Themes, Foils, and Contrasts in a Tale of Two Cities by Charles Dickens

One's appearance and image in life are not necessarily true reflections of one's soul and character. This thematic element evolves within Charles Dickens' "A Tale of Two Cities" which occurs in Paris and London during the time of the French Revolution. One of the main characters who illustrate this idea is Stryver, a man who seems to be an eminent lawyer at the Old Bailey whose selfish qualities and nature surface as he begins to deal with others around him. Similarly, Sydney Carton appears to be a drunk and disheveled legal clerk whose true abilities and feelings of love and devotion are unmasked as he prepares the court cases and is sensitive toward others. Dickens' foil is designed to express these men's differences in qualities and relations with others. Therefore, a comparison of Stryver's and Carton's treatment of Lucie through their approach of her for marriage or love and their ability afterwards to maintain friendship with her reveals that appearances are not always accurate.

The way that these men approach Lucie for love and marriage unveils who they truly are. Stryver begins to reveal that he is a cad when his beliefs about love are exposed. By announcing to Mr. Lorry that he will offer himself in marriage to Lucie before he asks her, Stryver exhibits his selfishness and lack of concern for Lucie's thoughts and feelings. Stryver boasts that "[Lucie] is a charming creature, and [that he] had made up [his] mind to please [himself]: on the whole, [he] thinks [he] can afford to please himself" (Dickens 142), thinking of his well being and reputation first and considering himself worthy of someone like Lucie. Stryver is convinced that Lucie will comply and openly and confidently informs Mr. Lorry that "[he will] make an offer of [himself] in marriage to...Miss Manette" (Dickens 144-45). There is not a trace of hesitation in his voice and manner as he speaks of offering himself in marriage, reasoning that "it is a piece of good fortune for [Lucie]" (Dickens 142) to deserve and have someone like Stryver. Stryver's statements portray his true beliefs, ones that defy and are disrespectful to the idea and institution of marriage. The hidden qualities of Stryver and Carton are revealed in their approach and expectations about marrying Lucie. In contrast to Stryver and his arrogant attitude, Carton reveals an emotional, tender, and humane side when he approaches Lucie with his love. By proclaiming his affection to Lucie and stating that he does not expect marriage or love in return, Carton proves to be a man who thinks of others before himself. Although Carton would love to have Lucie and marry her, "[he is]...grateful that it cannot be" (Dickens 152) since he realizes that "he would bring [Lucie] to misery...to sorrow...[would] disgrace [her], and pull her down with him." (Dickens 152). However, Carton is interested in maintain his friendship with Miss Manette. Moreover, out of affection and adoration he promises that he is a man "who would give his life, to keep a life [she] loves beside [her]" (Dickens 155). This promise is a significant token of friendship and respect, unlike Stryver's selfishness and disregard for the opinions of Lucie. Overall in their behavior with Lucie, the seemingly flourishing and upstanding Stryver is driven solely by his own self-interest and promotion whereas the drunk Carton announces his love for Lucie but asks for nothing back.

Just as Stryver and Sydney Carton reveal their true selves in their conflicting views regarding love and marriage, they also continue to unmask their characters in their ability to maintain friendship with Lucie. The self-centered Stryver's feelings toward Lucie mutate into disliking and disrespect. By marrying a rich widow with three boys, Stryver selfishly attempts to rebuild his own reputation without concern for the image and feelings of others. The fact that Stryver marries a widow with property is once again an indicator of his foul views on marriage and love, for he once told Carton that he should "find out some respectable woman with a little property...and marry her" (Dickens 142). However, because of his rejection, Stryver begins to look down on and disrespect Lucie and her family, in one instance warning the widow's children to "beware of the pride of Beggars, like that tutor-fellow" (Dickens 214), referring to Charles Darnay, Lucie's husband. In an attempt to soothe his ego, Stryver falsely characterizes Lucie and her family, telling untruthful stories about them as a result of his conceited form of mind. Stryver often brags to his wife that Lucie "had once put into practice to 'catch' him" (Dickens 214). He tells theses stories "so often, that he believe[s] [them] himself" (Dickens 214). Unlike the bruised Stryver who cannot get past Lucie's rejection, Carton still desires to keep and develop his friendship with Lucie and her family. By asking Darnay for his friendship and the privilege to come and go as he pleases, Carton shows his wish to be a part of the family because his love for Lucie is genuine and he believes that Lucie and her family are a central part of his own life. Carton develops friendly relationships with Lucie's loved ones, in one instance being the "first stranger to whom little Lucie [holds] out her chubby arms" (Dickens 213). Of even greater importance is the fact that at the end of the novel, Carton sacrifices his life to save Lucie's husband, the ultimate act of friendship and love. Carton's decision was the most authentic proof of his devotion and affection for Lucie. Finally, Stryver and his arrogant disability in maintaining friendship cause his life to fade without meaning while Carton's unforgotten sacrifices and acts of leave an eternal mark upon Lucie's heart.

Dickens proves how appearances vary from the reality using Carton and Stryver and their relations with others. Stryver, the prominent lawyer, proves to be a selfish man with false intentions and immoral views when he approaches Lucie for love and marriage. Stryver, disgustingly confident that Lucie will accept his offer, does not hesitate to inquire as to what she is thinking, boasting that he is a man who is "already pretty well off, and a rapidly rising man, and a man of some distinction" (Dickens 142). Stryver is arrogant and overconfident, revealing a revolting and self-centered side. His immoral beliefs about marriage and love protrude through his actions, especially when he believes that Lucie is the fortunate one to deserve someone like him. Contrasting to Stryver, Sydney Carton, a drunk and careless clerk, does not approach Lucie for marriage, but instead declares his love for her and requests nothing back. Carton knows that Lucie can "have no tenderness for [him]" (Dickens 152), but wants their friendship to remain. Carton is able to accept and support Lucie's choices, unlike Stryver and his damaged ego. Moreover, both characters have varying successes in maintaining their friendship with Lucie. Stryver, angry over his rejection, marries a rich widow and spreads lies to patch up his ego and image. He repeatedly tells the tale of how he was determined "not to be caught" (Dickens 214) by Lucie, which is an utter lie and cowardly act. Stryver is unable to establish any ties between him and Lucie and does not even try to retain any sort of relationship. On the other hand, Carton does all he can to care for Lucie, promising that would "embrace any sacrifice for [her] and for those dear to [her]" (Dickens 154). Carton becomes a part of the family, at one time being the first one to greet Lucie and Charles when they come back from their honeymoon. Finally, Carton puts his devotion for Lucie into action when he dies to spare Charles's life. This creates a very unique connection between Sydney and Lucie, for Carton's best side is exposed as a result of Lucie, when he realizes that his act of love would be a "far, far better thing that [he does], than [he] ha[s] ever done" (Dickens 382). On the other hand, after Carton's sacrifice to give Lucie back the "life [she] love[s]" (Dickens 341), Lucie "[brings] up a boy of [Carton's] name" (Dickens 382). Both Stryver and Carton display personalities that do not correspond to their appearances. It is the actions of these men, however, that really define who they are, creating a contrast between appearance and true self.

This concept of the differences between appearances and reality applies to many aspects and society, as well as in many instances appearing in literature. For example, in Victor Hugo's The Hunchback of Notre Dame, a disfigured character named Quasimodo is ridiculed and isolated from society because of his ugly appearance. However, at the end of the novel, Quasimodo saves a beautiful Gypsy street dancer named La Esmerelda from being hanged and attempts to protect and shelter her in a cathedral, unveiling a caring, brave, and altruistic side. Here, the people of Paris fail to put their early judgement and biased views aside and do not discover the true character hiding behind the repulsive face. Overall, what people see in the mirror is not always a genuine reflection of the depths of their hearts.

Dickens, Charles. A Tale of Two Cities. New York: Bantam Books.