This document provides an analysis of the pathos and sentimentality in Charles Dickens's novel "Oliver Twist". It discusses how Oliver is portrayed throughout the story as a pathetic figure due to his exploitation and mistreatment. It examines some truly pathetic moments that Dickens creates to arouse pity, such as when Mr. Bumble and Fagin momentarily feel compassion for Oliver. However, it also argues that Dickens sometimes resorts to false sentimentality that spoils the pathos, catering to popular audience ideals. The document was submitted as part of a paper on the Victorian Age by a student named Upadhyay Devangana S.

1. Pathos in ‘Oliver Twist’
Name :- Upadhyay Devangana S.
Paper :- Victorian Age
Semester :- 02
Department :- English
Submitted to:- M.K. Bhavnagar University
Guide by :- Hinaba Zala
Gmail :- upadhyaydevangana27@gmail.com

2. Oliver is a naturally pathetic figure
•“Oliver twist” is basically the story of
the exploitation of a child.
• The workhouse and thereafter
under the thieves calls forth situation
arousing our pity for the famished
orphan.
•Dickens treats Oliver throughout as a
pathetic figure.
•The whole treatment of Oliver in this
hell is indeed full of pathos.

3. Truly pathetic moments
• We shall now examine a few
truly pathetic moments of
abrupt pity and sadness
that Dickens creates
without any emphasis and
thereby increasing the truth
and pathos of the situations

4. Mr. Bumble is moved to pity
“Well ! Exclaimed Mr. Bumble, stopping short, and
darting at his little charge a look of intense malignity.
Well! Of all the ungrateful lest, and worst – disposed
boys as ever I see, Oliver, you are the……..”
“No, no sir, sobbed Oliver, clinging to the hand which
held the well – known cane; no n sir; I will be good
indeed; indeed, indeed I will sir ! I am a very little
boy sir and it is so – so- “
‘ So what?
;So lonely sir ! So very lonely! “

5. Fagin feels compassionate
# Oliver has been kept by Fagin in complete
isolation.
# Oliver: Not now said the Jew turning softly
away. ‘Tomorrow. Tomorrow.’
# What a masterly touch h in the Jew's ‘turning
softy! Dickens remains dramatic does not
underline the situation and the moment speaks
for itself.

6. Pathos spoiled through false sentimentality
•‘ Hush Dick ! Said Oliver as the boy ran to the gate and
thrust his thin are between the rails to greet him. Is any
one up?’
•‘Nobody but me’ replied the child.
•‘You mustn’t say you saw me Dick, They beat and ill – use
me Dick and I am going to seek my fortune some long way
off. I don't know where. How pale you are!’
•‘ I heard the doctor tell them I was dying. I am very glad
to see you dear; but don’t stop, don’t stop!’

8. Sentimentality as a test of goodness
All good character of ‘Oliver Twist’ are very adept at this
waterworks exercise.
Dickens's maudlin moments are all of this nature.
He only loses-self restraint and unconsciously responds to
the crude ideals of a popular audience.
Mr. Brownlow
Mrs. Bedwin
MrsMaylie
Rose
These are good
characters