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63 pages 2 hours read

Charles Dickens

Our Mutual Friend

Fiction | Novel | Adult | Published in 1865

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Themes

The Tension Between Poverty and Dignity

Content Warning: Both the novel and guide contain discussions of alcohol addiction, death by suicide, and antisemitism.

Our Mutual Friend explores the tension between poverty and dignity. Many of the lower-class (not to mention many of the middle- and upper-class) characters scrape by on the leavings of others—quite literally in the case of Harmon, who made his wealth off trash, or Hexam and Riderhood, who pull dead bodies from the Thames in exchange for rewards. Other characters, from Silas to Fledgby to the Boffins’ many petitioners, prey on and exploit those they see as vulnerable; still others, such as Reginald Wilfer and Riah, lead personally upright lives but depend for their income on people and institutions of dubious morality. Amid so much corruption, the novel questions whether it is possible to maintain one’s integrity in the face of monetary need.

Betty Higden offers what is perhaps the clearest counterexample to the overall trend of exploitation. Despite Betty’s bleak poverty, she strives to maintain her dignity. She dedicates her life to those who share in her misfortune, raising people, like Sloppy, who have nowhere else to turn. When her situation in London becomes too precarious, Betty ventures out beyond the city. She travels from town to town selling her wares, but she is insistent that she does not want charity. She likewise refuses money from the Boffins, as she wants to earn a wage. Despite her desperate desire to preserve some sort of nobility for herself, she is exploited and mistreated by the world around her, which sees her as an easy target. She is forced to pay what little money she has to keep herself out of the workhouse, an undignified fate that—to Betty—would be worse than death. Importantly, however, the other characters recognize Betty’s insistence on living by her own industry. She saves money for her funeral, and though the attendees would be willing to pay more on her behalf, they respect her wishes and fund the modest service entirely with her own savings. Betty ultimately maintains her dignity, though only in death.

The Lammles are a clear contrast to Betty. Coming from upper-middle-class backgrounds, they expected their marriage to be prosperous only to discover that neither of them had any money. Rather than work for a wage, they immediately resolve to exploit and scam other people to maintain their standard of living. The Lammles are an example of the undignified upper-middle-class refusal to work. They are poor—as poor as Betty, once their debts are called in—but they never recognize themselves as poor. They are too proud to believe that there could ever be any dignity in poverty, so they would rather commit crimes or flee the country than admit the truth.

The relationship between Bella and John Harmon particularly exemplifies the tension between poverty and dignity. Though John seems destined to marry Bella due to a clause in his father’s will, he does not want to marry someone who only wants money. Bella, having grown up in a lower-middle-class family, feels poverty is inherently “degrading” and is initially willing to do whatever it takes to secure wealth. Nevertheless, after posing as an unremarkable figure, John wins Bella’s heart, and Bella insists that she is happy to be with John regardless of their relative poverty. Their marriage—before John inherits his father’s estate—is evidence of the dignity that they find in poverty, improved by love and hard work. They eventually become rich, but their wealth serves as a narrative reward for virtuous behavior.

The Relationship Between Names and Identity

One of the novel’s key plot lines is the obfuscated identity of John Harmon, who uses three separate names over the course of the work. Contrasted with the struggles of other characters to escape the connotations of their names, the complicated triple identity of the novel’s protagonist is not merely a plot device but rather a meditation on the extent to which names shape personal and public identity.

For John, the name question intersects with a personal crisis of identity. John feels no connection to the family he has lost and no entitlement to the estate that his father bequeaths to him: He would be happy to leave the country and forget the name Harmon. By living as Rokesmith, John is able to view the world from a new perspective. He adopts this new name and identity as a means of learning more about himself: His return to England is a voyage of discovery in which the three overlapping identities of Harmon, Rokesmith, and Handford represent his unfamiliarity with himself. Only when he is happy—when he has married Bella, fathered a child, and become secure in those new social roles—does he reclaim his original identity, suggesting a newfound certainty about who he is.

Whereas John adopts identities to escape the burden of his name, other characters are not so fortunate. The plight of Riah is illustrative of social prejudices that affected Victorian England. As the novel’s only Jewish character, Riah is frequently subjected to antisemitic abuse; he is regarded as a bitter, miserly moneylender, for example, even though the moneylending business is actually owned by the Christian Fledgeby, who manipulates Riah into working for him due to a past debt. Riah’s Jewish identity is closely tied to his name, but the same pride in his heritage that leads him to regret his (unwilling) participation in antisemitic stereotypes also prevents him from trying to recreate himself with a name that does not telegraph his Jewish ancestry.

Mr. Boffin’s nickname also illustrates the social prejudices that were prevalent in Victorian society. When he inherits a fortune, he becomes richer than every other character in the book, but the upper classes consider his wealth to be entirely separate from his class status: The guests at the Veneering dinner parties label Mr. Boffin the “Golden Dustman” as a way of reiterating his working-class status despite his wealth. In this way, names are used to affirm the distinction between class identity and material wealth, preserving the status quo and curbing social mobility.

The Rigidity of Social Class

The characters in Our Mutual Friend range from the aristocratic Lady Tippins to figures like Rogue Riderhood, whose means of sustaining himself—scavenging and petty crime—place him at the very bottom of the social hierarchy. Set in the changing class landscape of industrializing Britain, the novel explores the extent to which social mobility is possible.

One of the novel’s two central romances is conditioned on the class difference between Eugene Wrayburn and Lizzie Hexam. The lawyer from a wealthy family and the girl raised by a working-class boatman come from inherently different worlds, though they are thrust together by the tragic deaths in the River Thames. Such intersections suggest the artificial nature of class boundaries, but they do not make those boundaries less potent for the characters. Though Eugene is happy to defy his class expectations and declare his love for Lizzie, she is hesitant. For one, she has internalized the idea of her lowly status and considers him to be far above her. For another, the typical relationship between an upper-class man and a lower-class woman in Victorian England led not to marriage but to the woman’s seduction and abandonment. Questioned by Mortimer, Eugene says he has no plan “to capture and desert” Lizzie in this way (294), but he also flatly denies any intention of making her his wife. This suggests both the precariousness of Lizzie’s situation and the power of social class; despite his love for Lizzie and his general disdain for societal convention, Eugene cannot conceive of marrying her. Only when Eugene is close to death does he propose and she accepts, his desperate physical condition breaking through the barriers of class.

The Veneerings’ dinner parties provide context for Eugene’s initial behavior toward Lizzie. The matters of life and death that affect the working-class characters—such as the deaths in the River Thames—become idle gossip at the upper- and upper-middle-class dinner parties. The guests mock and patronize those people that they consider to be beneath them: The working classes, to the dinner party guests, are not really people at all, making it all the more difficult to conceive of any sort of social mobility.

Even among the upper classes, however, there is room for nuanced understandings of social class. By the end of the novel, Mortimer has come to accept that his friend Eugene’s marriage to Lizzie is an example of true love. He attends one of the Veneerings’ dinner parties but refuses to delve into the scurrilous, gossipy anecdotes that he told at the beginning of the novel, now having a better understanding of how such anecdotes perpetuate misunderstandings about social class. Furthermore, he is pleased when Twemlow defends Eugene’s decision to marry for love. The final scene of the novel involves Mortimer walking Twemlow home and shaking his hand. The events of the novel have changed their perspectives on social class, and the characters have forged new alliances against the stiff, hypocritical boundaries of the past.

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