DICKENS'S LITTLE WOMEN; OR, CUTE AS THE DICKENS

Abstract

Accounting for the prevalence of enmityin nineteenth-century Western culture, Peter Gay evinces some surprise at the tenacious grip of the meek upon their aggression, which appears to satisfy a basic necessity of life. Uriah Heep alone attests to the harmony between Charles Dickens's social imagination and Gay's critical assessment that the Victorians had cause to treat their self-effacing neighbors with as much caution as the bellicose. But what about the more resignedly “umble” and solemnly self-diminishing denizens of Dickens's fictional world: the good girls at the center of so many novels? Why do aggression and resentment seem less compatible with their humility than with Heep's? Because, I would suggest, they are little. Littleness is certainly an idealized quality of girls in Dickens's novels. In particular, Nell Trent and Amy Dorrit share the epithet “little” as an indication of their preciousness, physical smallness, modesty, and, most importantly, self-abnegation in service of others. As a number of critics have observed, this selflessness takes many forms, including starvation, over-work, and self-erasure. Such extremes of compassionate resolve and willful self-limitation, however, intimate the strictness of the nice girl and the difficulty of measuring up to her (as a) standard. Dickens himself set this bar – if not precisely high, at so low a level as to require painstaking self-contortion to pass under it – in an 1847 speech to the Mechanics’ Institution at Leeds where he described women as “those who are our best and dearest friends in infancy, in childhood, in manhood, and in old age, the most devoted and least selfish natures that we know on earth, who turn to us always constant and unchanged, when others turn away” (Fielding 83). This definition of the best feminine endowments recognizes no difference between girls and women, because the female half of the human population remains “constant and unchanged” in service of male needs. Although Dickens calls upon women to be the bigger person in a moral sense, for girls, growing up appears a matter of remaining little, selfless, “constant.” For good self-effacing Victorian girls like Little Nell and Little Dorrit, aggression thus is necessary because enforcing self-negation requires enormous will power, but also perhaps because aggression guards the last modicum of selfhood belonging to those for whom selflessness is socially prescribed.

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