Fault and misfortune—agency and
chance—keep creeping up in Bleak
House. Esther’s story starts with
this theme; she is considered a disgrace by her aunt at no fault of her
own. After her aunt’s death, when
Rachael emotionlessly sends Esther away, Esther says, “I felt so miserable and
self-reproachful, that I clung to her and told her it was my fault, I knew,
that she could say good-bye so easily!”
Rachael responds, “’No, Esther! . . . It is your misfortune!’” (35-36). With this theme in mind, and at risk of
abusing my topic from last week, I can’t help but return to Jo during his final
days.
I have said already that it is
Jo’s sympathy (and the sympathy of the poor for the poor in general) that
causes his downfall. After my reading
for this week, I might add that his sympathy causes him to avoid assistance
from others. He does not wish to be at
fault for the injury of any other that might occur as a result of their sympathy for him—he does not wish to share his misfortune.
In chapter 46, Allan Woodcourt finds Joe passing through Tom-all-Alone’s after his
sudden disappearance. The narrator says
that Jo “is so intent on getting along unseen, that even the apparition of a
stranger in whole garments does not tempt him to look back” (713). Of course, Joe’s isolation is, as he claims,
partly due to his fear of Detective Bucket.
Still, in his dying condition, his unwillingness to appeal to Woodcourt
for help, reveals an independence perhaps born from a fear of being a burden. Jo’s incredible misfortune is only his fault
to the extent that it may have been caused by his generosity in trying to help
others—the last of his agency is used up in resisting the help of others in
order to avoid being a burden.
Jo’s shock at finding that
Esther has fallen ill after trying to help him further reveals his
self-isolation. After being accused of
ungratefulness, Jo “excitedly declares, addressing the woman, that he never
known about the young lady, that he never heern about it, that he never went
fur to hurt her, that he would sooner have hurt his own self, that he’d sooner
have had his unfortnet ed chopped off than ever gone a-nigh her, and that she
wos wery good to him, she wos” (717).
Even though Jo was taken by force from Esther’s care, he seems to assert
his resistance to fault—he does not resist his own misfortune of which he is
already certain at this point in the story.
He prefers self-destruction to his being at fault for Esther’s
harm. It seems he can exercise control
in his life and remain blameless only through his removal from the world.
As Woodcourt talks to Jo about
prayer, one of his final reflections questions whether anyone can truly be in
control of their fate. He says that he
has seen “genlmen” who come to pray in Tom-all-Alone’s, but he professes that
he knows nothing about prayer. He says
they “all mostly sounded to be a talking to theirselves, or a passing blame on
the t’others, and not a talkin to us” (733).
His understanding of prayer as talking to oneself draws a clear
distinction between the hopes of the relatively well-off and the hopelessness
of the poor. Jo can imagine no power
that might come to his rescue at his request.
He simply understands the life that has happened to him, and tries to
act well in that life. Those who can
pray and imagine that their prayer will have some effect must be those who
have, at least on occasion, had a prayer answered. They have not been kicked in the teeth quite
so much that they imagine their agency to be so limited as Jo understands his
own.
Their remove from Jo’s
naturalistic perspective is forcefully asserted by Dickens in the following
chapter—Tulkinghorn, who seems to know all, cannot prepare for his death. Only pages prior to being shot, Tulkinghorn
seems supremely in control of his own fate as well as the fate of others. He is killed at home, in the place where he
most certainly feels safest. But, all
seems as usual to him as he heads home. Dickens
takes pains to show (and show again) that there is no sign that might warn Tulkinghorn:
“Don’t go home!”
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