Ideas of social change and progressive ideals feature prominently in many literary works of the 19th century. Hard Times by Charles Dickens is an excellent example of a social critique novel, challenging prominent ideas of the time, such as utilitarianism and social class. Dickens uses specific literary techniques that are very effective in shocking the reader and making them understand Dickens' views. Dickens uses symbolism, satire, and synecdoche, among other literary techniques, to emphasize his point. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get an Original Essay Perhaps the most effective technique is symbolism. Dickens uses it to exaggerate certain ideas that might otherwise be overlooked in the overall complexity of the novel. An ever-present symbolic motif in the novel is that of the agricultural cycle and the idea of ​​reaping what is sown. In the novel's opening chapters, Gradgrind, Bounderby, and McChoakumchild "sow the seeds" of Fact in the children's young and fertile minds. The only seeds planted are those of Fact, and fantasy and feelings are discouraged and suppressed by adults. In the second part of the book, the characters begin to “reap” what they “sowed” among the children at the beginning of the novel. The doctrine of facts alone begins to create problems as characters such as Louisa and Tom find themselves unable to make good decisions or feel any emotion. In the third part of the novel, the harvest is "harvested," or stored, and the reader is struck by the true insufficiency of the seeds sown so long ago. Disasters such as Louisa's ruined marriage, Stephen's death, and Tom's loss occur, and the characters who initially planted the seeds are left with nothing to sustain them. This use of obscure symbolism acutely and sometimes cruelly highlights Dickens's distaste for utilitarian doctrines of fact, and the reader is unable to ignore his disdain. By using this symbolism, Dickens not only expresses his disgust and disagreement with many facets of utilitarianism, but he also backs up his hatred with predictions about what would happen to people if an entire society was based solely on facts. Dickens also uses satire to incite the reader's vehemence for social change. In discussing many characters' love of facts and, indeed, Coketown, he takes an almost religious point of view. He discusses the fact that most churches are deserted by the working masses: “A city so sacred in fact and so triumphant in its affirmation, of course it went well? Why not… who belonged to the eighteen (religious) denominations? Because whoever did it, the workers did not do it…” (Book One: Ch. V; p. 38). It continually reinforces the ideas preached by Gradgrind and Bounderby, that facts are the only scripture necessary above any other facet of life, including religion itself. For Gradgrind, science and facts completely consume him, leaving him no time to pay attention to the human need for comfort and peace that is often exemplified by religion. Gradgrind even goes so far as to replace the word "God" with the word "Done" in the statement "God forbid", often exclaiming "Done, forbid!" » when faced with something fanciful, like the circus. All of these facets combine to create a highly satirical vision of Coketown as a place where religion is not that of God but that of fact. Dickens confirms this.