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Charles DickensA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Content Warning: This section references child abuse and suicide.
Like most of Dickens’s novels, Nicholas Nickleby is concerned with the ways in which society is unjust; it is also characteristic of Dickens’s work in that its characters ultimately receive what they deserve, whether punishment or reward. The novel resolves this apparent paradox by suggesting that kindness and generosity spark similar goodwill in others, creating a network of individuals committed to justice. By contrast, cruelty and selfishness are isolating, leaving one alone to face the consequences of one’s actions.
Dickens depicts injustice and corruption as pervasive in the English economy and government. Businessmen like Ralph make their money through a variety of underhanded tactics that include predatory lending and gaming the market. Thanks to their political connections, they rarely face consequences for such behavior; the debate surrounding the muffin company demonstrates that the government is happy to throw its weight behind corrupt economic endeavors. It seems likely that the politicians involved hope to profit themselves, but the episode also serves them in another way. The matter itself is trivial, but it is a useful distraction, something lawmakers can point to as a success that proves their worthiness to govern. Constituents aren’t always fooled by such tricks: Nicholas witnesses a member of Parliament being confronted about his broken campaign promises. However, the MP feels no remorse for letting down the people who voted him into power. This confrontation reveals that the government is a farce. Not only do lawmakers fail to defend the best interests of citizens, but there is no mechanism for holding them accountable for their corruption and incompetence. Meanwhile, systemic problems—poverty, abuse, etc.—go unaddressed.
In lieu of institutional justice, Dickens believes in the justice of the universe—or at least of honest and well-intentioned individuals. Nicholas is victimized by external forces, but his goodness, strong work ethic, and upstanding values ultimately prevail. Beyond simple chance, the mechanism for this is often the reciprocal nature of goodwill: Because Nicholas is good, he receives goodness from others. Mr. Crummles, for example, hires Nicholas to be part of his theater troupe without really knowing him. This gives Nicholas a new home and a chance to start over financially. Just as importantly, it gives him newfound confidence in himself and in the spirit of community. The pattern repeats when Nicholas meets Charles Cheeryble. As his name implies, Mr. Cheeryble is cheery, generous, and good. Like Mr. Crummles, he gives Nicholas a stable job and a lovely cottage to rent based on his sense that Nicholas is a good person. This kind of individual justice is limited in scope, but Dickens suggests that it can have a ripple effect, with Nicholas showing similar generosity once he is financially secure.
Similarly, characters who do bad things get their due in the end. The most dramatic example of this is Ralph, who has spent a lifetime manipulating and taking advantage of others. Just as Nicholas’s goodwill prompts reciprocal generosity, Ralph’s selfishness backfires. He inadvertently contributes to the death of his own son, and because he has driven everyone else who might have cared for him away, he has no source of comfort when forced to confront the worst of himself: The discovery sparks his suicide. Likewise, Sir Mulberry Hawk ends up in prison, Arthur Glide is murdered, and Mr. Squeers’s school is shut down amid his arrest. Ultimately, all the antagonists in this novel are punished for their injustice.
At the core of Nicholas Nickleby is the story of a family that refuses to be torn apart. Kate and Nicholas are close siblings; they value, protect, and believe in each other. As young people with limited means, they often find their morals in apparent conflict with prudence, particularly in a society that so often rewards greed. However, the love and loyalty Nicholas and Kate have for each other enables them to cleave to their values in the face of hardship. Nicholas works hard to make sure that Kate doesn’t have to marry the first wealthy man who proposes to her. Kate stands up for Nicholas when even their own mother starts to believe Ralph’s slander.
The novel provides two primary examples—one villainous and one tragic—of the harm that comes of not having a family. Ralph once had a family of his own, including a wife and son. However, he approached marriage and family life with the same businesslike attitude he does everything else, seeking out a woman likely to inherit a fortune and then obliging her to keep both the marriage and the child a secret to ensure her inheritance. The result was the wife’s elopement and the child’s apparent death. Even then, Ralph receives another chance at family life when his brother’s widow and children seek his help; instead, he rejects and judges them as he had his brother. This dooms him to a lonely life and crystallizes his amoral tendencies in ways that are not immediately apparent. Unbeknownst to Ralph, his son survived childhood and eventually fell in with Nicholas, at which point Ralph helped hound the boy to his death largely out of antipathy toward his nephew. Ralph’s rejection of family thus reflects back on him in a way he did not anticipate, and he realizes too late not only what he has done but what it means for him. His child, he concludes, might have inspired him to change his ways, but Ralph denied himself this chance; the realization causes Ralph to fall into despair, resulting in his suicide.
Notably, the other figure who suffers in the absence of a family is none other than Ralph’s son, Smike. The adverse effects of the absence go both ways, but in Smike’s case, the result is physical and psychological fragility. Although he ultimately finds a loving family with Nicholas, he remains childlike—unable to fully participate in society or to have a family of his own. The latter is best encapsulated by his hopeless, unrequited love for Kate, which he only confesses on his deathbed. His passing suggests the long-term effects of childhood abuse and neglect; even those who physically survive may “die” in many of the ways that make human life meaningful.
Ralph and Smike are outliers; even characters who are otherwise antagonistic are devoted to their family, demonstrating Dickens’s point that family is central to the individual. Mr. Squeers is truly awful to most people—most notably the children under his care, whom he abuses. Yet Mr. Squeers is also a devoted husband and father. Mr. Squeers’s antagonism is not reduced by the love he has for his family—in fact, that love arguably encourages his financial exploitation of his pupils and their families—but it is notable that even antagonists can see the value of family, which is an inspirational force, if not a uniformly positive one.
Even as industrialization deepened economic inequality and fueled the rise of modern capitalism, Victorian England prized the home as a sphere supposedly untainted by ambition or greed. In practice, however, romantic and familial relationships were vulnerable to economic pressures, as Nicholas Nickleby consistently demonstrates.
Marriages in the novel often begin and end in greed. Mr. Mantalini seems more attached to his wife’s income than to his wife, and he spends her money liberally enough to bankrupt them. Ralph married at least partly for his wife’s money, and the conditions that this caused him to attach to the relationship proved so untenable that his wife left him. He eventually reflects that his wife’s leaving had an effect on his current attitude, implying that he might have had some affection for her, but this merely underscores the harm his greed caused; even a relationship that involved some genuine feeling could not withstand it.
In the novel’s present, Madeline is in danger of falling into a similar trap, through no fault of her own. Her would-be husband, Arthur Gride, is as greedy as his name implies and wants to marry her for her inheritance. The fact that it would be devastating for her to marry an elderly man she doesn’t care for does not enter into his calculations. The engagement is financially motivated on the other side as well, with Madeline’s father in debt to Gride, who promises to release him from payment if the marriage goes through. Madeline thus becomes a commodity—the object of male desire due to her youth, looks, and potential fortune—which is why Nicholas describes the marriage as a “sale.” Ralph sees nothing wrong with this and is happy to support Gride’s efforts, taking it for granted that marriage is a business proposition.
The greed with which people try to use Madeline only makes her more vulnerable and therefore—in Nicholas’s eyes—more lovable. Her innocence in a cruel world, her devotion to her destitute father, and her willingness to compromise her own happiness for the security of her father make her a martyr-like character, worthy of the true love of the novel’s hero. Nicholas’s love for Madeline is equally selfless: He wants what is best for her, even at a cost to himself. However, despite the genuine love between them, the marriage nearly doesn’t happen. Financial motivations so thoroughly permeate the society they live in that even Nicholas’s feelings for Madeline become suspect. The same is true of Kate and Frank’s relationship, as both Kate and Nicholas fear the Cheerybles would perceive the match as gold-digging. Although the Cheerybles intervene to ensure that both couples get their happy ending, the novel cautions that in a world where greed underwrites everything, even loving relationships will struggle to survive.
By Charles Dickens