Dickens’ techniques, which present both the dehumanization and deindividuation of the mob, makes the reader question the relationship between the two. The passage begins, “There could not be fewer than five hundred people, and they were dancing like 5000 demons,” (1-2). Established in this is demonic imagery, in an otherwise joyful and light affair. The juxtaposition of dance, which has positive connotations, with demons, creates an unsettling inversion of social expectations and norms, causing an uncomfortable and sinister mood. Furthermore, the power of the mob is clearly established through this hyperbole of 500 people morphing into 5000 demons, in addition to the deindividuation occurring as 500 individuals become a demonic figure beyond themselves. A similar idea is embodied in the described that, as the dancers neared Lucie, “some ghastly apparition of a dance-figure gone raving mad arose among them” (6-7) This not only encompasses the group into one being, but a “ghostly” one, dehumanizing them even further. From the start of the passage, word choice with connotations of water imagery emphasizes the dehumanization of the revolutionaries as well as signal that they are a force of nature with which to be reckoned. The phrase when the revolutionaries first came, “a throng of people came pouring round the corner,” as well as “a mere storm of coarse red caps” (5), and “as they filled the place” (6) show that those involved are no longer individuals, since they have become as insignificant individually as droplets, but together form a wave of destruction. This deindividuation is also shown in Dicken’s description of the dance’s organization, where he states that “men and women danced together, women danced together, men danced together,” (4). The use of grouping by gender, while causing the deindividuation of the peasants, also reminds
Dickens’ techniques, which present both the dehumanization and deindividuation of the mob, makes the reader question the relationship between the two. The passage begins, “There could not be fewer than five hundred people, and they were dancing like 5000 demons,” (1-2). Established in this is demonic imagery, in an otherwise joyful and light affair. The juxtaposition of dance, which has positive connotations, with demons, creates an unsettling inversion of social expectations and norms, causing an uncomfortable and sinister mood. Furthermore, the power of the mob is clearly established through this hyperbole of 500 people morphing into 5000 demons, in addition to the deindividuation occurring as 500 individuals become a demonic figure beyond themselves. A similar idea is embodied in the described that, as the dancers neared Lucie, “some ghastly apparition of a dance-figure gone raving mad arose among them” (6-7) This not only encompasses the group into one being, but a “ghostly” one, dehumanizing them even further. From the start of the passage, word choice with connotations of water imagery emphasizes the dehumanization of the revolutionaries as well as signal that they are a force of nature with which to be reckoned. The phrase when the revolutionaries first came, “a throng of people came pouring round the corner,” as well as “a mere storm of coarse red caps” (5), and “as they filled the place” (6) show that those involved are no longer individuals, since they have become as insignificant individually as droplets, but together form a wave of destruction. This deindividuation is also shown in Dicken’s description of the dance’s organization, where he states that “men and women danced together, women danced together, men danced together,” (4). The use of grouping by gender, while causing the deindividuation of the peasants, also reminds