Charles Dickens’ Oliver Twist can be viewed both as a stern condemnation of society and as an enthralling journey. It takes readers from feeling sorry for Oliver (the victim) to anger over injustice, all while keeping readers engaged via its vivid storytelling devices. The novel was originally published sequentially in Bentley’s Miscellany between 1837 and 1839, with Dickens providing a vivid account intent on raising awareness regarding societal issues, including poverty and abuse of children.
What gives Oliver Twist its lasting power is Dickens’ twofold ability: to possess an unyielding moral sensibility as well as a wonderful sense of humour that does not lead to sentimentality. In Oliver Twist, Dickens gives us not only characters that evoke disgust (e.g., Bumble, Sowerberrys), but also characters whose virtues inspire us (e.g., Brownlow, Rose) and, most importantly, a young boy whose naivete cuts through the facade of Victorian society. The gruel-hall (where Oliver famously responds, “Please, sir…”) scene is filled with imagery and irony, thereby serving as an indictment of prevailing attitudes.
The story of Oliver Twist is also about politics. Dickens wrote the book during a time when there had just been passed a new Poor Law in 1834, and it reflects the views of many people at the time criticising how the workhouses were set up to help the poor but that many poor people suffered greatly as a result. Many critics and historians have referenced the story of Oliver Twist as a counterbalance to the economic rhetoric that cost so many lives.
At the same time, Oliver Twist does not lend itself to one particular reading. The characters in the story who serve as villains, particularly Fagin, challenge our ability to see them as sympathetic. Fagin has been portrayed in a very negative light, which continues to be highly criticised for perpetuating the stereotype of antisemitism; however, today many scholars and teachers are bringing this aspect to the foreground and also pointing out how Dickens’s understanding of poverty was influenced by his upbringing as a child who worked during the time of his childhood and was therefore outraged by poverty. While reading Oliver Twist, all readers will experience a tension between admiration and critique.
There is a wealth of literary enjoyment here, including skilful construction of the plot; memorable scenes, including Mr Brownlow’s house as a place of refuge and Nancy’s tragic but heroic decision; and Dickens’ ability to utilise social contexts to create moral pressure on the reader. Furthermore, the broad historical context of “Oliver Twist” also makes it “lively”, due to the fact that the first illustrations were made by George Cruikshank, that it was written serially, and that it was published to a great public response during its initial release.
The original publication of “Oliver Twist” was such an important cultural event that it continues to exert a strong force on society today. Recent adaptations, including stage and film versions and re-evaluations by critics in the twenty-first century, have continuously returned “Oliver Twist” to us as both an important source and as a touchstone for discussions around issues of representation, childhood, and violence in institutions. More contemporary adaptations and productions of the work further reinterpret the story for modern audiences, demonstrating that it still can evoke strong emotional responses from people today.
Oliver Twist is a gripping Victorian story. Additionally, it is an example of the capacity of literature to compel those in a place of authority to take responsibility for their deeds and allow authors to demonstrate empathy toward the individuals who have suffered as a result of societal implications. Readers who aspire to enhance their understanding of Dickens and the historical background of Oliver Twist’s publication should contemplate its reading. Oliver Twist is certainly not suitable and appropriate for all readers, but it is still a very important piece of literature. It also urges readers to recognise the horror of the workhouse system and our moral obligation to help those affected.
