Ideas of social change and progressive ideals are prominent in many nineteenth-century literary works. Hard Times by Charles Dickens is a great example of a social criticism novel, challenging important ideas of the time period, such as utilitarianism and social class. Dickens uses specific literary techniques that are very effective in shocking the reader into understanding Dickens's views. Dickens uses symbolism, satire, and synecdoche, among other literary techniques, to emphasize his argument. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay Perhaps the most effective technique is symbolism. Dickens uses it to exaggerate some ideas that might otherwise be overlooked in the overall complexity of the novel. A symbolic motif that runs throughout the novel is that of the agricultural cycle and the idea of ​​reaping what is sown. In the first chapters of the novel, Gradgrind, Bounderby, and McChoakumchild “sow the seeds” of the Fact in the young, fertile minds of children. The only seeds planted are those of Fact, and imagination and feeling are discouraged and repressed by adults. In the second part of the book, the characters begin to "reap" what they "sowed" in the children at the beginning of the novel. The doctrine of facts alone begins to create problems as characters like Louisa and Tom find themselves unable to make good decisions or feel any emotions. In the third part of the novel, the harvest is “harvested,” or stored, and the reader is struck by the true inadequacy of the seeds sown long ago. Disasters such as Louisa's ruined marriage, Stephen's death, and Tom's downfall occur, and the characters who originally planted the seeds have nothing to sustain them. This use of dark symbolism poignantly and sometimes cruelly highlights Dickens's distaste for utilitarian doctrines of fact, and the reader is unable to ignore his disdain. Using this symbolism, Dickens not only expresses his disgust and disagreement with many aspects of utilitarianism, but also supports his hatred with predictions about what would happen to people if an entire society were based solely on facts. Dickens also uses satire to incite the reader's vehemence for social change. In discussing the love of facts of many characters and, indeed, of Coketown, he adopts an almost religiously reverent view. He discusses the fact that most churches are not frequented by the working masses: “A city so sacred indeed, and so triumphant in its assertion, obviously fared well? Why not…who belonged to the eighteen (religious) denominations? Because whoever did it, the workers didn't do it..." (Book one: chapter V; page 38). It continually reinforces the ideas preached by Gradgrind and Bounderby, that facts are the only necessary scripture above every other aspect of life, including religion itself. For Gradgrind, science and facts consume him completely, leaving him no time to pay attention to the human need for comfort and peace that is often exemplified by religion. Gradgrind even goes so far as to replace the word “God” with the word “Fact” in the statement “God forbid,” often exclaiming “Facts forbid!” when faced with something imaginative, like the circus. All these aspects combine to create a highly satirical vision of Coketown as a place where religion is not of God but of fact. Dickens further confirms this by continuously inserting religious allusions and fragments of prayers into descriptions of Coketown or into passages that speak of facts. This vision.