Marginalized characters marriage life - Hard Time

The Matrimonial Causes Bill, as it was officially called, had a large element of bad faith in them. For example, efforts to scuttle the Bill entirely were cynically based on arguments that it did nothing for the poor or to equalize the position of women. In the end, divorce law reform essentially continued the status of divorce as an instrument primarily for well-off men to assure that, as Lord Cranworth put it, women not be able to "palm spurious offspring upon their husbands.

• Mrs. Sparsit

Take Mrs. Sparsit, for example. The novel's plot would work as well, in fact better because more consistently, if she had been a social-climbing, money-grubbing husband hunter. Such bad behavior would justify Bounderby's humiliating treatment of her. But in fact, she was manipulated into a marriage with a boy fifteen years her junior by Lady Scadgers, probably because she thought he was a good match. In the event he is a very bad husband: he spent all his money and "when he died, at twenty-four… he did not leave his widow, from whom he had been separated after the honeymoon, in affluent circumstances." If Mrs. Sparsit were not so much in Bounderby's camp and so hostile to Louisa, we might notice how badly she has been treated.

• Mrs. Gradgrind

More troubling, however, is Mrs. Gradgrind. Though she is generally represented dismissively throughout the novel (the list of characters refers to her as "feeble-minded"), it takes very little to see that she is in a terrible marriage. Her imbecility in fact appears to be a product of her marriage. Gradgrind chose her because "she was most satisfactory as a question of figures" and "she had 'no nonsense' about her." Though she may have been weak-minded to start with, she was presumably not at the time of her marriage an "absolute idiot." When we meet her later in her life with five children, she is close to being one. How did that happen? She herself describes the process by which she has been turned into an idiot as "never hearing the last of it," that is, when she ventures to say anything she is instantly and abruptly put down. So that "the simple circumstance of being left alone with her husband and Mr. Bounderby, was sufficient to stun this admirable lady… so, she once more died away, and nobody minded her." The repeated use of the word "died" in connection with Mrs. Gradgrind's ceasing to talk throughout the novel indicates the brutality of her suppression. When she is literally dying she tells Louisa "'You want to hear of me, my dear? That's something new, I am sure, when anybody wants to hear of me'" and later "'You must remember, my dear, that whenever I have said anything, on any subject, I have never heard the last of it; and consequently, that I have long left off saying anything.'"

 Mrs. Gradgrind is a particularly troubling character because her brutalization is articulated (if never actually represented), but her story, like Mrs. Sparsit's, is systematically undercut by laughter, and both are meted out punishment: Mrs. Sparsit has to go live with the woman who made her marriage, Mrs. Gradgrind dies without even a claim to her own pain. While for the most part we think Mrs. Sparsit more than deserves her blighted life, the discomfort in our responses to Mrs. Gradgrind is a sign of a disruption in the narrative that is the result, I would argue, of the interrogation of marriage introduced by the divorce plot.