"We had everything before us, we had nothing before us," (36)
Duality is a prominent motif in A Tale of Two Cities. The opening lines of the book are, "It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness, it was the spring of hope, it was the winter of despair, we had everything before us, we had nothing before us, we were all going to Heaven, we were all going direct the other way..." (36). So right away, Dickens establishes that everything is paralleled and really nothing is as it seems.
Of course, the title of the novel lends to the motif of duality. Paris and London are continuously juxtaposed; France is close to war, while England is continuing peacefully. In the first book, Dickens describes the setting by using a metaphor and duality; the Woodman, a symbol for fate, and the Farmer, a symbol for death, were preparing for the Revolution in France. The Woodman created and built the guillotine, while the Farmer, or Reaper, set aside carts, called tumbrils, that would bring the condemned to the guillotine, or their fate.
Dickens' character line up comes in pairs as well. Sydney Carton and Charles Darnay may have different mannerisms, but they look exactly the same and just so happen to fall in love with the same girl. Darnay, however, is everything that Carton could have been. Carton could have had the success and happiness that Darnay had, but he was too convinced that he deserved to be unhappy to attain it (for more, see Sydney Carton's character analysis). However, after Carton turned himself around, he became the hero that Darnay was not. Darnay appeared to be a hero, but he never acted like one (again, for more, see Charles Darnay's character analysis). Carton's sacrifice allowed him to raise himself above Darnay's virtuous state.
Lucie Manette and Madame Defarge are as opposite as it gets. Lucie is described as a gentle angel; Madame Defarge is a force of nature in herself. She is bloodthirsty, ruthless, a monster. Lucie depicts the perfect Victorian woman as Madame Defarge becomes the face of the Revolution. Lucie is a care-giver; she is patient, kind, loving, calm, and mentally and emotionally strong. Madame Defarge does not have any of those qualities. Madame Defarge is not a mother, so she doesn't have maternal instincts. She is haunted by the experiences of her past (see Madame Defarge's character analysis) and seeks revenge against those who harmed her and her family.
Ethical Dilemmas - The Marquis ~ Rich vs. Poor
In Chapter 7 in Book 2, Monsigneur in Town, an ethical dilemma of right vs. wrong presents itself when the Marquis Evremonde runs his carriage over a peasant boy. With complete disregard for morality, the haughty Marquis expresses composure despite murdering the boy. “With a wild rattle and clatter, and an inhuman abandonment of consideration not easy to be understood in those days, the carriage dashed through streets and swept round corners, with women screaming before it, and men clutching each other and clutching children out of its way” (Dickens 209). It is subtly implied through the text that revolution is approaching, as “carriages were often known to drive on, and leave their wounded behind, and why not? But the frightened valet had got down in a hurry, and there were twenty hands at the horses’ bridles” (Dickens 209). These twenty hands represent a proletariat that had grown restless with the status quo and tired of the squalor in which they now live. The Marquis does not see the peasants beneath him as human beings, looking down on them as if they are rats. “It is extraordinary to me," said he, "that you people cannot take care of yourselves and your children. One or the other of you is forever in the way. How do I know what injury you have done my horses” (Dickens 211). He is completely indifferent to death of the little boy.
Resurrection - Light vs. Dark
The juxtaposition of light and dark sets the stage for an onslaught of religious imagery that Dickens liberally applies. He believes, as soon as he writes his first paragraph, that the chance for resurrection and restitution from the state of squalor in which the characters live is perfectly attainable. In Chapter 6, Doctor Manette is imprisoned within the Bastille, but is soon rescued by light and can continue to practice medicine. His darkness extends beyond just his incarceration; for example, when he does not seem to recognize Mr. Lorry, Dickens describes the blank expression as a moment of "darkness" or "black mist" (Dickens 81). He is further resurrected by the reappearance of his daughter, Lucie. When he interacts with his daughter, his "cold white head mingled with her radiant hair, which warmed and lighted it as though it were the light of Freedom" (Dickens 86). The theme is continued into the Second Book. Not only does Dr. Manette continue to live more fully after his imprisonment, but other characters are "recalled to life" (Dickens 20) as well. No longer are bodies seen hanging by Tellson's Bank as before. Dickens says that "death was a recipe much in vogue" (Dickens 120), but no longer was "the forger put to Death; the utterer of a bad not put to Death; the unlawful opener of a letter put to Death; the purloiner of forty shillings and sixpence put to death" (Dickens 120). The incessant executions have come to an end, indicating a gradual stabilization of the government and a return to order. Dr. Manette continues as the manifestation of the religious themes in the latter chapters of the book. Although he has no recollection of Charles Darnay ever visiting him, Dr. Manette's calling to the stand is a testament to his returning to fullness after his unlawful incarceration. The examination of Charles Darnay and Sydney Carton a formidable representation of the saving power of Christ and temperance by Dickens.
Of course, the title of the novel lends to the motif of duality. Paris and London are continuously juxtaposed; France is close to war, while England is continuing peacefully. In the first book, Dickens describes the setting by using a metaphor and duality; the Woodman, a symbol for fate, and the Farmer, a symbol for death, were preparing for the Revolution in France. The Woodman created and built the guillotine, while the Farmer, or Reaper, set aside carts, called tumbrils, that would bring the condemned to the guillotine, or their fate.
Dickens' character line up comes in pairs as well. Sydney Carton and Charles Darnay may have different mannerisms, but they look exactly the same and just so happen to fall in love with the same girl. Darnay, however, is everything that Carton could have been. Carton could have had the success and happiness that Darnay had, but he was too convinced that he deserved to be unhappy to attain it (for more, see Sydney Carton's character analysis). However, after Carton turned himself around, he became the hero that Darnay was not. Darnay appeared to be a hero, but he never acted like one (again, for more, see Charles Darnay's character analysis). Carton's sacrifice allowed him to raise himself above Darnay's virtuous state.
Lucie Manette and Madame Defarge are as opposite as it gets. Lucie is described as a gentle angel; Madame Defarge is a force of nature in herself. She is bloodthirsty, ruthless, a monster. Lucie depicts the perfect Victorian woman as Madame Defarge becomes the face of the Revolution. Lucie is a care-giver; she is patient, kind, loving, calm, and mentally and emotionally strong. Madame Defarge does not have any of those qualities. Madame Defarge is not a mother, so she doesn't have maternal instincts. She is haunted by the experiences of her past (see Madame Defarge's character analysis) and seeks revenge against those who harmed her and her family.
Ethical Dilemmas - The Marquis ~ Rich vs. Poor
In Chapter 7 in Book 2, Monsigneur in Town, an ethical dilemma of right vs. wrong presents itself when the Marquis Evremonde runs his carriage over a peasant boy. With complete disregard for morality, the haughty Marquis expresses composure despite murdering the boy. “With a wild rattle and clatter, and an inhuman abandonment of consideration not easy to be understood in those days, the carriage dashed through streets and swept round corners, with women screaming before it, and men clutching each other and clutching children out of its way” (Dickens 209). It is subtly implied through the text that revolution is approaching, as “carriages were often known to drive on, and leave their wounded behind, and why not? But the frightened valet had got down in a hurry, and there were twenty hands at the horses’ bridles” (Dickens 209). These twenty hands represent a proletariat that had grown restless with the status quo and tired of the squalor in which they now live. The Marquis does not see the peasants beneath him as human beings, looking down on them as if they are rats. “It is extraordinary to me," said he, "that you people cannot take care of yourselves and your children. One or the other of you is forever in the way. How do I know what injury you have done my horses” (Dickens 211). He is completely indifferent to death of the little boy.
Resurrection - Light vs. Dark
The juxtaposition of light and dark sets the stage for an onslaught of religious imagery that Dickens liberally applies. He believes, as soon as he writes his first paragraph, that the chance for resurrection and restitution from the state of squalor in which the characters live is perfectly attainable. In Chapter 6, Doctor Manette is imprisoned within the Bastille, but is soon rescued by light and can continue to practice medicine. His darkness extends beyond just his incarceration; for example, when he does not seem to recognize Mr. Lorry, Dickens describes the blank expression as a moment of "darkness" or "black mist" (Dickens 81). He is further resurrected by the reappearance of his daughter, Lucie. When he interacts with his daughter, his "cold white head mingled with her radiant hair, which warmed and lighted it as though it were the light of Freedom" (Dickens 86). The theme is continued into the Second Book. Not only does Dr. Manette continue to live more fully after his imprisonment, but other characters are "recalled to life" (Dickens 20) as well. No longer are bodies seen hanging by Tellson's Bank as before. Dickens says that "death was a recipe much in vogue" (Dickens 120), but no longer was "the forger put to Death; the utterer of a bad not put to Death; the unlawful opener of a letter put to Death; the purloiner of forty shillings and sixpence put to death" (Dickens 120). The incessant executions have come to an end, indicating a gradual stabilization of the government and a return to order. Dr. Manette continues as the manifestation of the religious themes in the latter chapters of the book. Although he has no recollection of Charles Darnay ever visiting him, Dr. Manette's calling to the stand is a testament to his returning to fullness after his unlawful incarceration. The examination of Charles Darnay and Sydney Carton a formidable representation of the saving power of Christ and temperance by Dickens.