A Christmas Carol is a novella written by Charles Dickens and published in 1843. Considered one of the greatest Christmas stories ever written, it is about the redemption of Ebenezer Scrooge, a bitter old miser who scoffs at Christmas and alienates all those around him in London. Many theatre, TV, and film adaptations have been made of the story over the years, including the much-loved version of 1951 (Scrooge) with Alastair Sim in the title role, An American Christmas Carol with Henry Winkler as the miser, a musical version (Scrooge) with Albert Finney in the title role, and a motion-capture version with Jim Carrey as Scrooge and the three Christmas ghosts.
As with many Dickens stories, A Christmas Carol is a searing indictment of the deleterious effects of 19th-century industrial capitalism in England; however, Dickens presents a sentimental, bourgeois liberal solution to the problem of Scrooge’s miserliness by changing him into a ‘kinder, gentler’ capitalist, giving generously to the poor, instead of proposing a more radical and lasting solution to class conflict, of the type Marx and Engels would propose by the end of the 1840s.
Here are some famous quotes:
Old Marley was as dead as a doornail. –narrator
“Bah!” said Scrooge, “Humbug!”
“Merry Christmas! [<<<a wish popularized in this novella] What right have you to be merry? What reason have you to be merry? You’re poor enough.” –Scrooge
“Come, then,” returned the nephew gaily. “What right have you to be dismal? What reason have you to be morose? You’re rich enough.”
“If they would rather die,” said Scrooge, “they had better do it, and decrease the surplus population.”
“God bless us, everyone!” said Tiny Tim, the last of all.
“They are Man’s,” said the Spirit, looking down upon them. “And they cling to me, appealing from their fathers. This boy is Ignorance. This girl is Want. Beware them both, and all of their degree, but most of all beware this boy, for on his brow I see that written which is Doom, unless the writing be erased. Deny it!”
“Now, I’ll tell you what, my friend,” said Scrooge, “I am not going to stand this sort of thing any longer. And therefore,” he continued, leaping from his stool, and giving Bob such a dig in the waistcoat that he staggered back into the Tank again: “and therefore I am about to raise your salary!”
The novella is called A Christmas Carol because Dickens conceived of the story as song-like, its five chapters called “Staves”. The staves of a song tend to have a rather cyclical quality, in how the end of one stave leads into the beginning of a new one. This phasing of the old into the new will be a motif in the story.
The story begins with the emphatic declaration of the death of Jacob Marley, Scrooge’s old business partner. This is significant in how Christmas, traced back to its origins as a pagan holiday based on the December solstice, is all about ‘out with the old, and in with the new’.
The winter solstice happens around December 20-22, and the European pagans believed that, because the Northern hemisphere faces furthest away from the sun at that time of year, the sun-god was dead, soon to be reborn, with the shortest days of the year to be followed by longer and longer ones. Replacing the sun-god with the Son of God, the Church replaced such festivals as Yule, and possibly Dies Natalis Solis Invicti, with Christmas on December 25.
Out with the old, in with the new.
Marley, Scrooge’s double, is gone. Scrooge is about to be reborn, as it were. As miserly as Marley was, Scrooge is too cheap even to paint over his partner’s name on the sign of their office (page 2). When visitors address Scrooge by either his or Marley’s name, Scrooge answers as if no mistake were made in calling him ‘Marley’; hence, the two money-loving businessmen are virtually indistinguishable.
Dickens compares the importance of Marley’s death at the beginning of the story to that of Hamlet’s father at the beginning of Shakespeare’s play: without that death, “nothing wonderful can come of the story” (page 2); the Danish king and prince have the same name, Marley and Scrooge have the same nature; and the death of the one begins the chain [!] of events leading to the delayed, but ultimately achieved, final heroic acts at the end of both stories.
The sun-god must die before he can be reborn, then gradually grow and warm the Northern Hemisphere in the next spring and summer. Life is a cycle of contradictions, the primary and secondary aspects of which change places in the development of all things. “We often speak of ‘the new superseding the old’. The supersession of the old by the new is a general, eternal and inviolable law of the universe…In each thing there is contradiction between its new and its old aspects, and this gives rise to a series of struggles with many twists and turns. As a result of these struggles, the new aspect changes from being minor to being major and rises to predominance, while the old aspect changes from being major to being minor and gradually dies out. And the moment the new aspect gains dominance over the old, the old thing changes qualitatively into a new thing.” (Mao, page 158). The contradiction between greed and generosity will also result in a swapping of aspects, as will happen with Scrooge by the end of the story.
Scrooge is “a squeezing, wrenching, grasping, scraping, clutching, covetous old sinner!” (page 2). He keeps the coals to himself in his office (page 4), so poor Bob Cratchit, his over-worked, underpaid clerk, has barely a glowing coal or two at the fireplace by his desk. This is on Christmas Eve, seven years to the day of Marley’s death, and when the Northern Hemisphere is facing the farthest away from the sun, the sun-god dead and yet to be reborn.
Part of Scrooge’s meanness is his general misanthropy, reflected in his contempt for his cheerful nephew Fred, who insists on inviting Scrooge to his Christmas party, in spite of knowing his uncle will refuse to attend (pages 5-8). Next, Scrooge refuses to give to two portly charity collectors (pages 9-11), preferring to support the workhouses and other austere government-provided institutions, like the debtor’s prisons, the Poor Law, and the Treadmill.
Such government provisions are the worst kinds that the bourgeois state has to offer, and Scrooge won’t even give to charity, another bourgeois form of pity. The most charity he can muster is to allow Cratchit to have a paid day off on Christmas, and Scrooge does this only with a grudging scowl (page 13).
When Scrooge gets home, a suite of rooms once owned by Marley, he encounters the ghost of his old partner (pages 15, 19-27). This ghost could be said to be a parody of the risen Christ, for Scrooge is like a doubting Thomas believing he is hallucinating at the sight of Marley’s ghost from having eaten bad food. Only the ghastly sight of screaming Marley’s broken jaw, falling to his chest after his having removed a bandage wrapped around his head, frightens Scrooge into believing in Marley; this is like Thomas seeing the stigmata and spear-wound in the side of the risen Christ before finally believing. Marley, like Christ, has harrowed Hell, and suffers from it.
Marley’s ghost is also like the ghost of Hamlet’s father, who has suffered in Purgatory, a temporary Hell: both ghosts tell the respective protagonists of the difficult but necessary things they must do to redeem themselves and their world. Scrooge, like Hamlet, is rich, and therefore, powerful; he’s also a reluctant hero, like the Dane, with a long list of personality flaws, yet with much potential for good.
Marley tells Scrooge of the three ghosts that will visit him, three ghosts that will effect the redeeming transformation in him–beginning, middle, and end, a kind of Trinity, or Trimurti, in themselves (more on that later). Then the ghost goes to a window, Scrooge following (pages 27-28). They both watch the pitiful spectacle of a homeless mother holding her baby, trying her best to keep it warm. Ghosts of men like Marley are out there, too, trying in vain to redeem themselves for their lifetimes of avarice. One of them, one Scrooge is familiar with, cries at being unable to assist the woman and her child. “The misery with them all was, clearly, that they sought to interfere, for good, in human matters, and had lost the power for ever.” (page 28)
That is the end of Stave One. Stave Two begins with the arrival of the Ghost of Christmas Past, a paradoxical-looking character, both young and old-looking at the same time (page 32). A bright light glows about his head, yet he has a large candle extinguisher for a cap. As a ghost of the past, he represents the old brought back new again; his is a light that has been snuffed out before, and will be snuffed out again. The old must die for the new to be born. This ghost, showing the creation and growth of the miser in Scrooge, is Brahma just after the leaving of Śiva.
As the ghost shows Scrooge the shadows of his Christmases as a boy and a young man, we see how Scrooge came to be the miser that he is. His father seems to have been cold and unloving to him, so he’s been a lonely schoolboy; and only on the Christmas of the first shown memory has his father finally warmed up to him, to have him come home (page 41). It is plain to see that a negative father imago has already been built up in young Ebenezer’s psyche, with his little sister, Fan, as his only good object relation for the time, to compensate for the psychological damage his father has done to him. Still, she will die after bearing Fred, and Scrooge will repeat the same cold relationship with his nephew as his father had with him. This harsh relationship is more fully developed in the 1951 movie.
Scrooge prefers wealth and gain over “dowerless” Belle, his girlfriend from a poor family; though he’s never said it to her, his preference is too obvious to her to ignore, so she chooses to “release” him, knowing a “golden…idol has displaced” her (pages 50-51). This preference, of the pleasure of owning money, over people is an example of failed object relations (i.e., ‘object‘ = a person other than oneself), as Fairbairn once observed: “…from the point of view of object-relationship psychology, explicit pleasure-seeking represents a deterioration of behaviour…Explicit pleasure-seeking has as its essential aim the relieving of the tension of libidinal need for the mere sake of relieving this tension. Such a process does, of course, occur commonly enough; but, since libidinal need is object-need, simple tension-relieving implies some failure of object-relationships.” (Fairbairn, p. 139-140)
When we fail to get the love we truly need and crave, we replace it with the shoddy substitutes of money, drugs, sex, pornography, alcohol, etc. Scrooge’s rage and regret over discovering Belle’s marriage to another man, as well as their large litter of children, a rage expressed in his snuffing out of the light of the Ghost of Christmas Past, underscores the reality that, deep down, it’s love and relationships, not money, that Scrooge has longed for so badly.
The Ghost of Christmas Present, “a jolly giant” in a green robe with a holly wreath around his head, is seen by Scrooge in a room full of “turkeys, geese, game, poultry,…sausages, mince-pies, plum-puddings”, chestnuts, apples, oranges, pears, etc. (page 59). All of this plenty, food that preserves and maintains life, represents the living reality of now; as the previous Christmas ghost was Brahma, this one is Vishnu. He shows Scrooge the lives of ordinary, working class people, including a miners’ cottage (pages 78-79), sailors during a storm at sea (pages 79-80), and, of course, the Cratchit family (pages 67-77). Scrooge is touched to see the love in this family.
He is especially moved by Tiny Tim, a sweet boy one couldn’t dislike if one tried, one who is a sick cripple. When his parents show their fear of him dying, Scrooge feels an emotion he surely hasn’t felt in years: compassion. All those US politicians who refuse to allow single-payer healthcare could do well to see the millions of faces of the sick proletariat who can’t afford the healthcare they need, all those Tiny Tims who are being ignored.
At the end of Scrooge’s time with the Ghost of Christmas Present, two filthy, emaciated children are discovered to be hiding under his robe, sitting at the ghost’s feet. The boy is Ignorance, the girl is Want: Scrooge is warned to beware of both, but especially to beware the boy.
How many of us fetishists of commodities fail to beware the boy? We eagerly buy the latest smartphones, electric cars, etc., ignorant of how the cobalt needed to make them is found; this cobalt has been mined by children “in the bowels of the earth” in the DRC. The corporations that exploit this labour either claim ignorance of how they get their cobalt, or claim they’re taking measures to solve the problem: should we be buying their claims of innocence?
Dickens was decrying the evils of 19th century industrial capitalism in England, and how these evils were causing suffering among the British working class, especially children. The contemporary equivalent of this problem is capitalist imperialism, which is exploiting the global proletariat, the millions of people who live in Third World countries like the DRC.
Dickens’s proposed solution in this novella was to have ‘kinder, gentler’ capitalists. This might be acceptable, to some extent at least, in First World countries; but it solves nothing for the Third World, where suffering was plenty acute even when Keynesian capitalism, coupled with better social welfare programs, was ‘kinder and gentler’ for the white Western world from 1945-1973.
The Ghost of Christmas Present actually ages and ‘dies’ at the end of the day (pages 89-91). This is appropriate, given he represents the living now of the current Christmas, a preserving Vishnu. The end of the current Christmas means the end of his existence.
Immediately after his demise appears his successor, the Ghost of Christmas Yet to Come, a mute spirit shrouded in deathly black who communicates only with hand gestures. As the previous ghost was of the living present (Vishnu), the final ghost is of a future of death and destruction…Śiva. Indeed, death looms throughout the shadows presented to an increasingly terrified Scrooge.
In the first of these shadows, some businessmen are seen discussing a recently deceased, rich old man (pages 94-96). None of them shows any sadness over his death. Typical capitalists: they have no more pity over the falling of a rival member of the ruling class than they would over the deaths among the proletariat. The more and more repentant miser clings, with an ever-loosening grip, to the hope that this spoken-of dead old man, one whose death is–if anything–celebrated rather than mourned, isn’t himself.
Another microcosm of capitalism is shown in Old Joe, a fence who profits off of stolen items, in this case stolen from the despised old man (pages 98-103). The capitalist meets his karma among the cackling leeches who get money from Joe for such items as stolen bed curtains and blankets.
In contrast to the apathy felt toward the dead old man, Tiny Tim’s death is profoundly mourned by the Cratchits (pages 107-112). Scrooge has no family to grieve over him: Fred and his wife are missing among the shadows shown to Scrooge; has the miser done something to end the patience of his long-suffering nephew?
Finally, Scrooge sees his austere-looking gravestone in an uncaring graveyard at night: his corpse lies there as lonely as the boy in that classroom in the first of the shadows the Ghost of Christmas Past showed Scrooge. Fan’s spirit won’t come to comfort him now. Terrified into repentance, he promises to change his ways, and as we know, he grows into a generous man, buying a huge turkey for the Cratchit family, promising a large donation (including “back-payments”–page 121) to one of the charity-seeking portly gentlemen from the beginning of the story, and finally appreciating family and relationships by attending Fred’s party (pages 122-123).
After raising Bob Cratchit’s salary (page 124), Tiny Tim is given the medical help he needs, and Scrooge is now known to be “as good a friend, as good a master, and as good a man, as the good old city knew, or any other good old city, town, or borough, in the good old world.” (page 125) Kinder, gentler capitalists: this, apparently, is Dickens’s proposed solution to the socio-economic ills of “the good old world”.
In the parlance of our time–peak liberalism.
One wonders if the ‘generosity’ of the Bill Gates Foundation, or the Clinton Foundation, or anything Trump or Jeff Bezos are doing, is in any way helping the millions of people who die of preventable disease or malnutrition each year, in a world where we’ve been producing more than enough food to feed the whole planet. Lots of money is spent on the military, to kill people, but not so much to help people.
Then again, Christmas is just a celebration of the birth of Christ, as opposed to his salvific death. The day of the birth of Sol Invictus is only the beginning of the light, the birth of the coming warmer days. That Christmas Day of the redeemed, ‘reborn’ Scrooge is just the beginning of his new goodness, the ‘kinder, gentler’ capitalist who, it is to be hoped, will inspire others in power to help the poor.
‘Kinder, gentler’ capitalists of this sort are far from enough, though, if social justice is something we are truly committed to. Eisenhower’s administration demanded higher taxes from the rich, but the US imperialism of the time also helped with the ouster of Mohammad Mosaddegh; then there was the coup d’état in Guatemala. LBJ wanted to build the Great Society, but early in his administration, the Gulf of Tonkin incident fraudulently involved the US in the Vietnam War, which would lead to bad feeling against him. “We [were] all Keynesians” under Nixon, whose administration used the CIA to replace Salvador Allende with Pinochet, and bombed the Hell out of Cambodia.
More will be needed to help the global poor than Keynesian capitalism with a strong welfare state (of the post-WWII sort inspired by the USSR and other socialist states of the 20th century), of the sort that existed from 1945-1973, and which helped only the First World proletariat. The Tiny Tims, and Ignorance and Want wretches, of today won’t be saved by the generous Scrooge of social democracy: perhaps a spectre (like the one that once haunted Europe) or two, or three or four–ghosts from the past to inspire new ones in the present and future–will replace all the Scrooges and Marleys, be they stingy or redeemed, with workers’ co-ops of Cratchits; maybe those spectres will bring that newborn baby of a sun of winter to a bright, warm sun of spring and summer, from the baby Christ of December to the Saviour in April.
Charles Dickens, A Christmas Carol, Puffin Books, New York, 1843
Mao Zedong, Selected Works of Mao Zedong, Marx-Engels-Lenin Institute, Lexington, KY, 2014
WRD Fairbairn, Psychoanalytic Studies of the Personality, Routledge, London, 1952
6 thoughts on “Analysis of ‘A Christmas Carol’”
I have posted a paper, “Evidence That ‘A Christmas Carol’ Was Originally Written by Mathew Franklin Whittier and Abby Poyen Whittier, Rather Than by Charles Dickens,” which is downloadable at the following link. It can also be found by searching on the title on Academia.edu.
Click to access MFW_APW_Carol.pdf