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Indeed, the cellars conceal all aspects of the self that do not fit in with the ‘I’ constructed by the individual in order to participate in the discourses needed for engagement in social life generally. This astute reading identifies the reader’s terror in tales of the haunted house with the perspective of the hero or heroine trapped within it – in Dickensian terms, that of Arthur Clennam, Little Dorrit and Florence Dombey. Dickens, however, is just as interested in what his ‘villains’ have to fear from the submerged terrors lurking in the hiding places they have built as what the searching heroes and heroines have to learn.
Her harsh treatment of Arthur’s real mother, ‘through ... present misery ... to purchase her redemption from endless misery’ (II 30 p. 755), is justified by this same curious doctrine that suffering embraced in this life cancels out sins and reduces punishment in the hereafter. That this teaching is so obviously a mask for her own vindictiveness exposes the falsity of her own reliance upon it to cover her own sins. It is a point worth making because it is often overlooked that Mrs Clennam is not an Evangelical.
Oliver Twist reads its pages with delight (OT 32 p. 211). Alice Marwood finds her place in its story (DS 48 p. 765), and Pip reads its pages to Magwitch as he faces death (GE III 17 p. 456). Acts of human kindness, including the systematic social reform the novels call for, are, then, religious acts. They are the divine operation of divine love in the world, which, to Dickens, finds its clearest expression – one might even say incarnation – in the charity of human beings. The cross seems to Dickens to be fundamentally an exemplary act of altruism, where Jesus was able to forgive His executioners, rather than the altar of a sacrifice for sin.