Book I - Chapter I. The Period A Tale of Two Cities


Next Chapter

It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness, it was the spring of hope, it was the winter of despair, we had everything before us, we had nothing before us, we were all going direct to Heaven, we were all going direct the other way--in short, the period was so far like the present period, that some of its noisiest authorities insisted on its being received, for good or for evil, in the superlative degree of comparison only.

There were a king with a large jaw and a queen with a plain face, on the throne of England; there were a king with a large jaw and a queen with a fair face, on the throne of France. In both countries it was clearer than crystal to the lords of the State preserves of loaves and fishes, that things in general were settled for ever.

It was the year of Our Lord one thousand seven hundred and seventy-five. Spiritual revelations were conceded to England at that favoured period, as at this. Mrs. Southcott had recently attained her five-and-twentieth blessed birthday, of whom a prophetic private in the Life Guards had heralded the sublime appearance by announcing that arrangements were made for the swallowing up of London and Westminster. Even the Cock-lane ghost had been laid only a round dozen of years, after rapping out its messages, as the spirits of this very year last past (supernaturally deficient in originality) rapped out theirs. Mere messages in the earthly order of events had lately come to the English Crown and People, from a congress of British subjects in America: which, strange to relate, have proved more important to the human race than any communications yet received through any of the chickens of the Cock-lane brood.

France, less favoured on the whole as to matters spiritual than her sister of the shield and trident, rolled with exceeding smoothness down hill, making paper money and spending it. Under the guidance of her Christian pastors, she entertained herself, besides, with such humane achievements as sentencing a youth to have his hands cut off, his tongue torn out with pincers, and his body burned alive, because he had not kneeled down in the rain to do honour to a dirty procession of monks which passed within his view, at a distance of some fifty or sixty yards. It is likely enough that, rooted in the woods of France and Norway, there were growing trees, when that sufferer was put to death, already marked by the Woodman, Fate, to come down and be sawn into boards, to make a certain movable framework with a sack and a knife in it, terrible in history. It is likely enough that in the rough outhouses of some tillers of the heavy lands adjacent to Paris, there were sheltered from the weather that very day, rude carts, bespattered with rustic mire, snuffed about by pigs, and roosted in by poultry, which the Farmer, Death, had already set apart to be his tumbrils of the Revolution. But that Woodman and that Farmer, though they work unceasingly, work silently, and no one heard them as they went about with muffled tread: the rather, forasmuch as to entertain any suspicion that they were awake, was to be atheistical and traitorous.

In England, there was scarcely an amount of order and protection to justify much national boasting. Daring burglaries by armed men, and highway robberies, took place in the capital itself every night; families were publicly cautioned not to go out of town without removing their furniture to upholsterers' warehouses for security; the highwayman in the dark was a City tradesman in the light, and, being recognised and challenged by his fellow- tradesman whom he stopped in his character of "the Captain," gallantly shot him through the head and rode away; the mall was waylaid by seven robbers, and the guard shot three dead, and then got shot dead himself by the other four, "in consequence of the failure of his ammunition:" after which the mall was robbed in peace; that magnificent potentate, the Lord Mayor of London, was made to stand and deliver on Turnham Green, by one highwayman, who despoiled the illustrious creature in sight of all his retinue; prisoners in London gaols fought battles with their turnkeys, and the majesty of the law fired blunderbusses in among them, loaded with rounds of shot and ball; thieves snipped off diamond crosses from the necks of noble lords at Court drawing-rooms; musketeers went into St. Giles's, to search for contraband goods, and the mob fired on the musketeers, and the musketeers fired on the mob, and nobody thought any of these occurrences much out of the common way. In the midst of them, the hangman, ever busy and ever worse than useless, was in constant requisition; now, stringing up long rows of miscellaneous criminals; now, hanging a housebreaker on Saturday who had been taken on Tuesday; now, burning people in the hand at Newgate by the dozen, and now burning pamphlets at the door of Westminster Hall; to-day, taking the life of an atrocious murderer, and to-morrow of a wretched pilferer who had robbed a farmer's boy of sixpence.

All these things, and a thousand like them, came to pass in and close upon the dear old year one thousand seven hundred and seventy-five. Environed by them, while the Woodman and the Farmer worked unheeded, those two of the large jaws, and those other two of the plain and the fair faces, trod with stir enough, and carried their divine rights with a high hand. Thus did the year one thousand seven hundred and seventy-five conduct their Greatnesses, and myriads of small creatures--the creatures of this chronicle among the rest--along the roads that lay before them.

Frequently Asked Questions about Book I - Chapter I. The Period from A Tale of Two Cities

What happens in Book 1, Chapter 1 of A Tale of Two Cities?

Book 1, Chapter 1, titled "The Period," does not introduce any characters or begin the plot. Instead, it serves as a historical prologue set in the year 1775. Dickens describes the parallel conditions in England and France: both nations are ruled by oblivious monarchs, plagued by crime and injustice, and heading toward crisis. In France, the government sentences a youth to torture and death for a minor act of irreverence. In England, highway robberies occur nightly and the legal system executes petty thieves alongside murderers. The chapter ends by introducing two allegorical figures—the Woodman, Fate and the Farmer, Death—who silently prepare the materials for the guillotine and the tumbrils of the coming Revolution.

What is the meaning of the famous opening line of A Tale of Two Cities?

The opening line—"It was the best of times, it was the worst of times"—uses antithesis to capture the contradictions of the year 1775. For the aristocracy, it was an age of prosperity and confidence; for the common people, it was an era of suffering and oppression. Dickens deliberately draws a parallel between the 1770s and his own Victorian era (the novel was published in 1859), suggesting that such contradictions are a recurring feature of human society. The line also introduces the novel's central structural motif of duality—two cities, two nations, two social classes—that runs through the entire work.

What literary devices does Dickens use in Chapter 1 of A Tale of Two Cities?

Dickens uses several prominent literary devices in the opening chapter. Anaphora—the repetition of "it was" at the beginning of successive clauses—creates a rhythmic, sermon-like cadence that builds momentum. Antithesis places opposing ideas in parallel structure ("the age of wisdom" versus "the age of foolishness"), dramatizing the era's contradictions. Personification transforms Fate and Death into the "Woodman" and the "Farmer," who silently prepare the instruments of revolution. Foreshadowing appears in the image of trees already growing that will be "sawn into boards, to make a certain movable framework with a sack and a knife in it"—a veiled reference to the guillotine.

Who are the Woodman and the Farmer in A Tale of Two Cities?

The Woodman and the Farmer are not literal characters but allegorical personifications of Fate and Death, respectively. The Woodman represents the force that marks trees in the forests of France and Norway—trees that will eventually be cut down and fashioned into the guillotine. The Farmer represents Death, who has "already set apart" the rude carts sheltered in outhouses near Paris to serve as the tumbrils of the Revolution. Dickens emphasizes that these forces "work unceasingly" but "silently," and that anyone who suspected their activity "was to be atheistical and traitorous." They symbolize the inevitability of the French Revolution, already in motion years before anyone recognized the signs.

What is the historical setting of Book 1, Chapter 1 of A Tale of Two Cities?

The chapter is set in 1775, a year of significant unrest on both sides of the English Channel. In France, the aristocracy governs with unchecked cruelty under King Louis XVI and Queen Marie Antoinette (described as "a king with a large jaw and a queen with a fair face"). In England, King George III and Queen Charlotte preside over a nation plagued by crime—the Lord Mayor himself is robbed on Turnham Green. Dickens also references the American colonies—"a congress of British subjects in America"—whose communications have "proved more important to the human race" than the supernatural sensations that preoccupied England at the time, a nod to the looming American Revolution.

Why is Book 1, Chapter 1 of A Tale of Two Cities titled "The Period"?

The title "The Period" refers to the year 1775, which Dickens presents as an era defined by extremes and contradictions. By calling it simply "The Period," Dickens emphasizes that this chapter is not about specific characters or events but about the character of the age itself. The narrator states that "the period was so far like the present period" that its authorities insisted on describing everything "in the superlative degree of comparison only"—a pointed observation that applies equally to the 1770s and to Dickens's own 1850s. The title thus signals the novel's broader ambition: to use the past as a mirror for the present, warning Victorian readers that the same social forces that produced the French Revolution could arise in their own time.

 

Next Chapter
Return to the A Tale of Two Cities Summary Return to the Charles Dickens Library