single idea or quality” and is presented without much individualizing detail. Its character can be stated in one phrase or sentence. A round charac ter is complex in temperament and motivation. 9

It is difficult to describe and is similar to a person in real life. Therefore, it can be surprising us (1977: 46-48).

According to Abrams (1993: 23), characters are the persons in a dramatic or narrative work whom naturally posses novel, dispositional, and emotional qualities that all are reflected in the dialogue and the action among the persons.

From the above definition, the dialogue and the action are very important in understanding more about characters.

2. Setting

Holman and Harmon (1986: 465) say that setting is the physical and sometimes spiritual background against which the action of a narrative (drama, novel, and poem) takes place. According to them the elements making up a setting are:

1. The actual geographical location, its typography and such physical

arrangement as the location of the window and doors in a room

2. The occupations and daily manner of living of the characters.

3. The time or period in which the action takes place for example, epoch in

history or season of the year.

4. The general environment of the characters, for example is religious mental

moral social, and emotional conditions though which the people in the

narrative move.

Abrams in A Glossary of literary Terms states that the setting of a narrative or dramatic work is the general locale, historical time, and social circumstances in which its action occurs. The setting of an episode or scene within a work is the particular physical location in which it takes place. When applied to a theatrical 10

production, “setting is synonymous with mise en scene, a French term denoting the scenery and the properties, or movable pieces of furniture, on the stage”. The term “mise en scene” sometimes includes the positioning of the actors in a particular scene (1981:157).

Stanton defines setting of a story “as the environment of its event, the immediate world in which event occurs”. He says that part of the setting is the visible background, such as a café in Paris, the California Mountains, a dead- end street in Dublin; part of it may also be the time of year, the climate, or the historical period. According to him, although a setting does not include the principal characters, it may include the people in the background, such as the grim Puritan crowds in The Scarlet Letter (1963: l8).

Usually, the setting is presented through descriptive and many readers are impatient with these because, understandably enough, they want to get or, with the narrative. Sometimes we find own the setting influences the characters and sometimes the setting exemplifies a theme. In many stories, the setting evokes a definite emotional tone or mod that surrounds the characters (1963: 18-19).

Rohberger and Woods define setting as “the particular time and place in which a work of literature occurs” (1971:22). They say that the setting of a successful piece of fiction is as functional as any of the other elements, and like the other elements, it never exists by itself. Setting aids in establishing credibility; it can help to explain both characters and situation, it can contribute to the atmosphere, or predominate mood, it can be active in foreshadowing, and it can be symbolic. 11

Elisabeth Langland in her book Society in the Novel, says that society in the novel is not merely people and their classes but also their customs, convention, beliefs, and values, their institutions-legal, religious, and cultural and their physical environment (1984: 6).

3. The Relation between Literature and Society

The relation between literature, a novelists, and society is that literature mirrors or expresses life and therefore an artist is supposed to express real life in his work. However, it is not the whole of life that a writer expresses in his work.

He must concern the specific object such as social, economic, political, and religious condition in his era that ought to be “representative” of his time and society, since historical and social truths are symbols of artistic values in literature. A novel is supposed to be a representation of social problems. By doing so, literature can also be viewed as the essence, the abridgment, and summary of all history (Wellek and Warren, 1956:95). It means that a literary work can be stated as historical record to certain time.

Moreover Stanton states (1963:1) states that literature is the principle of a culture. It contains a record of values, thought, problem, and conflicts that are transmitted either through written and spoken words. With such acknowledgment, literature stands as the instrument to pass the experience from the generation to the next. The literature then functions as a representation of the situation.

Wellek and Warren (1956:96) state that there are three actual relations between literature and soc iety. The first is the sociology of the writer, the 12

economic basis of the literary production, the social provenance and status of the writer; his social ideology, which may find expression in activities and literature.

The second is the problem of the social content, the implication and social purpose of the literary works themselves. The last is the problem of the audience and actual social influence of literature. Since the work much deals much with social problem, the suitable actual relation that is us ed in this study is of the second explanation as listed above.

4. Social Stratification

When we deal with social stratification we are no longer in the relationship or groups. We are considering a form of social reality from interaction and to a degree can be found in all groups. “Social stratification is largely a condition that builds a community after a certain level of development” (William, 1994:214)

Stratification, as a form of social reality, is not an organized interaction system (a group); the system developed by a society (or community). “Social stratification is essentially the organization of inequalities within society, the distribution of rewards, the allocation of scarcities, and the formalization of positions in some hierarchical order. The stratification system is characteristically flat and horizontal zed, with occasional, slight projections of consumption patters for a few and somewhat more dramatic extensions in power, prestige, and authority

(William, 1994:214). In stratification systems of any society is probably not as

“independent” as economic and honorific status factors. That is to say, power most likely rests on “something” and it is difficult to regard it as a purely solitary 13

unit of analysis. The phenomenon of stratification is best seen as a condition arising from community and society; even the simplest human groups have a dimension of hierarchical structure (1994:214). The major current theoretic orientations to social stratification and the principal conceptual terms through which stratification is observed are economic class, honorific status, and power.

Most sociologists generally employ a five class conception of national stratification. And there are certainly interrelationships between the local and national structures, particularly on the economic -occupational level. Fist, the upper class is the most highly educated segment of the total class structure. They are quite rich, but they have also prestige, honor, and power. Wealth, status, and power are concentrated in this stratum. Second, the upper middle class is a stratum of joiners, with memberships ranging throughout the voluntary associations of the community. They represent a practical dream that is within the realm of statistical possibility. Third, the lower middle class includes section heads in governmental agencies and large business concerns along with managers in shops, services, chain stores, and the like. In this class, three out four in the labor force would be classified as employees. Its population has heavily suburbanized. Fourth, the lower class embraces those of the labor force who do manual labor, who join unions, who earn a “wage” (hourly per rate) rather than a

“salary” and whose characteristic symbol is the blue rather than the white collar of the middle class. The occupational character of the lower class is that labor physically; they use their hands and manipulate things. The last class is the under class which has the lowest educational achievement of any stratum in the 14

community. In a number of the jobs tend to be intermittent, seasonal, and cyclical, long periods of employment and underemployment are characteristics.

An early example of a stratum class model was developed by the sociologist

William Lloyd Warner in his 1949 book, Social Class in America. For many decades, the Warnerian theory was dominant in U.S. sociological theory. Based on social anthropology, Warner divided Americans into three classes (upper, middle, and lower), then further subdivided each of these into an "upper" and

"lower" segment, with the following postulates: Upper-upper class or "Old money." People, who have been born into and raised with wealth, mostly consist of old noble or prestigious families (e.g., Vanderbilt, Rockefeller, Hilton). Lower- upper class or "New money" is individuals who have become ric h within their own lifetimes (e.g. entrepreneurs, movie stars, as well as some prominent professionals). Upper-middle class or high-salaried professionals are doctors, lawyers, professors, corporate executives. Lower-middle class; lower-paid professionals, but not manual laborers (e.g., police officers, non-management office workers, small business owners). Upper-lower class is blue-collar workers and manual laborers, also known as the "working class." Lower-lower class are the homeless and permanently unemployed, as well as the "working poor."

In sociology, social stratification is the hierarchical arrangement of social classes, castes, and strata within a society. While these hierarchies are not universal to all societies, they are the norm among state -level cultures (as distinguished from hunter-gatherers or other social arrangements). Social stratification is regarded quite differently by the principal perspectives of 15

sociology. Proponents of structural-functional analysis suggest that since social stratification exists in most state societies, a hierarchy must therefore be beneficial in helping to stabilize their existence. Conflict theorists consider the inaccessibility of resources and lack of social mobility in many stratified societies.

They conclude, often working from the theories of Karl Marx that stratification means that working class people are not likely to advance socioeconomically, while the wealthy may continue to exploit the proletariat generation after generation. "The advancement of technology has changed the structure of mobility completely" (Francois Adley). However, some conflict theorists, mainly

Max Weber and his followers, also critique Marx's view and point out that social stratification is not purely based on economic inequalities but is equally shaped by status and power differentials. They proceed to examine the basis and structure of stratification in society along all of the three axes (Lee, 1976:120-123).

5. The Victorian Age Social Stratification

Ausubel (1955:9-11) states that in the last decades of the nineteenth century the English people suffered from a depression-worldwide in its incidence-that was of central importance in the shaping of their history. Scholars have rarely given sufficient attention to this depression and the great variety of its repercussions.

Yet it clarifies much of the political, social, economic, and intellectual development if the late Victorians. It helps to explain what happened to their agriculture, industry, commerce, and the condition of their working classes. It 16

throws much light on the history of their government and churches and the ideas about the role these institutions should play in their lives.

Present day Englishmen often view the last decades of the nineteenth century as golden age. Accustomed to depression, war, austerity, and fear of another war and another depression, they consider the late Victorians and extremely fortunate generation. People would find that the late Victorian did not consider their age stable and secure. Whether they belonged to the upper, middle, or lower class, they thought themselves as living in a time of troubles. They had complicated problems to solve and they disagreed sharply as to how to go about solving them (Ausubel, 1955:28-36).

The Victorian Age is one of the most remarkable periods in the history of

England. It was an era of material affluence, political consciousness, democratic reforms, industrial and mechanical progress, scientific advancement, social unrest, educational expansion, empire building and religious uncertainty. There were a number of thinkers who were well-satisfied with the progress made by the

Victorians; while from a whole class of adverse critics could be heard a scathing criticism of the values held dear by the Victorians. The Victorian age was essentially a period of peace and prosperity for England. The few colonial wars that broke out during this period exercised little adverse effects on the national life. Peace brought material advancement and industrial progress in the country.

The industrial Revolution of the age transformed the agrarian economy of

England into an industrial economy. Industrial advancement created social unrest and economic distress among the masses. The Industrial Revolution while creating the privileged class of capitalists and mill-owners, rolling in wealth and 17

riches, also brought in its wake the semi-starved and ill-clad class of laborers and factory workers who were thoroughly dissatisfied with their miserable lot.

National wealth was increased but it was not equitably distributed. The Victorian era, therefore, witnessed vigorous social reforms and a line of crusading humanitarian reformers who sought to do away with the festering sores and seething maladies of the Victorian age. The Victorian age is, therefore, an age of humanitarian consideration and social uplift for the masses.

The reign of Queen Victoria was the golden age of the English novel. It was used as a popular medium for expressing its rapid progress in commerce, democracy and science. The material and scientific progress had its influence upon the

Victorian life and it was inevitable that it should be expressed through its prose, poetry and fiction. (Mundra, 2001:370-374)

6. The Marxist Criticism and View of Class

The aim of Marxism is to bring about a classless society, based on the common ownership of the means of production, distribution, and exchange.

Marxism is a materialist philosophy: that is, it tries to explain things without assuming the existence of a wor ld or of forces beyond the natural world around us, and the society we live in. it looks for concrete, scientific, logical explanations of the world of observable fact. Marxism sees progress as coming about through the struggle between different social cla sses. The view of history as class struggle regards it as motored by the competition of one social class. Marxism also built upon the socialist thinking which was produced in France at the time of the

French Revolution. 18

Marx and Engels themselves did not put forward any comprehensive theory of literature. Their views seem relaxed and undogmatic; good art always has a degree of freedom from prevailing economic circumstances. As cultured and highly educated Germans , Marx and Engels had that reverence for great art and literature which was typical of their class, and there is an obvious desire in such pronouncements to emphasise the difference between art and propaganda. Marxist literary criticism maintains that a writer’s social class and its prevailing

“ideology” have a major bearing on what is written by a member of that class. So instead of seeing authors as primarily autonomous “inspired” individuals whose

“genius” and creative imagination enables them to bring forth original and timeless works of art, the Marxist sees them as constantly formed by their social contexts in ways which they themselves would usually not admit.

In the Marxist view, the key structure to the understanding of human history is class. Classes precipitate in the various historical levels (tribal, classical, feudal, and capitalist) in terms of a critical relationship to the prevailing modes of production characteristic of each epoch essentially ownership and nonownership.

There are thus two primary classes in each major historical sta ge and these are essentially antagonistic to each other. The basis of antagonism, Marx concluded, is the essential opposition of the interest of each polar class to the other. For example, in modern (capitalist) society, the working class, the proletariat, has class interests that are directly opposite to those of the bourgeoisie, the capitalists, the owners of large scale industry and finance. In order to maximize their profit and increase their wealth (the ultimate guiding necessity of the bourgeoisie), the 19

owners pay he workers as little as possible and force them to work long and grueling hours, better working conditions, higher pay, and the like. Thus, the two classes are arrayed in a fundamental antagonism. What one wants must be paid for by the other. For Marx, viewing much of history as class struggle born of this basic structural conflict, the one way out for the oppressed proletariat was violence and revolution.

For Marx, human society is primarily organized around the pursuit of basic needs -food, shelter, clothing. Not only are men “social” in a sort of instinctive sense but the very nature of human association (society) is to facilitate the acquisition of basic needs via the division of labor. In the course of the early history of mankind, accor ding to Marx, a sort of parasitic, exploitative class arises which takes for itself the primary modes of production. This class uses and exploits another class (nonowners0 for its own greedy and acquisitive purposes.

Marx was the font of inspiration for the conflict school of social stratification, there seems to be no single figure identifiable with the functional approach. The conflict approach views stratification essentially from the dysfunctions it produces in society. Class is seen essentially as a negative factor which reduces adaptation and the integration of the social systems (William,

1994:220-222).

It was in Victorian Britain that Karl Marx became the first person to critically attack the privileges not just of a hereditary upper class, but of anyone whose labor output could not begin to cover their consumption of luxury. The majority proletariat which had previously been relegated to an unimportant compartment at the bottom of most hierarchies, or ignored completely, became 20

Marx's focal point. He recognized the traditiona l European ruling class ("We rule you"), supported by the religious ("We fool you") and military {"We shoot at you") élites, but the French Revolution had already shown that these classes could be removed. Marx looked forward to a time when the new capitalist upper class could also be removed and everyone could work as they were able, and receive as they needed.

Karl Marx defined class in terms of the extent to which an individual or social group has control over the means of production. In Marxist terms a class is a group of people defined by their relationship to the means of production. Classes are seen to have their origin in the division of the social product into a necessary product and a surplus product. Marxists explain the history of "civilized" societies in terms of a war of classes between those who control production and those who actually produce the goods or services in society (and also developments in technology and the like). In the Marxist view of capitalism, this is a conflict between capitalists (bourgeoisie ) and wage -workers (the proletariat). For

Marxists, class antagonism is rooted in the situation that control over social production necessarily entails control over the class which produces goods -- in capitalism this is the exploitation of workers by the bourgeoisie.

Marx himself argued that it was the goal of the proletariat itself to displace the capitalist system with socialism, changing the social relationships underpinning the class system and then developing into a future communist society in which: "..the free development of each is the condition for the free development of all." or communist manifesto. 21

C. Review on the Author’s Historical – Biographical Background

Charles Dickens, the second child of John and Elizabeth Dickens, was born on February 7th, 1812 at Portsea. When he was twelve, his family fortunes were on the decline owing to his father's incapacity to manage his financial affairs.

When his father was arrested and sent to the debtor's prison at Marshalsea,

Charles was sent to work in a boot-bleaching factory and to board with other unwanted children in Mrs. Roylance's house. Young Charles found life miserable as he walked daily from the factory to the boarding house. A timely inheritance of money relieved his suffering. After studying for a few years at Wellington House, he entered a Solicitor's Office as a freelance reporter at the office of the Doctor's

Common, the Parliament and the Morning Chronicle.

His literary career started in 1836 with the publication of "Sketches by Boy."

Around the same time, he got married to Catherine Hogarth. In 1837, "Pickwick

Papers" was published. Soon his other novels were in print. With "David

Copperfield" he reached the zenith of his literary career.

Dickens traveled a good deal around the world. In 1838, he instituted public reading of his own books on a professional basis and this venture proved to be an outstanding success. With the pressure of work and mounting activities, his health began to suffer. In 1870, when he died from a cerebral stroke, he was remembered as the most popular novelist his country had never known.

"Oliver Twist," the saga of a boy who passes through the trials and tribulations of life to emerge stronger from it, first appeared as a monthly serial in

"Bentley's Miscellany" in 1837 and later was published as a book. The novel 22

fictionalizes the experiences of the writer and reflects the social evils prevailing at that time.

As a boy Dickens suffered economic insecurity and humiliation. At the tender age of twelve, he was sent work at a blacking factory to earn six shillings a week. He was also sent to board with other unwanted children to Mrs. Roylance's house. In the words of Kenneth Hayens, "Those few months were for Dickens a time of utter misery, humiliation, and despair, the memory of which, as he later confessed, he could never quite shake off." These childhood experiences of

Dickens have been transferred into the early pages of the novel and Oliver portrays the feeling of despair that the author had experienced as a child.

In nineteenth-century England, there was a great shift in movement from the villages to cities because of rapid industrialization. The migrants, who were unemployed and lived in dirty streets, often took to crime. Dickens had come across such people living in the streets of London as he was familiar with every section of the city. He was also aware of the conditions of the paupers living in workhouses managed by the parish. He thus comes down heavily on pompous bureaucratic boards and corrupt parochial organizations of his times by attacking the Poor Laws in "Oliver Twist."

D. Theoretical Framework

In this thesis, I analyse the social stratification in Charles Dickens’s Oliver

Twist. In analyzing this study the theory of character and characterization, theory of setting, theory of literature and society, theory of social structure and social 23

stratification, and Theory of Victorian age stratification, take important roles.

These theories will support the analysis and help to answer the problems stated in problem formulation.

I use Murphy’s character and characterization theory to answer the first question of the problem formulation that is a clear description of characters in

Oliver Twist. According to this theory, in a literary work, a character can be presented in nine ways. They are through personal description, speeches, past life, from other characters, conversation, reactions, direct comment, thoughts, and mannerisms.

Then, the theory of literature and society, theory of setting, and theory of

Victorian age are used to answer the first and second question. They are used to help the writer to get more information about setting in Victorian age period.

In answering the second question of the problem formulation, I used

William’s theory about Social structure and social stratification. Those theories will help the writer to get idea of what is social structure and social stratification, so that the analysis would become much easier.

Among the theories talking about critical approaches to analyse a literary work given by Guerin, the historical-biographical approach is considered to be the most appropriate approach to perform the analysis of this study since this approach sees a literary work as a reflection of its author’s life and times or the life and times of the characters in the works. CHAPTER III

METHODOLOGY

A. Object of the Study

The object of the study is Charles Dickens’s novel entitled Oliver Twist. The tale of Oliver Twist is legendary in British culture. Everyone has heard the little boy who asked the authorities for more. The novel was an instant success in the

1830s and the story retained its popularity. The edition used in this thesis study is the one introduced by Ella Westland and was published in 1992 by Wordsworth

Editions Limited. It consists of 373 pages, and it is divided into fifty-three chapters. First, Oliver Twist appeared as monthly serial in “Bentley’s Miscellany” in 1837 and later was published as a book. It is an interesting story of a young orphan who lives with a lot of mysteries around him without any knowledge about it. Oliver’s characters are felt very real by the way the author projects him. Oliver

Twist is much easier to read than other Charles Dickens’s works.

The story is about an innocent boy struggling for survival. The novel deals with the life of not only Oliver but also all the characters that are connected with his life. The novel opens in a workhouse in a small town seventy-five miles north of London where Oliver is born to Agnes. She is an unwed mother who dies soon after Oliver’s birth. Oliver’s childhood is spent in the workhouse in a certain town, which is not mentioned by the author. Like other children, he finds miserable life where most of his time is ill treated and starving. Oliver escapes and

24 25

walks toward London. Then, he is introduced to the underworld by taking him to

“The three Cripples”, a shady public house owned by Fagin. Finally, Oliver discovers his identity and regains his rightful place in society. He goes back to live in town with his mother’s family.

B. Approach of the Study

A literary approach is needed in order to analyze a literary work so that a good analysis can be produced. In Beginning Theory: An Introduction to literary and Culture Theory (2002: 156-171) divides literary approaches into thirteen criticisms. They are structuralism, post-structuralism, post-modernism, psychoanalytic criticism, feminist criticism, lesbian and gay criticism, Marxist criticism, new historicism and cultural materialism, postcolonial criticism, stylistics, naratology, economic criticism, and liberal humanism.

To go into the depth of the story in this study, the Marxist criticism will be employed. This criticism maintains that a writer’s social class and its prevailing

“ideology” have a major bearing on what is written by a member of that class.

Marxist criticism tends to deal with history in a fairly generalized way. It talks about conflicts between social classes and clashes of large historical forces, but, contrary to popular be lief, it rarely discusses the detail of a specific historical situation and relates it closely to the interpretation of a particular literary text.

Using historical-biographical approach I try to answer the problems by analyzing the life, times, and conditions, which are reflected through the irony presented in the story. Therefore, I can get the idea of the Victorian social structure.

26

C. Method of the Study

In writing this thesis, I took some steps that were done systematically, considering that the method I used to collect data for the thesis was library research. As the first step, I read the novel Oliver Twist thoroughly. I needed more than three times to read the main reference. I wrote down all the information that I considered as being important to my study. The next step I took was to find the secondary sources. I obtained some essential information from books on literature.

Among others, they are M.J. Murphy’s Understanding Unseen, E.M. Foster’s

Aspect of the Novel, Abrams’ A Glossary of literary, Perrine’s Literature:

Structure, Sound, and Sense, second edition,Peter Barry’s Beginning Theory: An

Introduction to literary and Culture Theory and Guerin’s A Handbook of Critical

Approaches to Literature.

The next step was starting to analyze the novel. The analysis was focused on obtaining the answers of three questions stated in problems formulation. In this part, firstly, tried to answer the first problem by finding how the setting and characters are presented in the novel. In this case, I tried to pay attention to the whole text focusing on the characters’ attitudes and conditions that sign them to be facts. The next step, I tried to answer the second problem by finding out the

Victorian social stratification of the story seen from the setting and characters.

Finally, I drew conclusion.

CHAPTER IV

ANALYSIS

A. The Portrayal of Characters and Settings

Oliver Twist is a classic story, which is depicted in interesting ways. The structure of the story is murderous melodrama. The story tells about a young orphan whom

Dickens projects living with a lot of mysteries around him and the character of Oliver is very real. His unwed mother gives birth to Oliver and leaves him. Oliver’s journey begins in London, from the underworld of the Jew until he finds his family. The plot unravels the secret of Oliver’s birth and ends with the orphan finding a new family and his mother's written name on a memorial tablet. Dickens describes Oliver Twist without loosing sight of the workhouse in which the story begins and in which many interesting scenes are depicted in the underworld. In this part, the writer tries to analyze the portrayal of characters and settings depicted in Oliver Twist.

The novel is set in London and its surrounding districts. The initial years of Oliver's childhood are spent in a certain town, the name of which is not mentioned by the author.

When Oliver runs away from the undertaker's shop and walks towards London, it is mentioned that the farm workhouse is seventy- five to eighty miles to the north of

London. The boy meets the Artful Dodger at Barnet, a little Hertfordshire town where every house is a tavern, large or small.

The social setting of the novel is depicted at three different levels. First, the parochial world is revealed. The inhabitants of this world are calculating and insensible to the feelings of the poor. The parochial world is divided into three parts; the workhouse,

27 28 the tradesmen, and the poor.

Second, the criminal world is exposed. Pickpockets, house-breaker, and murderers belong to this world. Poverty drives them to crime and the weapon they use to achieve their end is violence. They live with fear and guilt and die a miserable death. Fagin, Bill

Sikes, Artful Dodger and Noah Claypole are part of this society.

Finally, the world of the respectable people is unfurled. Respectable people who show a regard for moral values, and believe in the principles of human dignity live in this world. The members of this world are Mr. Brownlow, Dr. Losborne, and the Maylies.

1. The Parochial World

The parochial world in Oliver Twist involves the workhouse, the tradesmen, and the poor. It is called parochial world, because those groups are related to the parish world in which the area has its own church and clergymen. The workhouse is managed by the parish officers who manage the destitute. The tradesmen are a group of people who employee the destitute.

A. The Work House

A workhouse is a place to look after the poor who cannot support their own lives, because it is very difficult to get a job at that time. Parish poor relief is distributed mostly through "out-relief". It grants of money, clothing, food, or fuel, to those living in their own homes. However, the workhouse gradually begins to evolve in the seventeenth century as an alternative form of "indoor relief", both to save the parish money, and also as a deterrent to the able-bodied who are required to work, usually without pay, in return

29 for their board and lodging. Parish workhouse buildings are often just ordinary local houses or rented for the purpose sometimes a workhouse is purpose-built.

The running of workhouses is often handed over to a contractor who would, for an agreed price, feed and house the poor. He would also provide the inmates with work and benefit from any income generated. This system is known as 'farming' the poor.

However, the parish officers do not do their duty and do not handle the Poor’s life as well. The staff of a workhouse is supposed to comprise; master, matron, medical officer, chaplain, porter, a schoolteacher. This is the minimum number of staff although smaller workhouses did not employ so many people. For the most part, the staffs are in directives of the Poor Law Commission. Inspectors from the Poor Law Commission are expected to visit each work workhouse twice annually. Unfortunately, many of the Assistant

Commissioners were untrained also and learned by experience. This made the smooth running of workhouses a difficult task and also allows scandals.

Among other public buildings in a certain town, which for many reasons it will be prudent to refrain from mentioning, and to which I will assign no fictitious name, there is no one anciently common to most towns great or small – to wit, a workhouse and in this workhouse was born (p. 3).

In this novel, we can draw that a workhouse is an institution provided by the parish to house and feed the destitute. In workhouse, Oliver is born and stays at as one of the destitute. There is an alternative called “outdoor relief”, which is money and goods given to them. The “New Poor Law” (the Poor Law Amendment Act of 1834) introduced a centralized system across the country, grouping parishes into six hundred unions and putting a Board of Guardians in charge of poor relief be abolished, so that the able-bodied poor seeking assistance had no alternative but to enter the workhouse. At the same time workhouses were to be made less attractive than the conditions of the poorest local

30 laborer. As dickens put it: “The relief was inseparable from the workhouse and the gruel; and that frightened people” (p. II). Men, women, children, and the elderly were to be accommodated separately, and subsistence diet enforced on all inmates.

“She was brought here last night,” replied the old woman, “by the overseer’s order. She was found lying in the street. She had walked some distance, for her shoes were worn to pieces; but where she came from, or where she was going to, nobody knows” The surgeon leaned over the body, and raised the left hand. “The old story,” he said, shaking his head; “no wedding ring, I see. Ah! Goodnight!” (p. 4).

The novel opens in a workhouse in a small town seventy five miles north of London where Agnes bears Oliver, an unwed mother who dies soon after his birth. Oliver Twist is born around 1827-8 under the old workhouse system. From the quotation above can show that it is a full true and particular the life of adventure life of Oliver Twist who begins in a grim workhouse with Oliver’s birth and his mother’s death. Nobody, however, only a pauper, old woman, who is rendered rather misty by an unwonted allowance of beer; and a parish surgeon, has surrounded Oliver. It implies there are old women who are midwives in workhouse. They are untrained and occasionally paid in beer. There is a parish surgeon who employed as a local doctor who always attends a workhouse, probably awarded the contract after tendering the lowest bid for his service. So, those people are witness during the death of Agnes and the birth of Oliver.

Oliver breathed, sneezed, and proceeded to advertise to the inmates of the workhouse the fact of a new burden having been imposed upon the parish (p. 3).

The quotation above shows that Oliver as a parish child, the orphan of a workhouse, the humble, half-starved drudge, to be cuffed and buffeted through the world, and only give a new burden to the workhouse. He is despised by all and pitied by none. We see the tendency of the workhouse is to support the economic and security condition of poor

31 people. Oliver is born out to the world in the circumstances under the old workhouse system. It is strict and cruel inside, though the government later makes a new Poor Law to make poor people not suffering from the lack of social security.

For the next eight or ten months, Oliver was the victim of a systematic course of treachery ad deception. He was brought up by the hand. The hungry and destitute situation of the infant orphan was duly reported by the workhouse authorities to the parish authorities. The parish authorities inquired with dignity of the workhouse authorities, whether there was no female then domiciled in “the house” who was in a situation to impart to Oliver Twist the consolation and nourishment of which he stood in need (p. 5).

As a matter of fact, a workhouse is a place where the destitute can rely on, because there are so many things offered from government. However, the condition in workhouse itself is really terrible for everybody living there. Violence and slavery are the characteristics in the workhouse. As a child, Oliver should not get ill-treats, otherwise he should get good treats. Even, he is sent to the workhouse other than to the farm where infants are taken care. It is because in that country areas, the annual death rate in baby farms is between forty and sixty percent.

The elderly female was a woman of wisdom and experience; she knew what was good for children: and she had a very accurate perception of what was good for her self. So, she appropriated the greater part of the weekly stipend to her own use, and consigned the rising parochial generation to even a shorter allowance that was originally provided for them: thereby finding in the lowest depth a deeper still; and proving herself a very great experimental philosopher (pp. 5-6).

From the quotation above depicts the kindness and humanity moral value given by the workhouse is to be the contrary with what be the fact. In workhouse, there is a matron acts as a deputy for the Master in his absence, and also has specific responsibilities of her own, mostly relating the supervision of female inmates and the workhouse's domestic arrangements. Her duties such as; to oversee the admission of female paupers and pauper children under seven, to oversee the employment and occupation of female paupers, to

32 assist the Schoolmistress in training up the children so as best to fit them for service, to pay particular attention to the moral conduct and orderly behavior of the females and children, and see they are clean and decent in their dress and persons, to superintend the washing, drying, and getting up of the linen, stockings, and blankets, to take proper care of the children and sick paupers, and to provide the proper diet, and for women suckling infants (www.workhouses.org.uk/Leeds/).

The parental superintendence is an elderly female, Mrs. Mann, the matron of the farm workhouse, who abuses children and pockets their stipends. She receives illegally from a head of an orphan seven pence-halfpenny per week from the culprits. The cost is not equal to overload their stomach and make them uncomfortable. It states that the matron is a woman of wisdom and experiences in taking care of the destitute, but on as a matter of fact she only take the benefit for herself. Though government has given enough money to feed poor people or in other words the supply of money and goods is enough, but there is wrong allocation of the fund. As stated in theory of characters and characterization that the author can describe one’s mannerism, habits, or idiosyncrasies that may also tell us something about his character (1972: 172). We can describe one’s character only by looking at his mannerisms, habits behavior, and so on. From this theory, we see the character of the two matrons in this novel. The first matron, Ms. Mann uses the allowances that should be provided for the destitute for the sake of her self. She does not care of the pauper’s life and she takes the money for her own business. Dickens wants to say that she is a corruptor. We can see that she is trusted as the matron who has a kind heart and capable to manage the workhouse. She, however, does unexpected matters and does not responsible for her job. And because of her behavior, a lot of poor

33 people suffer and they are lack of social. Even, in the novel states that Dickens uses the term of experimental philosopher for her attitude.

Now, Mr. Bumble was a fat man, and a choleric; so instead of responding to his open-hearted salutation in a kindred spirit, he gave the little wicket a tremendous shake, and then bestowed upon it a kick which could have emanated from no leg but a beadle’s (p. 7).

Dickens never loses sight of the workhouse set with whom the story promising begins. He creates Mr. Bumble character, a paid parish official who wears a cocked hat and carried a staff. Mr. Bumble is a pompous beadle, who latter marries Mrs. Corney, is one of the Oliver’s oppressors and Dickens’ comic characters. He is a parish officer whose job delivers parochial business connected with the parochial orphans and controls the workhouse. Dickens even links him into the darker London plot, but continues with his appearances for maximal comic effect. The superb scene where Mr. Bumble woos

Mrs. Corney exploits a range of comic scene, starting with the bitterly irony contrast between the selfish enjoyment of creature comforts by the workhouse matron and the parish beadle, set against the suffering of wretches appealing for winter relief.

“Antiporochial weather”, Mr. Bumble terms it, speaking in the interests of parish ratepayers and officials, as he intransigently imposes a cruel system on the poorest parishioners.

“Mrs. Corney,” said the beadle, smiling as men smile who are conscious of superior information, “out-of-door relief, properly managed – properly managed, ma’am – is the parochial safe guard. The great principle of out-of-door relief is, to give the paupers exactly what they don’t want; and then they get tired of coming “(p. 147).

From the quotation above shows that Mrs. Corney as the matron of the workhouse to which the readers have been already introduced as the birthplace of Oliver Twist, who marries Mr. Bumble, is such the aspect of out-of-doors affairs. It is a reduction that people are threatened with starvation unless they entered the workhouse. Mr. Bumble is

34 begrudgingly administering limited rations on behalf of the parish. He is also envying

Mrs. Corney with her prosperous as a matron in the place of out door relief. Dickens creates Mr. Bumble and Mrs. Corney to be a spouse. “It was necessary for the master and matron to be a married couple (Burnett, 1974: 33). Dickens also wants to convey the existence the matron, in this part represented by Mrs. Corney who does not manage her job.

“Mr. Bumble,” cried the discreet lady in a whisper; for the fright was so great that she had quite lost her voice – “Mr. Bumble, I shall scream! Mr. Bumble made no reply, but in a slow and dignified manner put his arm round the matron’s waist. As the lady stated her intention of screaming, of course she would have screamed at this additional boldness, but the exertion was rendered unnecessary by a hasty knocking at the door; “If you please, mistress,” said a withered old female pauper, hideously ugly, putting her head in at the door, “Old Sally is a-going fast” (p. 151).

The quotation shows that such serious matters speedily give way to the hilarious sight of Mr. Bumble courting his lady by moving closer around circumference of the tea table; but a satisfactory finale to his seduction is in turn rudely disrupted by a knocking at the door. Enter the harbinger of death, as in a medieval morality play, in the form of hideously ugly old woman. After hearing that news, Mrs. Corneys requests Mr. Bumble to stay till she came back. She is afraid something happened with the Old Sally and they are walking so fast, following the old pauper from the room with a very ill grace.

Mr. Bumble’s conduct, on being left himself, was rather inexplicable. He opened the closet, counted the teaspoons, weighed the sugar-tongs, closely inspected a silver milk-pot to ascertain that it was of the genuine metal; and, having satisfied his curiosity on these points, put on his cocked-hat corner-wise, and danced with much gravity four distinct times round the table (p. 152).

Mr. Bumble depicts the theatrical interlude with a secret dance of satisfaction, exposing to us. As stated in the sixth theory of character and characterization that the author can give us a clue to a person’s character by letting us know how that person reacts to various

35 situations and events (1972: 168). We can judge one’s character from the way he faces a particular problem. Therefore, we can conclude that it is only the naked self interest behind his marriage proposal. He is very happy because he can marry Mrs. Corney and dominates her property. The interesting one of Mr. Bumble scene is that Mr. Bumble in ensuing episodes deprived of the beadle’s cocked hat, which has been so much a part of his former identity. May be this scene reduces the sympathy toward Mr. Bumble and it is such a rich source of humor.

“I sold myself,” said Mr. Bumble, pursuing the same train of reflection, “for six teaspoons, a pair of sugar-tongs, and a milk pot; with a small quantity of second- hand furniture, and twenty pound in money. I went very reasonable. Cheap, dirt cheap!” (p. 233)

The quotation above depicts there are some promotions in life, he exchange his life with property. Dickens wants to convey that the condition in Victorian age is insecure.

Because of the condition at that time Mr. Bumble or other people will do everything for wealth. “The quality and duration of life are social variables which have always depended upon an almost infinite range of economic and social factors” (Hobsbawm, 1999: 21).

Mr. Bumble has married Mrs. Corney, and he is the master of the workhouse. As the master he should be responsible to the Union and to the Poor Law Commissioners for the proper running and administration of the workhouse. He is also required to be "a friend and protector of the inmates". A workhouse Master had to be at least 21 years old, able to keep accounts. He must be "a person of sufficient education, strength of will, and firmness of purpose and must have control over himself. A Master holds office for life, unless he resigns or becomes incapable of discharging his duties. Where, as often happens, the Master and Matron are married, and the wife dies, resigns or is dismissed, then the Master had to vacate his post unless the Guardians and Poor Law Commissioners

36 agreed to re-appoint him. The beadle has come into power to change his position, and his cocked hat, gold-laced coat, and staff is descended. Mr. Bumble even sells himself with all the property Mrs. Corney has. Because the condition he has, Mr. Bumble will do everything for wealth.

Whether the late Mrs. Corney is particularly proof against eagle glances, are matters of opinion. The matter of fact is that the matron is in no way overpowered by Mr.

Bumble’s scowl, but, on the contrary, treats it with great disdain, and even raises a laugh thereat, which sounded as though it is genuine. It shows that the authority owned by Mrs.

Corney cannot be purchased by a marriage.

B. The Poor

People ends-up in the workhouse for a variety of reasons. Usually, it is because they are too poor, old or ill to support themselves. This may have resulted from such things as a lack of work during periods of high unemployment, or someone having no family willing or able to provide care for them when they become elderly or sick.

The surgeon leaned over the body, and raised the left hand. “The old story,” he said, shaking his head; “no wedding ring, I see. Ah! Goodnight!” (p. 4).

It is seen from past life in theory character and characterization, by getting the reader learn something about a person’s past life; the author can give us a clue to events that have help to shape a person’s character (1972: 166). Their families often disown unmarried pregnant women and the workhouse is the only place they could go during and after the birth of their child. It is similar with Oliver’s mother, Agnes, who gives birth in the workhouse by the assistance of the nurse and the doctor there. It reveals that Agnes as an unwed mother is one of the poor people as she is an unmarried woman who is found

37 lying in the workhouse. Her family disowns her because of her pregnancy and Oliver becomes a parish child, the orphan of a workhouse. Prior to the establishment of public mental asylums in the mid-nineteenth century, the mentally ill and mentally handicapped poor are also live in the workhouse. Workhouses, though, are never prisons, and entry into them is generally a voluntary although often painful decision. The operation of workhouses, and life and conditions inside them, varied over the centuries in the light of current legislation, economic and social conditions.

The condition of the workhouse where many orphans suffer from ill-treats is very horrified. The poor do not get good treatments as they should get. For instance, since

Oliver is infant until he is about nine years old, he always suffer hunger and under pressure. Children do not get more attention, even less for adult and old poor people; they will get punishment as put them in the jail. It shows in the workhouse where there is no peace and convenience. The example of Oliver’s and his friend violence is when his nine birthday found him as a pale thin child and very small in shape. He suffers inconvenient as well, because of the bad treatment in the workhouse. His tragic birthday party was held with a select party of two other young gentlemen, who, after participating with him in a loud sound, had been locked up therein for presuming to be hungry. This is an example how the workhouse treats children very bad.

Hunger and recent ill usage are great assistants if you want to cry; and Oliver cried very naturally indeed. Mrs. Mann gave him a thousand embraces, and, what Oliver wanted a great deal more, a piece of bread and butter, lest he should seem too hungry when he got to the workhouse (p. 9).

In the workhouse mastered by Mrs. Mann, Oliver suffers a great painful, and then short after that Mr. Bumble moves him to another branch workhouse in which orphans in the same age are together in order to improve the quality of their lives. Therefore, it

38 means that Oliver will get good treatment and proper food in the new workhouse as Mr.

Bumble said. However, the condition is not the same as Oliver expects. Oliver and his friends still suffers tortures even more and starvation for three months. They get so voracious and wild with hunger. The council who should give opportunity, protects, and comfortable shelter and environment to the children; even do not carry out well. There is a classification and segregation, workhouse inmates were strictly segregated into seven classes: aged or infirm men, able bodied men, and youth above 13, youths and boys above seven years old and under 13, aged or infirm women, able bodied women and girls above 16, girls above seven years old and under 16, and children under 7 years of age.

Each class had its own area of the workhouse. Husband, wives, and children were separated as soon as they entered the workhouse and could be punished if they even tried to speak to one another.

He continues his life by going to London to seek his fortune then. Because, in the silence of the gloomy undertaker shop in which Oliver work for gives his feelings which the day’s treatment may be supposed likely to awake him to against his destiny.

‘You mustn’t say you saw me, Dick.’ said Oliver. ‘I am running away. They beat and ill-use me, Dick; and I am going to seek my fortune some long way off. I don’t know where. How pale you are!’ ‘I heard the doctor tell them I was dying,’ replied the child, with a faint smile. ‘I am very glad to see you, dear; but don’t stop, don’t stop!’ ‘Yes,yes, I will, to say good-bye to you,’ replied Oliver. ‘I shall see you again, Dick. I know I shall. You will be well and happy.’ (p. 45)

Oliver goes back to the workhouse and asks permission to his young dear friend

‘Dick’ as they have miserable experiences together; being beaten, starved, and shut up together, many and many time. In this scene we can see the torture given by the workhouse, pity of young Dick who soon died after Oliver leaves him and friendship as

39 well.

“I thought they were talking rather too much to be doing their work properly, my dear,” replied Mr. Bumble, glancing distractedly at a couple of old women at the wash-tub, who were comparing notes of admiration at the workhouse-master’s humility (p. 236).

In the novel, Oliver Twist, the destitute live there. Inmates are given a variety of work to perform, much of which is involved in running the workhouse. The women mostly do domestic jobs such as cleaning or helping in the kitchen or laundry. Some workhouses had workshops for sewing, spinning, and weaving or other local trades.

Others had their own vegetable gardens where the inmates worked to provide food for the workhouse. The women work for the inmates of the workhouse because before entering the workhouse, paupers were stripped, bathed (under supervision), and issued with a workhouse uniform. Their own clothes would be washed and disinfected by the women and then put into store along with any other possessions they has and only return to them when they leave the workhouse.

There are other characters of poor people; Noah Claypole and Charlotte. Noah is a charity boy working for Mr. Sowerberry and Charlotte is his girlfriend who also a servant of the mistress and she is willing to be Noah’s accomplice in crime. They ill-treat and underestimate Oliver consider their selves are superior to Oliver.

‘I’m Mister Noah Claypole,’ said the charity-boy,’ and you’re under me. Take down the shutters, yer idle young ruffian!’ (p. 29)

Noah Claypole’s behavior seems like a rich and powerful man, but as a matter of fact he is a worker, so is Oliver. Noah thinks he can order other people, for instance

Charlotte and Oliver. Noah is just a charity boy who has an unhappy family. He acts like that because he feels not satisfied with the condition he is in. It shows what a beautiful thing human nature sometimes is, and how impartially the same amiable qualities are

40 developed in the finest lord and the dirty charity-boy.

Noah was a charity-boy, but not a workhouse orphan. No chance-child was he, for he could trace his genealogy all the way back to his parents, who lived hard by; his mother being a washerwoman, and his father a drunken soldier, discharged with a wooden leg, and diurnal pension of two pence-halfpenny and an unstatable fraction (p. 30).

He cannot possibly devote to a worthier purpose than annoy young Oliver Twist.

He acts like a malicious and ill-conditioned charity boy as he is. Noah always tortures

Oliver, twitches his ears, and expresses his opinion that he is a sneak and furthermore announced his intention of coming to see him hanged. However, none of these treatments make Oliver cries. Therefore, Noah tries to find the angle that can make Oliver brushes the tears.

Intent upon this innocent amusement, Noah put his feet on the table, pulls Oliver’s hair, and twitches his ears, and expresses his opinion that he is a sneak (p. 37).

The quotations depicts the scene where Oliver as the oppressed one, weak, thin, and smaller than Noah, and people recognized Noah as a dirty charity boy, after aggravating and tantalizing Oliver, is so weak and no power against Oliver. He is not doing a single mistake but what he gets is much more than torture and causing humiliation. Many times

Oliver gets ill-treats which he does not deserve to get that. All people in the shop are very cruel to him. It shows that people cannot differentiate which is bad and which is good.

C. The Tradesmen

For a week after Oliver asks for more, he remains a close prisoner in the dark and solitary room to which he has been consigned by the wisdom and mercy of the board. He only cries bitterly all day and when the night comes, he spreads his little hands in over his eyes to cover the darkness and crouches in the corner, tries to sleep close to the wall

41 where the gloom and loneliness surrounded him.

‘If the parish would like him to learn a light pleasant trade, in a good ‘spectable chimbley-swepin’ business,’ said Mr. Gamfield, ‘I wants a ‘prentis, and I’m ready to take him.’ ‘It’s a nasty trade,’ said Mr. Limbkins, when Gamfield had again stated his wish (p. 1).

Soon after that, Oliver is sent to be prenticed by the board to Mr. Gamfield; a greedy chimneysweeper. From the quotation above shows he is a man who employees inmates. He tries to take Oliver as his apprentice through Mr. Bumble without paying some money. In 1834 Act for the Better Regulation of Chimney Sweepers and Their

Apprentices raised the age limit to ten and the boys should serve a two-month trial apprenticeship before the letters are signed. Mr. Bumble states as a chimneysweeper,

Oliver will have prentice and good life later. Otherwise, after the case finished with Mr.

Gamfield, he still faces cruelty and unhealthy condition of work as in the explanation follows.

In rural areas, inmates are sometimes used for agricultural labor. The jobs are stone- breaking, corn-grinding, bone-crushing, gypsum-crushing, oakum-picking, wood- chopping, a mute in burial and chimney sweeper. No work, except necessary household work and cooking, was performed by inmates on Sunday, Good Friday, and Christmas

Day.

Oliver is once more again informed to let the nasty trade, and that five pounds will be paid to anybody who will take possession of him. Mr. Bumble after that inquiry returns to the workhouse to communicate the result of his mission and just at the gate,

Mr. Sowerberry, the parochial undertaker is the first man who favors Oliver. He is a local undertaker contracted to the workhouse, having agreed to carry out jobs at a specified

42 low price, who makes Oliver his apprentice. Mr. Sowerberry is a tall, gaunt, large-jointed man, attired in a suit of threadbare black, with darned cotton-stockings of the same color, and shoes to answer. His features are not naturally intended to wear a smiling aspect, but he is in general rather given to professional man.

“Aha!” said the undertaker, glancing over it with a lively countenance; “an order for a coffin, eh?” “For a coffin first, and a parochial funeral afterwards,” (p. 31)

Oliver works in Mr. Sowerberry’s shop as a mute boy in funeral or parochial funerals. It is culturally important even for poor families to hold elaborate funerals, but a funeral paid for by the parish would have been a meager and demeaning affair (pp. 368-

369). In Sowerberry’s world, Oliver’s expectation is not fulfilled; even he is in very bad condition.

“Then come with me,” said Mrs. Sowerberry, taking up a dim and dirty lamp, and leading the way upstairs; “your bed’s under the counter. You don’t mind sleeping among the coffins, I suppose? (p. 27) He was alone in a strange place; and we all know how chilled and desolate the best us will sometimes feel in such situation. The boy had no friends to care for, or to care for him (p. 28).

He presumes after moving out from his previous circumstance he will have a better life, but it is worse. It is unimaginable that Oliver must sleep among the coffins under the counter, which is directed by Mrs. Sowerberry, his new mistress, who ill-treats Oliver. In this scene Oliver really does not get satisfaction working in Mr. Sowerberry’s shop. Even for Mrs. Sowerberry, Oliver is too small, feels disgust and underestimates Oliver, whether he can work or not in her shop. He is really under pressure and faces horrible moment. In the silence of the gloomy undertaker shop gives Oliver’s feelings which the day’s treatment may be supposed likely to awake him to against his destiny.

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2. The Criminal World

In nineteenth century England, there was a great shift in movement from the villages to cities because of rapid industrialization. The migrants, who were unemployed and lived in dirty streets, often took to crime. Dickens had come across such people living in the streets of London as he was familiar with every section of the city. He was also aware of the conditions of the paupers living in workhouses managed by the parish.

Then, he criticized the bureaucratic boards and corrupt parochial organizations of his times by attacking the Poor Laws in “Oliver Twist”.

Oliver’s adventure starts from the meeting with The Artful Dodger. Oliver walks twenty miles to London to seek his fortune, but nothing he has to survive along the journey. He thinks nobody can find him in London, not even Mr. Bumble. He has often heard the old men in the workhouse that it is the very place for a homeless boy, who must die in the streets unless some one helps him. As these things passed through his thoughts, he jumps upon his feet, and again walks forward. In the short time, unexpected young gentleman comes offering of shelter; a comfortable place.

As John Dawkins objected to their entering London before nightfall, it was nearly eleven o’clock when they reached the turnpike of Islington (p. 50).

Oliver discovers that his friend’s name is Jack Dawkins or The Artful Dodger. In this story Artful Dodger responsible for Oliver’s entry into the underworld. John

Dawkins is also known as the Artful Dodger who is the most successful pickpocket belongs to the Fagin’s gang. He is one of the delightful characters of Dickens who entertains the readers with his slang and crude language. He gets acquitted with Oliver at

Barnet and leads him to London to the world of criminals. He is good to Oliver but tries to convince him to join their trade.

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A dirtier or more wretched place he had never seen. The place was very narrow and muddy, and the air was impregnated with filthy odours. There were a good many small shops; but the only stock in trade appeared to be heaps of children, who, even at that time of night, were crawling in and out at the doors, or screaming from the inside (pp. 50-51).

In the very narrow and muddy street and in the condition of unhealthy air, there is friendship and convenience, because Oliver finds out that there is no miserable life. He finds happiness, laugh, and food. In the old house where Arthful dodger lives there is many children wear good clothes, smoke long clay pipes, and drink spirits with the air of middle-aged men as they are not acting as well as children in their age.

‘This is him, Fagin,’ said Jack Dawkins; ‘my friend, Oliver twist.’ ‘We are very glad to see you, Oliver – very,’ said the Jew. ‘Dodger, take off the sausages, and draw a tub near the fire for Oliver (p. 52).

We know the character’s of Fagin from the description of a person’s appearance and clothes from the author’s point of view, as stated in the personal description. The person appearance can be description of face, skin, eyes, and so on (1972: 162). There is a very old shriveled Jew dresses in a greasy flannel gown, assumed he is the master of the house. He is a stereotyped portrait of a Jew, lord of the underworld, wily and greedy and feels delighted to lure young men into his profession. In making a Jew the lord of the underworld, whose dominant character traits are his cunning and scheming, Dickens depicts a long existing stereotype of Jews as money, hungry, and deceitful. Such portraits of Jews are popular fare in Dickens’ society and instead of opposing them with a realistic portrait, he depicts them. Fagin has a faithful gang of thief that time, the merry old gentleman and the hopeful pupils show very good behavior and welcomes Oliver, not like the gang leader of thieves. He thinks the old gentleman must be a decided miser to live in such dirty place, with so many watches. Oliver sees a box full of treasure belongs to the

45

Jew. However, he still keeps positive thoughts that the Dodger and the other boys cost the

Jew a good deal of money. Before finally he knows Fagin is the lord of underworld.

In a couple of days in the house of Fagin, Oliver wonders that picking the old gentleman’s pocket in play has to do with his chances of being a great man. He does not realize that being a thief is a bad manner, because he thinks it is just a game learned by

Fagin. Oliver assumes London provides him a good life and the Jew, being so much his senior, must know the best, and Oliver follows the Jew’s instruction and is soon deeply involved in his new study. He still does not realize what he is doing now; he is such an innocent pupil. The day where he goes with Artful Dodger and Charley Bates who is a fun-loving thief, seems a horror for his life. He watches The Dodger and Master Bates steal a handkerchief from the old gentleman’s pocket in bookstall. Oliver runs away, as accused one, a thief. The crowd eagerly gathers around him, each new comer jostling and struggling with the others to catch a glimpse. Oliver only can surrender covering with mud and dust, and bleeding from the mouth. He really gets torture from what he does.

Later, the man whose book is stolen takes Oliver at his house. After a couple of day’s recovery of Oliver, Mr. Brownlow sends Oliver to return the books to the bookseller where the tragic event happened. Meanwhile, on the way to the book stale,

The Jew Fagin sends Bill Sikes and Nancy. Bill Sikes is a crude and cruel man, an accomplice of Fagin and the boy friend of Nancy.

“Hush! Hush! Mr. Sikes,” said the Jew, trembling; “don’t speak to loud.” “None of your mistering,”replied the ruffian; “you always mean mischief when you come that. You know my name; out with it! I shan’t disgrace it when the time comes” (p. 79).

After Oliver is being arrested, he is under controlled of Fagin and Bill Sikes. The

46 underworld life brings him into a miserable life. Bill Sikes is a man who has a role as the man brings him to the crime. In the quotation above shows that Sikes has a bad temper and harsh manner. He sometimes torture Oliver. A notable plan is always discussed and determined on by Fagin and the gang of thieves, which will be carried out by Bill Sikes and his accomplice, Toby Crackit, a housebreaker and a cheerful drinker. The characters of Bill Sikes and Nancy can be seen from their speech. The author can give us an insight into the other character of one of the person in the book through what that person says.

Whenever a person speaks, whenever he is in a conversation with another, whenever he puts forward an opinion, he is giving us clues to his character (1972: 164). We can see one’s character is reading the speech or the dialogue from the text.

To get Oliver back, a plan to catch Oliver by sending Bill Sikes and Nancy is success. She is a desperate fallen woman with tender heart who serves Sikes with devotion and later helps Oliver establishing his identity. Nancy is the counterpart of Rose in her love for Oliver, her sensitivity and her goodness. However, Rose is lucky to have found respectability, security and love. Nancy is cursed with a fallen status and wretchedness. She feels guilty during Oliver into crime and expresses her sympathy for him. When she overhears Monk’s conversation with Fagin concerning Oliver, she goes to meet Rose to deliver her the information. Risking her own life, she walks over the

London Bridge to keep her appointment with rose and, in the process, loses her own life.

Bill Sikes, the man she has loved and served, kills her mercilessly when he suspects her of betraying their trust. Dickens has success in portraying Nancy as unfortunate woman, possessed with a good heart but a tortured soul.

47

“I have saved you from being ill-used once, and I will again, and I do now,” continued the girl aloud; “for those who would have fetched you, if I had not, would have been far more rough than me. I have promised for your being quiet and silent: if you are not, you will only do harm to yourself and me too; and perhaps be my death. See here! I have borne all this for you already, as true as God sees me show it” (p. 131).

From the quotation above shows that Nancy feels pity with Oliver, and then she turns to be a nice friend of Oliver who later saves his life. She is very fond of Oliver and he can see Nancy loves him as a brother. She promises that she will save his life. Oliver is shocked that Nancy is really such a dear sister. She speaks the truth; her countenance was agitated, and produces trembled voice.

‘I, lady,’ replied the girl; ‘I am the infamous creature you have heard of that lives among the thieves, and that never from the first moment I can recollect my eyes and senses opening on London streets have known any better life, or kinder words than they given me, lady. I am younger than you would think, to look at me, but I am well used to it. The poorest women fall back as I make my way along the crowded pavement.’ (p. 263)

Nancy’s life has been squandered in the streets in London, but there is still something on the woman’s nature left in her. She struggles with her shame, and then she feels better feeling and pride. She knows that she is the representation of the lowest and most debased creature not less than the high and self-assured. Her miserable companion of thieves and ruffians, the most places she visits, the jails and hulks, are in her shadow.

However, she is proud to be her self, betraying the myths that a woman is a weak creature, because of her strong humanity, caused of the trace she faces since she is a child. Though she is one of the gang of thieves and spends most of her life at the streets, she is such a nice creature, honest, and an angle for Oliver indeed, that later she helps

Oliver to reveal his identity.

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3. The Respectable People

When Oliver will be put in jail, Mr. Brownlow, a respectable gentleman rescues

Oliver from the criminals and later adopts him as his son. Dickens presents Mr.

Brownlow through a child’s vision. Oliver regards him as a godly man possessing the virtues goodness and greatness. When he comes back to meet Mr. Brownlow after a period of time, the gentleman welcomes him with open arms. Mr. Brownlow feels responsible to provide Oliver with respectability and security. In order to ensure the identity of the boy, Mr. Brownlow persuades Monks to reveal the true story of Oliver births. He also restores the boy’s share his father’s property. He wards off the evil forces from Oliver’s life and provides the boy with love and security. He is Oliver’s guardian and savior.

The encouraged, Oliver tapped at the study door. On Mr. Brownlow calling to him to come in, he found himself in a little back room quite full of books, with a window looking into some pleasant little gardens. There was a table drawn up before the window, at wihich Mr. Brownlow was seated reading (p. 85)

After the tragic event happens to Oliver, Mr. Brownlow brings him to his neat house, in a quiet shady street near Pentonville, which is a district inhabited by middle- aged clerks employed in the city. Mr. Brownlow has a study room which is characterized as an educated man. The environment of his house and the property he has are categorized as a middle class man. He also has a servant called Mr. Bedwin. It also shows that Mr. Brownlow has a higher social status than Others as he employees a servant.

‘Bless us, and save us! Wash your hands, and let me part your hair nicely for you, child,’ said Mr. Bedwin. ‘Dear heart alive! If we had know he would asked for you, we would have put you a clean collar on, and make you as smart as sixpence!’ (p. 85).

For many days, his new friends take care of him with all the goodness, as the old

49 lady, Mrs. Bedwin who is the housekeeper of Mr. Brownlow, who champions Oliver’s integrity, has been so kind to him in his illness. Couples day has passed and Oliver is getting well. They are happy days after Oliver recovery. Everything is so quiet, neat, and orderly, everybody is so kind and gentle, that after the experiences he faces in his whole life, it seems like heaven itself.

Mr. Brownlow smiled; and, turning to Oliver, said that Mr. Grimwig was an old friend of his, and he must not mind his being a little rough in his manners, for he was a worthy creature at bottom, as he had reason to know (p. 87).

Oliver now becomes a member of Pentonville and his new family very loves him.

After recovering from the illness, one evening Mr. Brownlow would like to see Oliver in his study, and talk to him a little while. There is also an old companion of Mr. Brownlow named Mr. Grimwig who doubts Oliver’s integrity.

He had a manner of screwing his head on one side when he spoke, and of looking out the corners of his eyes at the same time, which irresistibly reminded the beholder of a parrot (pp. 87-89).

He is being a little rough in his manners and he really wants to know Oliver. Mr.

Grimwig’s manner is not very good as a respectable man as he underestimates people from the appearance, especially Oliver. He accuses Oliver as a thief and prejudices him of being somebody improper to live in such a house of Mr. Brownlow, because he is a poor one. The spirit of contradiction is strong in Mr. Grimwig’s mind at the moment. It is illustrating the importance when we attach to our own judgments, and the pride with which we consider in rash and hasty conclusions. Mr. Grimwig is not by means a bad- hearted man, though he does not sorry to see his respected friend deceived.

“She was not seventeen. Cast in so slight and exquisite a mould, so mild and gentle, so pure and beautiful, that earth seemed not her element, nor its rough creatures her fit companions. The very intelligence that shone in her deep blue eye, and was stamped upon her noble head, seemed scarcely of her age or of the world; and yet

50

the changing expression of sweetness and good humour, the thousand lights that played about the face and left no shadow there, above all, the smile, the cheerful, happy smile, were made for Home, for fireside peace and happiness (p. 186).

Dickens portrays Rose as a charming young woman who is always warming, sensitive, and cultured. Her characters can be seen from her speech that the author can give us an insight into the other character of one of the person in the book through what that person says. Whenever a person speaks, whenever he is in a conversation with another, whenever he puts forward an opinion, he is giving us clues to his character

(1972: 164). As the ward of Mrs. Maylie, she takes care of Oliver when he is laid up in bed and becomes his companion after recovers. She understands his needs and provides his comfort and security. She takes pity on nancy and and tries to reform her. She takes

Mr. Brownlow into confidence by revealing Nancy story to him. Unsure of her origins, she refuses Mr. Harry Maylie’s proposal of marriage even though she loves him. After her true status is revealed and when Mr. Harry decides to settle down in a village as a parson, she marries him. She is a good lady who wishes the best for everyone around her.

Her heart is reservoir of love. Then she feels happy to strengthen her bond of friendship with Oliver.

B. The Victorian Social Stratification Revealed Through Characters and Setting In

Oliver Twist

In the late eighteen-century, different social class can be distinguished by inequalities in such areas as power, authority, wealth, working, and living conditions, life styles, life span, education, religion, and culture. Early In the nineteenth century

“working classes” and “middle classes” were already coming in the society. The basic

51 hierarchical structure formed the “upper class”, “middle class”, “the lower middle class”,

“the working class”, and “the under class”. In this part I will analyze the Victorian social stratification. There are four divisions at that present time; middle class, lower middle class, lower class, and under class. Why I exclude the upper class family in the Victorian

Age is because Dickens, in this novel, does not portray the upper class. He only portrays the condition of underclass, which is surrounded and related with the people in middle class, lower middle lass, lower class, and under class. Therefore, I only explain four social classes.

1. Middle Class

We tend to think of the middle class as characteristically Victorian, and we assume that middle class conditions and attitudes adequately represent all of Victorian England. I will explain the characters and settings that reveal the middle class family.

After the tragedy happens to Oliver, Mr. Brownlow takes Oliver to his house.

Oliver gets well treatment from the inmates of the house contradicted with the situation in the workhouse. After couple of days has passed, Oliver gets well and everybody is happy.

The scene presents the goodness of the inmates of the house as they love him so much.

Mr. Brownlow as a representation of a middle class man as his good characters and the place where he lives is in Pentoville. As described that his house is located near

Pentoville in which it is the area inhabited by middle-aged clerks employed in the city.

Mr. Brownlow has a study room which is characterized as an educated man. The environment of his house and the property he has are categorized as a middle class man.

He also has a servant called Mr. Bedwin. It also shows that Mr. Brownlow has a higher

52 social status than Others as he employees a servant. The character of a middle class people is having maid or workers.

Turning a different way when it reached the Angel at islington, stoped at length before a neat house, in a quite shady street near Pentoville. (p. 69)

After Oliver recovers from his illness, Mr. Brownlow introduces Oliver with his friend, Mr. Grimwig, which has a rough character. Mr. Grimwig who belongs to the middle class does not posit him self as a middle class man, because his manner is not very good if we compare with the other characters in the story. He underestimates people from first appearance, as Oliver has, and also distrusts every people who are peculiar for him. It shows though someone comes from middle class family it does not mean his behavior is good as expected. People belongs to the middle class in this story are Mr.

Brownlow and friends, such as; Mr. Grimwig, Mrs. Maylie, Harry Maylie, Rose.

However Mr. Grimwig has different character presented in this scene.

Mr. Brownlow smiled; and turning to Oliver, said that Mr. Grimwig was an old friend of his, and he must not mind his being a little rough in his manners. (p. 87)

Middle class in Victorian period are families of professionals, physicians, attorneys, writers, engineers, and doctors. Dickens describes the middle class society well, as he has

Mr. Brownlow and his friends, included Dr. Losborne, a medical practitioner and a friend of the Maylies’ who saves Oliver from the clutches of the law. Dickens also describes that the women in the middle class in this story do nothing only staying at home, as Mrs.

Maylie and Rose. Dickens portrays Rose as a charming young woman who is also warm, sensitive and cultured. As the ward of Mrs. Maylie, she take care Oliver in his illness.

Dickens portrays both of two women have good heart, which is reservoir of love. Dickens depicts the condition of the women at that level well, where at that time a single woman

53 at this economic level or middle class still had only one option for respectable employment; working as a governess. If she did not marry and had no relatives to care for her, a governess would have to remain a governess all her life, which of course would mean moving from house to house. The lifestyle of the governess remained all that a middle class. In the story, even there is no one single character has a job as governess, because Mrs. Maylie and Rose as the icon of middle class women prefer to stay at home with his family, as no other option besides to be a governess. Because being a governess at that time is also the opportunity for lower middle class women. A family of the commercial middle class especially employs the duties of governess. The middle and upper class styles for educating girls at home created the phenomenon of the governess.

Some middle-class women were taking up as professions, needlework and teaching were seen as “natural” professions for women, and so would have been appropriate for those from the middle and upper classes. Whereas only some women had the education to be a governess, virtually all women had the necessary experience for needlework. (Burnett 1974, p. 22)

Dickens only portrays an obvious job as a doctor, which belongs to the middle class presented by Dr. Losborne. As Mr. Brownlow and Mr. Grimwig are not mentioned there what kind of job they belongs, while Harry Maylie, he son of Mrs. Maylie, is a parson. Those characters belong to the middle class. Middle class society in this novel mostly has good behavior as well as Mr. Grimwig though he is a little bit rough. The classification of the middle class society is analyzed from their behaviors, setting, living condition, and occupation. Middle class people are families of professionals, such as physicians, attorneys, woman writers, engineers, doctors. They work for upper class society and employee lower middle class and lower class people to support their business.

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2. Lower Middle Class

In this part, I will explain about the existence of lower middle class society portrayed in Oliver Twist. In Victorian Age, people who belong to lower middle class society commonly have occupations such as hoteliers, publicans, tradesmen or tradeswomen, lodging housekeepers, governess or teacher for middle class family. There are others occupations in this social class, as the master of chimneysweeper and magistrate. Mentioned in 1834 Act for the better regulation of Chimney sweepers and their apprentices raised the age limit to ten and the boys should serve a two-month trial apprenticeship before the letters are signed. The lower middle class societies in Oliver

Twist are represented by Mr. Gamfield and The Sowerberry’s. Mr. Gamfield as one of the representation of this class is a person who seems a good master for Oliver Twist, oppositely has bad manner which against human right, because he only pays five pounds for taking Oliver as his prentice through the magistrate. He is as a tradesman who trains prentices is one of the criteria as a lower middle class person. This explanation of this scene shows the real condition of lower middle class people where people in Victorian

Age work as tradesmen.

Considering about tradesmen in this story, remains us to the characters of the

Sowerberry’s where Oliver is employed in Mr. Sowerberry’s shop. He is a parochial undertaker and is the first man who favors Oliver. He thinks after moving from the apprentice of Mr. Gamfield to Mr. Sowerberry, it will make his life better. However, it is contradiction with what he assumes as he gets ill-treats from some people there, even

Mrs. Sowerberry who has manner is opposite with her husband. He really lives in inappropriate condition. The condition where Oliver stays and works for portrays the

55 lower middle class society, especially for the tradesmen. They have some workers, which is in the story presented by Noah Claypole and Charlotte, who do ill-treats to Oliver.

Noah Claypole as a worker or a charity boy and charlotte as a housemaid in Sowerberry’s house are employed in the nasty trade.

For instance: when Sowerberry had an order for the burial of some rich old lady or gentleman, who was surrounded by a great number of nephews and nieces. (p. 36)

As trade’s family, Mr. and Mrs. Sowerberry have a shop related with a death or burial ceremony. Rich family from upper and middle class are classes need the favor of

Mr. Sowerberry’s trade. It shows that the stratification social class is based on power and wealthy in which the upper class ask for help to the lower class society as seen is the illustration above. The portrayal of lower middle class society in this story is presented by the existence of the tradesmen. They work for the upper and middle class people. The lower middle class people employee the under class people to run their business by the helps of lower middle class people.

3. Lower Class

The lower class was distinguished from the upper by having less education, no pretensions to gentility, fewer resources or opportunities, in some cases, simply less luck.

A definition of the lower class in the Victorian Age commonly have division occupations, they are women of the upper working class, miscellaneous occupations, seamstresses, milliners, farm, factory and mine workers, washerwomen, domestic servants, and women of the lower working class. I will analyze the representation of lower class society in

Victorian Age in Oliver Twist.

In Oliver Twist, the condition prevailing at that time is portrayed in a very good

56 way. Oliver belongs to no one for the eight or ten moths as the victim of systematic course of treachery and deception in the workhouse. In workhouse, the paupers should be protected and well treated, but it is provided inconvenience. Women at that time barred from all professions and higher public offices. Apart from a few exceptions women were employed in official positions only where female gender was an occupational requirement, such as workhouse matron. To be selected for such occupations a woman had to be eminently respectable, pious, and good reputations. In the previous discussion I wrote about some characters represent the lower class society. As stated in the theory of

Social stratification that the lower class embraces those of the labor force who do manual labor, who join unions, who earn a “wage” (hourly per rate) rather than a “salary” and whose characteristic symbol is the blue rather than the white collar of the middle class.

The occupational character of the working class is that labor physically; they use their hands and manipulate things. One of the characters is presented by Mrs. Mann, a workhouse matron, who takes advantage from managing the workhouse. She even does not have a character as a matron. Since Oliver is a child, she gives him unhealthy foods, only watery milk of bread, flour and milk rather than breast-fed. It is stated that the woman is full of wisdom and experiences in taking care of the destitute. However, all of these are the contrary of the fact. She only takes it for her shake without considering the destitute condition. It is very bad condition, where in the workhouse should be a comfortable place where the pauper can rely on, but the fact is the workhouse as a jail for them. They feel inconvenience, because starvation, violence, and slavery are occurred.

The act of Poor Law at that time was not working well. From the scene, it portrays a condition that the matron cannot provide some kind of public services. From that scene,

57 we can also graphs that the matron which is the staff of a workhouse belongs to the lower class in the society. The staff of workhouse are hired and paid by government to run the workhouse.

Here, the staff of a workhouse which belongs to miscellaneous occupations is supposed; a master, a matron, a medical officer, a chaplain, a porter, and a schoolteacher.

This was the minimum number of staff although smaller workhouses did not employ so many people.

The more evidences of lower class society revealed by the appearance of Mr.

Bumble as a parish beadle whom Dickens creates as a comic character in this story. As a pompous beadle belongs to the lower class he has an authority to manage the workhouses. It shows the reality that although in the same social class the beadle is still considered. He sacrifices his life only to marry Mrs. Corney, who is the matron of workhouse as well, to occupy her property, and then he becomes the master of the workhouse. Mr. Bumble really wants to change his social class a little bit higher than now. Actually they have the same social class, but considering that Mrs. Corney is a matron of the workhouse, who has many beautiful things. It becomes a great opportunity that he can collect Ms. Corney’s property, that is why he decides to marry her. His pride of being a master of a workhouse makes him very arrogant and does whatever he wants without considering people’s business. Besides as a comic character, Dickens creates Mr.

Bumble as a materialistic character that he sells Oliver’s identity to Monks. Mr. Bumble will do many ways to satisfy and fulfill his needs.

“I sold my self,” said Mr. Bumble, pursuing the same train of reflection, “for six teaspoons, a pair of sugar-tongs, and milk pot; with a small quantity of second-hand furniture, and twenty pound in money. I went very reasonable. Cheap, dirt cheap!” (p. 233)

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The quotation above shows that it is only naked self-interest behind his marriage proposal. In the workhouse, that time it was necessary for the master and matron to be married as a couple. However, Mr. Bumble marries Mrs. Corney and dominates her property. If we relate the middle class and lower class society, we will find the link that there are many people employed by middle class society. Lower class people work for upper class people or government and help as the broker of lower middle class people’s business. The portrait of this society is seen in the life of workhouse’s officer. They have responsibilities to manage the destitute as they work for the government.

4. Under Class

Many modern people mistakenly imagine the Victorian period, which has been a time of tranquility and peace as it is such a violent age. In fact, parts of London were so dangerous that no policeman would enter them and thieves would murder people for their handkerchiefs. Even in the Victorian vicious thieves, housebreaker, and hustlers watched household that is a secure place. In this part, I will analyze the under class society in the

Victorian Age revealed through the characters and settings. As the works of Dickens have been wide spread and he criticizes the existence of Poor people particularly people in the under class social stratification. There are some criteria of under class, such as; deserving poor, undeserving poor, criminal classes, prostitution, women of the underclass.

Oliver is born out without family, because his mother died soon after delivering her baby. The matron of the workhouse take care Oliver since he is an infant. As an orphan without family born by unwed mother, no body knows that Oliver belongs to what class society. It portrays that parish officer in the workhouse manages the orphan and poor

59 people. The orphan belongs to the under class society must be protected under control of the workhouse system.

The workhouse authorities replied with humility, that there was not. Upon this the parish authorities magnanimously and humanely resolved, that Oliver should be “farmed”. (p. 5)

It also portrays the condition of under class society which is called the deserving poor people. As stated in the theory that the under class people have the lowest educational achievement of any stratum in the community. A number of the jobs tend to be intermittent, seasonal, and cyclical, long periods of employment and underemployment are characteristics. The deserving poor people include unemployed, underemployed people, and people who were the victims of injury and illness. When

Oliver and friends stay in the workhouse never get good treatment, otherwise ill-treats. At that time, the shameful practice of child labor should have played an important role in the industrial Revolution.

Oliver Twist and his companions suffered the tortures of slow starvation for three months. At last they got so voracious and wild hunger. (p. 12)

They always feel insecure and suffer from violence. It means that they are children who are the victims of injury and illness; even they do not get proper shelter and food. The condition shows the under class people of Victorian Age do not get good treatment from the workhouse’s officer. The inmates of the workhouse also belong to the under class. It is depicted where Mr. Bumble woos Mrs. Corney, and suddenly the door knocked by the inmates of the workhouse. It is a knocking report that the old Sally is going to die and will deliver a message which has a very important point about Oliver’s identity. Those two things are contradiction; happiness and sadness, while Mr. Bumble shows theatrical interlude with a secret dance of satisfaction. The existence of the inmates

60 in the workhouse as a messenger portrays a life of under class society, which belongs to the underemployed in deserving poor people class. It shows many of the inmates who work in the workhouse as a washerwoman. Even the old Sally, when she is young she is a matron of the workhouse who helps Oliver’s mother gives birth, now is a pauper who settles in the workhouse, not as the matron anymore. At that time women inmates in the workhouse often performs the dual role of midwife and the nurse who “watched” at a sickbed and laid out the body.

Considering Mr. Sowerberry who has a shop which employs some worker, it means they belong to the lower middle class social stratification. I have already mentioned as a tradesman, he has some worker to run and help his business. For instance, there two people work there. They are Noah Claypole and Charlotte. The characters presented by Noah Claypole as a charity boy shows the existence of under class society as an underemployed people. Noah Claypole as a charity boy comes from under class acts as a master of the shop and orders without considering someone’s business. It is a dissatisfaction of him self towards the condition he has. It shows a person from under class behaves not as his nature and he never realize that he do not deserve to get that. It is not fair when Oliver is a victim of mockery but he is also the one who is always accused doing violence. This contradiction depicts the condition of underclass, in which an orphan has no power than a charity boy who has the authority and be the master of the shop. They actually work as the employee of Mr. Sowerberry and can be categorized as the underemployed people. The same as Charlotte, she is Noah Claypole’s girl friend, she is one of the example of underemployed people, but here it can be specified to be the woman of the underclass who works as a servant.

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Discussing about the underclass, we cannot neglect the characters of criminal world and prostitution in this story. As stated in the theory that the under class has the lowest educational achievement of any stratum in the community. In a number of the jobs tend to be intermittent, seasonal, and cyclical, long periods of employment and underemployment are characteristics. Dickens narrates Oliver Twist well. Dickens portrayed a long existing stereotype of Jews as money, hungry, and deceitful as well.

Fagin presents as the lord of underworld, and the gang, shows the existence of criminal class. It is about the kindness of Fagin and the gang that Oliver gets in the narrow and muddy place where there should be no kindness and humanity. Oliver presume there is no humanity the underworld, but after enters the house he notices everybody wears good clothes and serves delicious food. Even the Jew belongs to the underclass and settles in such a very dirty place, Oliver sees some treasure and thinks that the Jew is a miser. From the underworld, his adventure begins again. He does not realize that what Fagin and the gang teach to Oliver is a crime. He thinks the Jew is his senior and the trick being a pickpocket is only a game. It portrays the situation of the place in the underclass. Fagin and the gang portray as the criminal class where they are very popular in Dicken’s society. Fagin has a faithful gang of followers who participate in criminal activities and hand over the loot of him. In return he takes care and gives them the allowance. Dickens presents Fagin as cartoon figure with a haggard face, restless eyes and devilish expressions. Fagin’s character illustrates and represents an uneducated underclass man who has some friends who work in criminal world. Their characters can be seen from the theory characters and characterization, as mentioned in their reactions, thoughts, direct comments, and mannerism.

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Why they work as a thief is because English men, women, and children suffer the economic disaster created by industrial revolution. Unlike citizens of modern industrialized nations, the Victorian who lost his or her job did not receive any help from government. That is why there are underclass people who have a bad occupation, for example as a thief. Under class people suffer from being poor and weak, because they do not get what they want. Therefore, to fulfill their needs they think having an occupation as a thief can improve their life, otherwise it against the norm. The underclass life has to deal with street drinkers, whose main crime was to make the place untidy. In the mid nineteenth century, this was a very serious matter. A person could be arrested and jailed simply for being drunk in a public place, or for sleeping in the open air. A first offender might be ordered to leave town, but punishments will be given. Even knocking on a rich person’s door and politely requesting a few pennies or some bread got harsh punishment.

One of the Fagin’s followers is Bill Sikes who has a job as a housebreaker. Sikes has a harsh and rude temper that cannot act like that, and Nancy is portrayed as a prostitute who also has a good manner. The contradiction of behavior makes this story is interesting. It portrays the condition of criminal class, in which there is burglars, mud larks, smash and grab. Bill Sikes and Nancy belong to the underclass as housebreaker and prostitute. They do criminal activities which against norms. Nancy as a prostitute helps

Fagin and the gang as well, it is just because her love to Bill Sikes and dissatisfaction of her past life. The scene presented by Nancy when she wants to help Oliver find his identity. Her characters as seen in the theory that we can give a clue to a person’s character by letting us know how that person reacts to various situations and events. As what Nancy does for her gang and Oliver is she is a kind caring woman.

“I have saved you from being ill-used once, and I will again, and I do now,” continued the girl aloud. (p. 131)

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Nancy is the counterpart of Rose in her love for Oliver, her sensitivity and her goodness. However, while Rose is lucky to have found respectability, security and love,

Nancy is cursed with a fallen status. She feels guilty in bringing Oliver into a crime and expresses her sympathy for him. She has a kind heart not similar as her friends. However, her life ends in a tragic way. Bill Sikes the man she has loved and served kills her mercilessly when he suspects her of betraying their trust. Dickens has succeeded in portraying Nancy as an unfortunate woman, possessed with a good heart but a tortured soul. It depicts the portrait of the life of prostitute in the Victorian Age. It seems that prostitutes were left in peace until they fell foul of the law and a prostitute who is wandering in the streets one day in 1826 is committed to the watch house, and then discharged. The condition of the underworld society characterizes the underclass people as seen in the setting and their characters.

The under class people work for people who belong to the class higher than them.

Marxist criticism states that in the modern industrial capitalism, particularly in the 19 C, there is an exploitation of one social class by other. It is also seen in Oliver Twist that there is exploitation of under class people especially for the poor people. So, the exploitation of poor people causes a class struggle which brings people to commit crime.

Why the criminal world occurs in the Victorian Age is because the Victorian government do not protect and solve economic problems of English people which are created by unemployment. This case causes insecure condition at the prevailing time.

CHAPTER V

CONCLUSION

Oliver twist is an interesting story of a young orphan who lives with a lot of mystery around him. Oliver is an innocent boy who struggles to find his identity. Befor e I conclude the analysis , it is better I rewrite the two problems formulation; 1. How are characters and setting portrayed in Oliver Twist? 2. How is the Victorian age social stratification revealed through the characters and settings in Oliver Twist? I used some steps to answer the two problems formulation.

The first problem formulation is about the characters and setting portray in

Oliver Twist. In analysis I could find some characters and setting presented the condition in Victorian age. The setting begins in the parochial world. The parochial world is divided into three parts; the workhouse, the tradesmen, and the poor. The representation of characters in the parochial world such as; the member of work house, Mr. Griemfield, Mr. Sowerberry, the poor Oliver and his friends.

Then the setting continues to the criminal world in which pickpockets, house- breaker, and murderers belong to this world. Poverty drives them to crime and the weapon they use to achieve their end is violence. Oliver is introduced by the lord of underworld; Fagin and the gang. They bring him to the criminal world and some tragic events which show the way for Oliver to find his identity. Fagin, Bill

Sikes, Artful Dodger and Nancy are a part of this society. The last one is the world of the respectable people is unfurled. In this world live respectable people

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who show a regard for moral values and believe in the principle of human dignity.

Mr. Brownlow, Dr. Losborne, and the Maylies are its members and they welcome

Oliver into its fold. They are very fond of Oliver and welcome him as a new member in their family at Pentonfille.

The second problem formulation is the revelation of Victorian Social

Stratification. In this part I found four divisions of social stratification of Victorian

Age based on some theories. First, the Middle-Class is divided into several kinds of occupations, such as; families of professional, physicians, attorneys, writers, engineers, doctors. The portrait of Middle class is presented by Mr. Brownlow and his friends. The setting and their behavior toward others portray the condition of middle class social stratification. The arrogant of Mr. Grimwig and the kindness of Mrs. Bedwin, Rose, and Mrs. Maylie is portrayed the Middle class social stratification. The classifica tion of the middle class society is analyzed from their behaviors, setting, living condition, and occupation. They work for upper class society and employee lower middle class and lower class people to support their business

Second, the Lower Middle Class which is divided into some categories, such as tradesmen, magistrate, hoteliers. The representation of the Lower Middle Class is in the the Sowerberry’s and Mr. Grimwig’s world. It portrays real condition of middle class; a trademen family toward an orpha n boy. Their characters and the place where they live are representations of Lower Middle Class people. Their occupations also represent their status as well as their behavior and setting of place. They work for the upper and middle class people. The lower middle class

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people employee the under class people to run their business by the helps of lower middle class people.

Third, the Lower Class has some clases, such as; women working in the upper and middle class, miscellaneous occupation as the staff of wor khouse, seamtresses and milliners, workers, servents. The representation of Lower-Class is the staff of the workhouse. Sets in the workhouse and Mrs. Corney house, Mr.

Bumble, Mr. Corney, and also the workers at workhouse such as the Doctor, Old

Sally, and Mrs. Mann are the portrayal of the Lower Class. Lower class people work for upper class people or government and help them as broker of lower middle class people’s business. The portrait of this society is seen in the life of workhouse’s membe rs.

Fourth, the Under Class is represented by The Lord of Underworld, Fagin, and his gang of thief. The problems happen there shows the setting and condition in narrow muddy street where gang of thieves live. Crime and treachery always done and they bring Oliver to the circumstances. Fagin, Bill Sikes, Nancy and others portrays the condition in underworld. The under class people work for people who belong to the class higher than them. the exploitation of poor people causes a class struggle which brings people to commit crime. This case causes insecure condition at the prevailing time.

66 BIBLIOGRAPHY

Abrams, M.H. A Glossary of Literary Terms. New York: Holt, R inehart and Winston, 1981.

Baldick. The Concise Oxford Dictionary of Literary Terms. New York: Oxford University Pers, 1991.

Bowyer. John W. and John L. Brooks. The Victorian Age, Prose, Poetry, and Drama. London: University Press, 1955.

Chesterton. G. K. Charles Dickens. London: Menthuen and Co., Ltd., 1906.

Chesterton. G. K. The Victorian Ageof Literature. New York: Appleton-Century- Crofts. Inc., 1954.

Chesterton. G. K, 2003

Day, Gary. Class. London: Routledge , 2001.

Dickens. Charles. Oliver Twist. London: Wordsworth Editions Limited, 2000.

Dobriner, W. M. Social Structure and systems: A Sociological Overview . New York: Goodyear Publ. Co, 1994.

Foster. E. M. Aspects of the Novel and Related Writings. London: William, Clows and Sons. Ltd., 1974.

Higginbotham, Peter 2000- Poor Laws Oxford Univ.ersity web, Oxford

Kenney. William. How to analyze Fiction. New York: Monarch Press, 1988.

Lee, Richard B. Kalahari Hunter-Gatherers: Studies of the Kung San and Their Neighbors, Cambridge: Harvard University Press, 1976.

Lenz, Jennifer. The Parish Boy’s Progress. 2003. (3rd July 2003).

Loomis, Charles. P. Social Systems: Essays on Their Persistance and Charge. Canada: D. Van Nostrand Company Lts., 1964.

Murphy, M.J. Understanding Unseens. London: George Allen and Unwin, Ltd., 1972.

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Mundra, S.C., English Literature and Competiive Examinations, India: Prakash Book Depot, Bara Bazaar. Barelly, 2001.

Perrine, Laurance. Literatur: Structure, Sound, and Sense. Second Edition. New York: Harcourt Brace Jovarnich, Inc., 1974.

Stanton, Robert. An Introduction to Fiction. New York: Holt, Rinehart and Winston, Inc., 1965.

Wellek, Rene and Austin Warren. Theory of Literature. New York: Harcourt Brace and World. Inc., 1956. APPENDIX

SUMMARY OF THE NOVEL

The novel opens in a workhouse in a small town seventy-five miles north of London where Oliver is born to Agnes, an unwed mother who dies soon after his birth. The infant is sent to a branch workhouse to be looked after by an elderly lady called Mrs. Mann who pockets a major portion of the stipends allotted to the orphans. When Oliver is nine years old, he is taken back to the workhouse to learn the business of picking oakum. Like other children, he finds life in the workhouse miserable. Most of the time they are ill-treated and sent to bed hungry. One day when Oliver asks for more food, he is beaten up and confined to a solitary cell.

Later, he is sold to Mr. Sowerberry, an undertaker, who makes him his apprentice.

He is trained to be a mute at children's funerals. Though Mr. Sowerberry likes him, Mrs. Sowerberry and her loyal servant, Noah Claypole, make his life miserable. One day, after he hits Noah for taunting him and insulting his mother,

Oliver is beaten up and confined to a dark room. Early the next morning, he makes his escape to London. The first chapter of Oliver's life thus comes to an end.

On the way to London, Oliver meets a young man named John Dawkins who gives him food and promises to provide him shelter in London. Dawkins, also known as Artful Dodger, introduces him to the underworld by taking him to the house of Fagin. Unaware of the nature of the underworld, Oliver lives in the midst of criminals enjoying himself more than he has ever done before. However,

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the day he goes out with Dodger and Bates and watches them pocketing the purse of a gentleman, his suspicions are aroused. He feels revolted and tries to run away from the scene. Unfortunately, the gentleman seeing him running away from the scene, suspects him of being the thief. As Dodger and Bates make their escape,

Oliver is led to the office of the magistrate. He is almost charged for the theft, when the book-seller, who was a witness to the crime, enters the scene and declares him innocent. Unable to withstand the strain anymore, Oliver faints. Mr.

Brownlow takes pity on the boy and carries him to his home in Pentonville. In the peaceful atmosphere of the house, Oliver recovers. Both Mrs. Bedwin and

Brownlow shower him with affection. When Oliver regains his strength, he is sent on an errand to the book-stall by Mr. Brownlow. As he walks down the street,

Nancy and Sikes who lead him towards Fagin’s den capture him.

Oliver is made to abandon the world of goodness to enter the bad world of the criminals once again. Fagin and his associates try to tempt him towards criminal activities but the boy remains unmoved, thus displaying an inner strength and a spirit of confidence. One evening, he is sent to accompany Bill Sikes on a secret mission. Though he suspects the nature of the mission, he becomes aware of the real crime only when they visit the spot. Oliver is forced to help Bill Sikes and Toby Crackit break into a house to rob it of its valuables. Unmindful of his protests, they push the boy in the through the window and order him to open the door. The boy takes the opportunity to alert the inmates of the house but before he can summon courage, a servant of the house shoots him at. Sikes leaves him wounded in a ditch but Oliver's instinct for survival makes him walk towards the 71

house and seek help. Though the servant as an accomplice in the robbery identifies him, Mrs. Maylie and Rose take him in and nurse him back to strength.

They believe his words and allow to stay with them. One more chapter of Oliver's life comes to an end and a fresh one begins.

Rose and Mrs. Maylie shower him with motherly affection, which he has missed in his childhood. They provide him the much needed security and love he had craved all along.

Thus, striking a bond of friendship with them he becomes their companion in joy as well as in grief. With their help he is reunited with Mr. Brownlow. His benefactor catches hold of the man who is partly responsible for Oliver's plight.

Through Monks, Mr. Brownlow discovers the identity of Oliver and learns about his share in the property of his father. Oliver, thus, regains his rightful place in society. He goes back to live in a town similar to the one in which he was born.

In order to emphasize the travails of Oliver and trace his journey through life, Dickens deviates from the main plot to dwell on the life of certain other characters in the story. Thus the author introduces the reader to the different worlds of Oliver, Bumbles, Claypole and Sikes by often shifting the scenes in the novel.

THE SETTING OF VICTORIAN AGE

PAROCHIAL WORLD CRIMINAL WORLD RESPECTABLE PEOPLE

THE WORKHOUSE THE POOR THE TRADESMAN Fagin Mr. Brownlow Artful Dodger Mr. Grimwig Bill Sikes Rose Mrs. Mann Agnes Mr. Gamfield Mrs. Corney Oliver Twist Mr. Sowerberry Nancy The Maylies’ Mr. Bumble Little Dick Noah Claypole Charlotte

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VICTORIAN AGE SOCIAL STRATIFICATION

MIDDLE CLASS LOWER MIDLE CLASS LOWER CLASS UNDER CLASS

Mr. Brownlow Mr. Gamfield Mrs. Mann Agnes Mr. Grimwig Mr. Sowerberry Mrs. Corney Oliver Twist Rose Mr. Bumble Little Dick The Maylies’ Noah Claypole Charlotte Fagin Artful Dodger Bill Sikes Nancy 73