Oliver Twist is the central character of the novel. He is
also a link among the three different worlds depicted in the novel—the
workhouse, the crime world and the world of the genteel middle-class people. He
is, as a matter of fact, more of a symbol than a fully individualized character.
In the opening sentence of the Novel, Dickens describes him as an item of
mortality. Till the end of the novel, nothing is specifically known about his
parents. The name that he bears is given to him just by chance. All this suggests
that Dickens wanted to make him an instrument of exposing the inhumanity and
the cal1ousness of the workhouse and the underworld.
Oliver is symbolic of the principle of good. If we appreciate
Oliver, it is for his propensity towards always being good, and if we sympathize
with him, it is for his being a deprived and outcast child. In any case, we
accept him less as a real child and more as a symbol.
It should be noted that Dickens has nowhere fully described
Oliver’s appearance. In fact, except for Rose Maylie, Oliver is the
only major character whose appearance is not well depicted. However, we come to
understand that he is delicate and handsome. He always looks innocent and the
chief expression on his face is that of melancholy.
Oliver looks innocent because he is innocent. Unlike some
other novels where external appearances are utterly deceptive, in Oliver’s case
there is a remarkable correspondence between his inward nature and external
appearance. Sikes is evil and he looks evil. The sinister nature of Fagin is
adequately reflected on his face, and so is Oliver’s innocence. When he
collapses outside Mrs Maylie’s house, he looks not only weak but also
innocent. Rose is sure that a childlike Oliver could never commit a robbery. Mr
Brownlow low also does not need a second thought to convince himself of
Oliver’s innocence. Even the sceptical Mr Grimwig easily acknowledges his
goodness.
Most of his life of Oliver is spent under the care of
scoundrels like Mr Bumble, Mrs Mann, the inconsiderate Mrs Sowerberry, the rogue Noah Claypole, the devilish Fagin, and the odious Sikes. Anyone
living under the shadow of the wicked characters would have either completely
succumbed to or turned into a rogue himself, but Oliver survives. Despite all the efforts made by Monks to convert him into a thief, Oliver persists in
his goodness. That is why it has been said that he represents goodness. Dickens
has made him so good that on occasions he ceases to be a convincing character.
Oliver’s one positive
characteristic is his courage. In chapter 2, we are told nature or
inheritance had planted a good sturdy spirit in Oliver’s breast which enabled
him to survive the cruel regime of Mrs Mann’s baby farm. In the same chapter,
he approaches the board and makes his famous demand, “please, sir, I want some
more”. He is indeed as much prompted by his own courage as by the fear
of that domineering and bullying senior boy who had threatened that he would
eat raw the boy sleeping next to him if he were not given an additional helping
of gruel. Still, it must have taken tremendous courage to approach the members
of the boards given their inevitable fury. Further evidence of his courage
is seen in chapter 3 when he resists being apprenticed to Mr Gamfield, the
Chimney sweep and in chapter 6 when he gives a sound thrashing to Noah
Claypole. The charity boy is older than Oliver and enjoys the patronage and
help of Mrs Sowerberry and Charlotte. But once when Oliver is provoked by the
disparaging marks of Noah about his mother, nothing can suppress his wrath, not
even Mr Bumble, who despite the properly waxed cane in his hand, is
frightened by Oliver’s audacity. His flight from Mr Sowerberry in chapter 7 is
another proof of his being courageous. But after he goes to London, he is
almost swallowed by his circumstances and after “this everything seems done to
him and for him, and almost nothing is done by him”.
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