Now what I want is Facts.
In an empty schoolroom, a dark-eyed, rigid man emphatically expresses to the schoolmaster and another adult his desire for children to be taught facts, saying that “nothing else will ever be of any service to them.”
In the industrial city of Coketown, a place dominated by grim factories and oppressed by coils of black smoke, the dark-eyed, rigid man—Thomas Gradgrind—has established a school. He has hired a teacher, Mr. McChoakumchild, whom he hopes will instill in the students nothing but cold, hard facts. Visiting the school, Gradgrind tests a pair of students by asking them to define a horse. Sissy Jupe, the daughter of a horse-riding circus entertainer, is unable to answer, but a pale young man called Bitzer gives a cut-and-dried definition that pleases Gradgrind.
While walking back to his home, appropriately named Stone Lodge, Gradgrind catches his two eldest children spying on the circus through a peephole in the fence. Having raised his children according to his philosophy of fact and having permitted them no imaginative entertainment, Gradgrind becomes furious. He drags the young Tom and sixteen-year-old Louisa home. Louisa admits that curiosity drew her to the circus and tries to defend her brother by saying she dragged him there, but all Gradgrind can do is ask angrily what Mr. Bounderby would say.
This same Mr. Bounderby—a wealthy, boastful industrialist who owns factories and a bank—is at that very moment in the drawing room at Stone Lodge, pontificating to the pallid and lethargic Mrs. Gradgrind about his poverty-stricken childhood. Bounderby never fails to talk at length about this subject. He reminds Mrs. Gradgrind that he was born in a ditch, abandoned by his mother, and raised by a cruel, alcoholic grandmother. At this point, Gradgrind enters and tells Bounderby about his children’s misbehavior. Mrs. Gradgrind scolds the children halfheartedly, admonishing them to “go and be somethingological.” Bounderby theorizes that Sissy Jupe, the circus entertainer’s daughter who attends Gradgrind’s school, may have led the young Gradgrinds astray. Gradgrind agrees, and they set out to inform Sissy’s father that Sissy is no longer welcome at the school. Bounderby demands a kiss from Louisa before they leave.
Dickens was concerned with the miserable lives of the poor and working classes in the England of his day, and Hard Times is one of several of his novels that addresses these social problems directly. Hard Times is not Dickens’s most subtle novel, and most of its moral themes are explicitly articulated through extremely sharp, exaggerated characterization, and through the narrator’s frequent interjection of his own opinions and sentiments. For instance, in the opening section of the book, a simple contrast emerges between Mr. Gradgrind’s philosophy of fact and Sissy Jupe’s frequent indulgence in romantic, imaginative fancy. While Gradgrind’s philosophy includes the idea that people should only act according to their own best interests, which they can calculate through rational principles, the actions of the simple, loving Sissy are inspired by her feelings, usually of compassion toward others. The philosophy of fact is continually shown to be at the heart of the problems of the poor—the smokestacks, factory machines, and clouds of black smog are all associated with fact—while fancy is held up as the route to charity and love between fellow men. Philosophically, this contrast is a drastic and obvious oversimplification. Clearly, a commitment to factual accuracy does not lead directly to selfishness, and a commitment to imagination does not signify a commitment to social equality. But for the purposes of Hard Times, these contrasting ideas serve as a kind of shorthand for the states of mind that enable certain kinds of action. Cold rationalism divorced from sentiment and feeling can lead to insensitivity about human suffering, and imagination can enhance one’s sense of sympathy.
Gradgrind’s philosophy of fact is intimately related to the Industrial Revolution, a cause of the mechanization of human nature. Dickens suggests that when humans are forced to perform the same monotonous tasks repeatedly, in a drab, incessantly noisy, and smoky environment, they become like the machines with which they work—unfeeling and not enlivened by fancy. The connection between Gradgrind’s philosophy of fact and the social effects of the Industrial Revolution is made explicit by two details in the first section of the novel. First, the narrator reports that when Gradgrind finds his children at the circus, “Tom gave himself up to be taken home like a machine.” By dulling Tom’s feelings and his sense of free will, his education has rendered his thoughts and actions mechanical. The second detail illustrating the connection between Gradgrind’s philosophy and the process of industrialization is the choice of names for Gradgrind’s two younger sons, Adam Smith and Malthus. These children play no role in the plot, but their names are relevant to the novel’s themes. Adam Smith (1723–1790) was a Scottish economist who produced the theory that the economy is controlled by an “invisible hand,” and that employers and workers do not control the fluctuations of supply and demand. Malthus (1766–1834) was an economist who argued that poverty is a result of overpopulation and that the poor must have smaller families in order to improve the general standard of living in society. Both of these writers addressed the poverty of mind and body that accompanies industrialization. Through these two names, Dickens suggests that the philosophy of fact to which Gradgrind subscribes and the deleterious social effects of the Industrial Revolution are inextricably related.
This first section serves mainly to introduce the contrast between fact and fancy and to establish the allegiances of the main characters. From the very first paragraph, Mr. Gradgrind is established as the leading disciple of fact, but he is also shown to be a loving, if deluded, father. The real villain of the novel is Mr. Bounderby, who seems to share Mr. Gradgrind’s love of fact but has no difficulty lying about himself, as later events show. Sissy is clearly on the side of feeling and fancy, as are all the circus performers. Louisa seems torn between the world of her upbringing and a deep inner desire to experience imagination and feeling—a desire that she lacks the vocabulary even to name. Her unhappy status, lost between the worlds of fact and fancy, combined with Bounderby’s obvious attraction toward her, serves as the catalyst for the principal conflict in the novel.