Dickens Hard Times was written in for a publication called "serial publication" which delivered the story in weekly segments. He usually used this style for his writing because it could reach the masses who usually could not afford books. Hard Times was written in three segments, what they call a "triple decker" novel. Dickens wrote about the common man and the common man's issues, so he brought these text to them in whatever way was conducive. 

A motif within the novel that seemed to be consistent was the mechanization of humans. Dickens correlated the active acceptance of industrialism in England tot he working conditions of those who worked in the factories at the time. The people in the factories became almost as robotic as the machines they were running. Also, the industrial revolution threatened to revoke the imagination and emotions of said factory workers, anyone in the country as a matter of fact. This is seen in Gradgrind's character when he develops a school to teach nothing but hard facts and uses those same principles for raising his children. His friend Bounderby also has the same mindset in running his factory, treating workers like they are meaningless machines with no human emotions. The connection between Gradgrind's children and Bounderby's workers is drawn in Chapter 5 of book 1 saying that both led monotonous lives without enjoying the pleasures of the world. Dickens uses the novel to illustrate the danger in letting humans become like machines, and that imagination and emotions are needed to be human. Humanity isn't lost completely in the novel with characters like Louisa and Sissy; their thirst for imagination and wonder is the representation of the human element. Louisa realizes this when she tells her father that she is unhappy in her marriage and had a unfulfilled childhood because of the lack of pleasure growing up.

Using Gradgrind as a sort of extreme to highlight the industry take over in England, helps the reader to understand that, although radical, societies future could end up as Louisa's did--monotonous and unfullfilled.

London Burning

During the mid-1700s to the early 1800s London was an evolving society. The American Revolution and French Revolution provoked serious social and political changes. These changes seriously influenced William Blake’s literature. Most of this influence can be seen in “London”, which was written in 1792, and many parallels can be drawn between the poem and the revolutions occurring.

The first stanza creates a clear picture of a hopeless society. Blake writes that “marks of weakness, marks of woe” (4) can be seen in the faces of the people London. Even though the industrial revolution created new jobs and opportunities for growth, society was still against the changes that they saw. He verbalizes the inner feelings of the general population. Basically their daily lives are changing, yet they do not know how or want to deal with it, so they are dragging through life only to do what is necessary.

Continuing on, the second stanza deals with more than just the people drudging through life; they are now making their depression and despair against the situation known. These feelings encompass every person; “Every man… every Infant… every voice” (5-7). It is not based on class. Everybody is suffering as a result of the social and political changes taking place.

Blake also describes the physical, visual aspects of the more intangible feel of the revolutions. Describing “Every black’ning Church,” one can actually see in his mind’s eye the effect of the Industrial Revolution (10). The actual physical walls of the Church were being affected, not just the emotions of the people. The revolution also meant that more soldiers were needed, and London’s youth were being used to fight. The saddening image of their sighs being portrayed as “blood down Palace walls” shows how they were going to fight, to die (12).

The final stanza also talks about how affected children were as a result of the revolution. These children and infants were not growing up in a healthy atmosphere, and the “hearse” Blake speaks of signifies how the youth were surely headed to death or at least a despair-filled life in the gloomy London, an idea which he works up to all throughout the poem.

Overall, like all literary works, this poem can be interpreted in many ways. If you consider the time period in which William Blake’s “London” existed, it is quick to judge that this poem supports the idea that the Industrial Revolution signifies the destruction of youth and purity. Even though this revolution positively impacted advances in technology, the physical effects upon those who lived in the environments around the factories were catastrophically negative. 

Speak of the Devil

        When looking at Mary Shelley’s Frankenstein I find it amusing to look at the monster as a metaphor for Victors subconscious. Thanks to his upbringing and the veracity of his studies, he becomes out of control much like his monster. In the beginning of his monsters life it appears to want contact and nurturing. This is very similar to Victors own childhood, seeking connection and approval from his father. Both Victor and his monster are rejected on this front and the consequences are dire. After these catalyst moments in these two characters lives each seeks out further knowledge which in turn leads to hardship, pain, and violence. Victor ends up loosing his loved ones while his monster takes them away. To go a step further, if the monster is simply a Dr. Jackal and Mr. Hide situation then it can be seen or interpreted that Victor has receded so far into his mind and solitude that an alter ego, the monster, is born and ends up slaying all those that are close to him. I guess I see the potential for a Fight Club parallel here which may just be bias. =D 

However, molding the two characters into one, by simple using the monster as a split of Victors personality also tips its hat to the parallels with the story of Satan in Paradise Lost. As one part of this personality recedes (Victor) the other becomes more active (the monster). Just as when Lucifer begins to fall from grace, Satan rises to power. Much like Victor and his monster, Satan/Lucifer feels neglect from his creator and seeks to harm him. There is also a physical separation between the two characters much like in Frankenstein. The irony of this parallel is that ultimately in the end of Frankenstein the “evil” half, or the monster, ends up beating the “good” half, or Victor, down. For this to be a true parallel of tales then Satan will have to have God cornered in the end. Unless we are looking at the battle being between Satan and Lucifer, then of course we have a perfect parallel, because Satan envelopes the other personality, Lucifer, and completely takes over control. 

Douglass: Slave or Dark Knight?

A common definition of a romantic hero is, "a literary archetype referring to a character that rejects established norms and conventions, has been rejected by society, and has the self as the center of his or her own existence. The Romantic hero is often the protagonist in the literary work and there is a primary focus on the character's thoughts rather than his or her actions."
This definition is exemplified through the protagonist in the Narrative of the Life of Frederick Douglass, An American Slave--this is so for numerous reasons. Douglass first is rejected by society when he is put into slavery and is more or less pushed around by his master and Mr. Covey. They have no intention of treating him as an equal and he feels as if he was transformed form a man into a "brute." Douglass and his fellow slaves were hardly treated as people; they merely served as tools basically property for Mr. Covey. 
The next aspect of a Romantic Hero is having the protagonist himself as the center of his or her own existence. This is seen when Douglass goes to see Master Thomas. He decides to defy Mr. Covey in hopes of bettering his own life, but he succumbs to his weakness and returns to Covey. However, though he returns to his saddening life, he in turn becomes empowered and takes control of the situation, and overcomes Mr. Covey. This all relates to how Douglass is taking hold of his own existence and not just letting life just happen to him and pass him by.
Finally, Douglass is obviously the subject of the narrative, as it centers around his yearlong stint with Mr. Covey. Taking place mostly in Douglass' mind, the narrative focuses on his own thoughts and feelings about his life rather than full-on descriptions about his physical experiences, although there is a bit of that. This aspect of a Romantic hero is shown when Douglass is looking out to sea, contemplating his life, and how he is so close to freedom, yet so far. He inwardly laments, "O that I were free! O, that I were on one of your gallant decks, and under your protecting wing!... I have only one life to lose. I had as well be killed running as die standing." This excerpt is a good example of how throughout the most of the narrative, the reader is experiencing Douglass' thoughts, emotions, and desires about his current life situation and what he wants in the future, however intangible it may seem.
By encompassing these qualities of a Romantic hero, we are shown how Douglass manifests the aspects of the typical literary protagonist of the time period.