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Excerpt
Excerpt from Sketches of Young Gentlemen, by Charles Dickens
ONCE upon a time—not in the days when pigs drank wine, but in a more
recent period of our history—it was customary to banish politics when
ladies were present. If this usage still prevailed, we should have had
no chapter for political young gentlemen, for ladies would have neither
known nor cared what kind of monster a political young gentleman was.
But as this good custom in common with many others has ‘gone out,’ and
left no word when it is likely to be home again; as political young
ladies are by no means rare, and political young gentlemen the very
reverse of scarce, we are bound in the strict discharge of our most
responsible duty not to neglect this natural division of our subject.
If the political young gentleman be resident in a country town (and there
are political young gentlemen in country towns sometimes), he is wholly
absorbed in his politics; as a pair of purple spectacles communicate the
same uniform tint to all objects near and remote, so the political
glasses, with which the young gentleman assists his mental vision, give
to everything the hue and tinge of party feeling. The political young
gentleman would as soon think of being struck with the beauty of a young
lady in the opposite interest, as he would dream of marrying his sister
to the opposite member.
If the political young gentleman be a Conservative, he has usually some
vague ideas about Ireland and the Pope which he cannot very clearly
explain, but which he knows are the right sort of thing, and not to be
very easily got over by the other side. He has also some choice
sentences regarding church and state, culled from the banners in use at
the last election, with which he intersperses his conversation at
intervals with surprising effect. But his great topic is the
constitution, upon which he will declaim, by the hour together, with much
heat and fury; not that he has any particular information on the subject,
but because he knows that the constitution is somehow church and state,
and church and state somehow the constitution, and that the fellows on
the other side say it isn’t, which is quite a sufficient reason for him
to say it is, and to stick to it.
Explanation
Detailed Explanation of the Excerpt from Sketches of Young Gentlemen by Charles Dickens
Context of the Work
Sketches of Young Gentlemen (1837–38) is a satirical collection of character sketches co-written by Charles Dickens (under the pseudonym "Boze") and illustrated by Phiz (Hablot K. Browne). Published in Bell’s Life in London and later compiled into a book, it parodies the social types of young men in early 19th-century England, much like its predecessor, Sketches by Boz (which focused on broader societal figures). The work reflects Dickens’ sharp observational humor and his critique of the rigid class structures, political dogmatism, and social pretensions of his time.
This particular sketch, "The Political Young Gentleman," mocks the blind partisanship and intellectual shallowness of young men obsessed with politics. Dickens’ satire targets not just individuals but the broader cultural shift where politics—once considered unseemly in polite (especially mixed-gender) company—had infiltrated all spheres of life, including social gatherings where women were present.
Themes in the Excerpt
Political Dogmatism and Blind Partisanship
- The "political young gentleman" is portrayed as a caricature of ideological rigidity. His views are not based on reasoned argument but on unquestioning loyalty to his party. Dickens emphasizes how his political "glasses" distort reality, making everything appear through the "hue and tinge of party feeling."
- The comparison to "purple spectacles" suggests that his perception is artificially colored—he cannot see people or issues objectively. This extends to romance: he would no sooner admire a woman from the opposing party than he would "dream of marrying his sister to the opposite member," implying that political allegiance overrides even family and attraction.
Superficial Knowledge and Rote Talking Points
- The young gentleman’s understanding of politics is shallow. If he is a Conservative, he has "vague ideas about Ireland and the Pope"—topics that were contentious in 19th-century Britain (e.g., Catholic Emancipation, Irish Home Rule). His inability to "very clearly explain" them underscores that his opinions are inherited, not earned.
- His arguments rely on slogans and banner phrases from elections, repeated mechanically ("church and state," "the constitution"). Dickens highlights how political discourse often devolves into empty rhetoric rather than substantive debate.
The Constitution as a Symbol of Empty Rhetoric
- The young gentleman’s obsession with "the constitution" is particularly absurd. He doesn’t understand it but defends it passionately because the opposing side denies it—making his stance purely reactive. This mirrors real political debates where symbols (like "the constitution") are invoked without deep comprehension.
- The circular logic—"the constitution is somehow church and state, and church and state somehow the constitution"—exposes how political arguments often rely on tautologies rather than reason.
The Erosion of Social Norms
- Dickens laments the decline of the "good custom" of avoiding politics in mixed company. The phrase "gone out, and left no word when it is likely to be home again" personifies the lost tradition as a wayward guest, suggesting society has abandoned civility for partisan bickering.
- The rise of "political young ladies" (a nod to the growing involvement of women in political discussions, though still limited in the 1830s) and the ubiquity of political young gentlemen reflect how politics has become inescapable, even in social settings.
Satire of Class and Youthful Pretension
- The "young gentleman" is a figure of youthful arrogance—he speaks with authority but lacks depth. His heat and fury in debates are performative, masking his ignorance.
- Dickens often targeted the middle and upper classes in his satire, and here, the young gentleman’s blind adherence to party lines reflects the conformity and lack of independent thought among the educated elite.
Literary Devices
Satire and Irony
- The entire sketch is satirical, using exaggeration to critique political extremism. The young gentleman’s absurd loyalty (e.g., rejecting romance based on party) highlights the irrationality of partisanship.
- Irony: The narrator claims to be fulfilling a "most responsible duty" in describing these young men, but the tone is mockingly serious, underscoring the frivolity of the subject.
Metaphor and Simile
- "Political glasses": The metaphor suggests that his worldview is artificially constructed, like tinted lenses distorting reality.
- "Purple spectacles": The color purple (associated with royalty and pomposity) reinforces the idea of an affected, unreal perspective.
- "As a pair of purple spectacles communicate the same uniform tint...": The simile emphasizes the monochromatic, unnuanced way he views the world.
Hyperbole
- The claim that he would never admire a woman from the opposing party is an exaggeration to show how politics warps personal relationships.
- His ability to declaim on the constitution "by the hour" with no real knowledge is hyperbolic, emphasizing the performative nature of political discourse.
Personification
- The "good custom" of avoiding politics is personified as something that has "gone out" like a guest, humorously suggesting it may never return.
Repetition and Circular Logic
- The young gentleman’s reasoning about the constitution ("church and state, and church and state somehow the constitution") is deliberately tautological, mimicking the empty repetition of political slogans.
Allusion
- "The days when pigs drank wine": A reference to a proverb or folktale (possibly Aesop’s The Fox and the Mask), suggesting a mythical, absurd past. Dickens contrasts this with the "more recent period" to humorously imply that while some old customs were silly, at least they were better than the current state of affairs.
Significance of the Excerpt
Critique of Partisan Politics
- Dickens’ satire remains relevant today, as it exposes how political identity can override reason, empathy, and even personal relationships. The young gentleman’s refusal to see merit in the opposing side reflects the tribalism of modern politics.
Social Commentary on Gender and Politics
- The mention of "political young ladies" is notable. While women in the 1830s had limited political rights, Dickens acknowledges their growing engagement in political discussions, even if only as spectators or influencers in social circles. This reflects the slow shift toward women’s political participation (though full suffrage was decades away).
The Decline of Civility
- The lament for the lost custom of avoiding politics in mixed company critiques the coarsening of public discourse. Dickens suggests that politics has invaded spaces where it once had no place, leading to more conflict and less harmony.
Youth and Intellectual Laziness
- The "young gentleman" represents the danger of unexamined beliefs. His reliance on slogans and inability to articulate his views beyond clichés is a warning about the perils of ideological conformity without critical thinking.
Dickens’ Style and Influence
- This sketch exemplifies Dickens’ keen observational humor and his ability to distill complex social issues into vivid, relatable characters. His use of exaggeration and wit makes the critique entertaining while still biting.
- The work also reflects Dickens’ broader concern with social reform. While Sketches of Young Gentlemen is lighter than his novels, it shares his skepticism of institutions and blind tradition.
Line-by-Line Breakdown of Key Passages
"Once upon a time—not in the days when pigs drank wine, but in a more recent period..."
- Sets a fairy-tale-like tone but immediately undercuts it with irony. The reference to "pigs drinking wine" suggests a mythical, absurd past, while the "more recent period" is the equally absurd present.
"It was customary to banish politics when ladies were present."
- Highlights the gendered social norms of the time, where politics was considered unladylike or too contentious for mixed company. The fact that this custom is gone implies a loss of decorum.
"Political glasses, with which the young gentleman assists his mental vision, give to everything the hue and tinge of party feeling."
- The metaphor of glasses suggests that his partisanship is not a choice but a lens he cannot remove. It also implies that his worldview is artificially constructed.
"He would as soon think of being struck with the beauty of a young lady in the opposite interest, as he would dream of marrying his sister to the opposite member."
- Hyperbolic comparison showing how politics overrides natural human instincts (attraction, family loyalty). The absurdity underscores the dehumanizing effect of extreme partisanship.
"He has also some choice sentences regarding church and state, culled from the banners in use at the last election..."
- Exposes how his political views are borrowed, not original. The word "culled" (as if plucking fruits) suggests he picks ready-made phrases without understanding them.
"Not that he has any particular information on the subject, but because he knows that the constitution is somehow church and state..."
- The circular, confused reasoning mirrors real political debates where slogans replace substance. The young gentleman doesn’t need to understand—he just needs to oppose the other side.
"This good custom in common with many others has ‘gone out,’ and left no word when it is likely to be home again..."
- Personification of tradition as a wayward guest who may never return. Dickens mourns the loss of civility while humorously accepting that it’s unlikely to come back.
Conclusion: Why This Matters
Dickens’ sketch is a timeless satire on how politics can distort perception, replace genuine thought with slogans, and poison social interactions. The "political young gentleman" is a warning against blind partisanship—a figure who values party loyalty over reason, humanity, and even love.
While the specific political issues (e.g., "church and state," "Ireland and the Pope") are rooted in 19th-century Britain, the behaviors Dickens mocks—dogmatism, intellectual laziness, and the invasion of politics into personal life—are still recognizable today. The excerpt remains sharp, funny, and uncomfortably relevant, proving that some social critiques never go out of style.