Little Dorrit by Charles Dickens is more than just a piece of fiction; it presents ideas and actions about how social critique can be transformed into reality and theater through a performance that brings the social critique of Victorian society to life. It was first published in 1855–1857 as a series. Little Dorrit is the central character of a novel with the same title and demonstrates not only the absurd nature of Victorian society but also demonstrates through her experience and the experiences of other women who did and were treated like her that Victorian society was inhumane—in addition to being rigid, inflexible, and emotionless. She is one of Dickens’ lesser-known female protagonists; however, she is an extremely strong female character and embodies all of the good aspects of being a female. The degree to which the term “gentleness” has been historically linked to the concept of a female being weak continues today.
One of the most prominent features of Little Dorrit is how much Dickens’ own upbringing and family history concerning Marshalsea Debtor’s Prison shaped the tone of the novel through both its depiction of the physical characteristics of Marshalsea and its use as a mechanism to reinforce the broader theme of a society that fails to break free of the codes, customs, and flawed moral codes that had become embedded in its structure. Dickens famously uses humor to depict bureaucracies as universal and negative, particularly in his illustration of the Circumlocution Office and the British government bureaucracy. In his books, Dickens illustrates the absurdity of bureaucracies and the obstacles they impose on individuals, exemplified by the Circumlocution Office, which further demonstrates the hardships these organizations impose on all people.
Little Dorrit serves as a work of both social and psychological literature. The slow and painful descent of Arthur Clennam throughout the course of the story provides a heavy emotional basis for the reader to connect with Dorrit, while Amy Dorrit’s steady dedication to remain true to those around her represents an important counterbalance to the egos and ambitions of many other characters in the novel. Dickens achieves something extraordinary in this respect—he imbues his characters with moral greatness through their humble, understated behaviors, not necessarily through their loud or flashy actions.
The author also creates a unique atmosphere throughout Little Dorrit by building the world of the novel at such a high level of detail that it appears to be both a vast and intimate space. Dickens describes in vivid detail the world of London from the perspective of each character as they experience (or witness) similar yet unique experiences throughout the action of the story. There are many vistas of humor, social absurdity, and sorrow, yet all are masterfully woven together using the extraordinary narrative control exhibited by Dickens. The flowing, seamless movement of Dickens’ writing style allows the author to convey both the enormity and intimacy of his world.
If you want to read a Dickens book with an equally socially provocative theme and emotional depth, as well as being an example of ambitious narrative construction, consider Little Dorrit. The central premise of Little Dorrit poses a question many of us face: How do we cope when societal institutions hold more power than compassion? The answer is that you may live your life in limbo rather than without reason, i.e., endure all that makes you less than human.
With multiple layers of meaning about the costs of being incarcerated—financially, emotionally, socially, and morally—the story has an incredible breadth. It is more than just a Victorian classic; it serves as a warning about the dangers of a system without a human touch and as a testament to how simple acts of kindness can change the world for someone else.
