How does Scrooge transform throughout the play
Dickens utilises Scrooge as a microcosm of the upper classes to be
didactic about the power of transformation and symbolise how if
parsimonious upper-class individuals changed then institutionalised
oppression would be eradicated- London would be governed with love
and strengthened by social conscience.
Scrooge experiences an ultimate rebirth and adopts an extreme
philanthropic persona: “quite a baby”. Scrooge expresses his redemption
through infantile language that significantly indicates his rebirth. He
transforms from an “old sinner” to a “baby” suggesting that his
transmogrification has led him into adopting the most innocent form of
life that consists of purity and innocence rather than his misanthropic and
parsimonious persona. This catharsis also connotes to biblical undertones
as rebirth was salient in Christianity as it is developed from a strong
personal connection with God- giving the Victorian readership hope that
Scrooge can now adopt a religious lifestyle that he can reflect upon the
impoverished. This is emblematic of Jesus Christ as he provided salvation
for mankind thus Scrooge now reached his potential to strengthen social
reformation by acknowledging his embodiment of the 7 deadly sins.
Moreover, his transformation is implied on society as well as nature. The
constant pathetic fallacy that revolves within Dickens political diatribe,
also shifts as Scrooges transformation develops. In Stave 5, the weather is
a representation of Scrooges stagnancy: “no fog...clear” However, in
Stave 1, the atmosphere around the “solitary” Scrooge included “fog” and
“darkness”. This is emblematic of the power of stagnancy as Dickens
implies that Scrooges vision has perhaps cleared and he has now
embarked his pathway into catharsis. Whereas in Stave 1, pathetic fallacy
symbolised Scrooges tendency to remain oblivious and ignorant and
subtly indicates that oppression was consistent in ever crevice of London.
His embodiment of an archetypal villain restricted hope for the Victorian
readership as his presence significantly affected the socio-economic
poverty that the impoverished suffered. Dickens therefore heightens the
Dickens utilises Scrooge as a microcosm of the upper classes to be
didactic about the power of transformation and symbolise how if
parsimonious upper-class individuals changed then institutionalised
oppression would be eradicated- London would be governed with love
and strengthened by social conscience.
Scrooge experiences an ultimate rebirth and adopts an extreme
philanthropic persona: “quite a baby”. Scrooge expresses his redemption
through infantile language that significantly indicates his rebirth. He
transforms from an “old sinner” to a “baby” suggesting that his
transmogrification has led him into adopting the most innocent form of
life that consists of purity and innocence rather than his misanthropic and
parsimonious persona. This catharsis also connotes to biblical undertones
as rebirth was salient in Christianity as it is developed from a strong
personal connection with God- giving the Victorian readership hope that
Scrooge can now adopt a religious lifestyle that he can reflect upon the
impoverished. This is emblematic of Jesus Christ as he provided salvation
for mankind thus Scrooge now reached his potential to strengthen social
reformation by acknowledging his embodiment of the 7 deadly sins.
Moreover, his transformation is implied on society as well as nature. The
constant pathetic fallacy that revolves within Dickens political diatribe,
also shifts as Scrooges transformation develops. In Stave 5, the weather is
a representation of Scrooges stagnancy: “no fog...clear” However, in
Stave 1, the atmosphere around the “solitary” Scrooge included “fog” and
“darkness”. This is emblematic of the power of stagnancy as Dickens
implies that Scrooges vision has perhaps cleared and he has now
embarked his pathway into catharsis. Whereas in Stave 1, pathetic fallacy
symbolised Scrooges tendency to remain oblivious and ignorant and
subtly indicates that oppression was consistent in ever crevice of London.
His embodiment of an archetypal villain restricted hope for the Victorian
readership as his presence significantly affected the socio-economic
poverty that the impoverished suffered. Dickens therefore heightens the
