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In the early stages of the novel, Bleak House—a large and foreboding property—is a symbol of worrying possibilities. Rather than optimistic, the characters are initially anxious about what awaits them inside the house. They are not necessarily there of their own volition; Richard and Ada have been sent there by the court, and Esther is there because she has been promised a job. Even for Jarndyce himself, the house has a dark past. The house came into his possession after a series of deaths brought about by his relations’ obsession with the legal case that bears his name. Its interior is labyrinthine, mirroring the convoluted legal system. However, Jarndyce has worked hard to turn the house from a foreboding symbol of death and obsession into what it becomes later in the novel. The arrival of the young wards is part of this symbolic reconstruction, an attempt to remove the inherent bleakness of Bleak House.
The immediate friendship between Richard, Ada, and Esther is consecrated by their shared arrival at Bleak House. They go through the emotional journey of reinterpreting the building’s symbolism; the dark and foreboding feeling is forgotten, replaced by the delight of being surrounded by so many friends. Bleak House becomes a symbol of this budding friendship. For Esther, Bleak House is also the first place where she feels truly at home. For once, she is not in a temporary or unloving home: She is welcomed and appreciated, as well as given more responsibility than ever before (as symbolized by the keys Jarndyce entrusts her with). Through Richard, Ada, Jarndyce, and the house itself, Esther learns what it means to be in a loving, thriving household. Bleak House becomes important to her own personal psychology as a symbol of responsibility, love, and the family she never really had.
After several years, Esther leaves Bleak House to marry Woodcourt. However, Jarndyce surprises her by gifting the couple with their own version of Bleak House. This small copy of the house is decorated in the exact same style that Esther implemented in the original. She moves to the new Bleak House and recognizes herself in it—a validation of the identity she has built for herself. It is an acknowledgment of her hard work and effort, as well as a symbolic transition between her two roles. She is no longer an employee of Bleak House but an owner of Bleak House. The second Bleak House represents Esther’s growth as a character and the recognition of this growth by the people she loves best.
The Court of Chancery is an archaic part of the English legal system that deals with complex cases that common law may not be equipped to handle. At the beginning of the novel, Dickens assures the reader that the Jarndyce and Jarndyce case has real-world forebears. Like the Jarndyce and Jarndyce case, these real forebears have been occupying the attentions of the court for decades with no progress being made; they embody the distinction between Justice Versus Law. Dickens’s depiction of the court thus symbolically satirizes the bureaucracy of Victorian Britain. Dickens, someone who worked as a legal clerk and reported on the legal system as a journalist, was acutely aware of the intricate absurdities of the court. This absurdity becomes a key plot point in the novel, with the court standing in for the entire decrepit, archaic legal system, which exists only to perpetuate and enrich itself.
For the characters, the court has a complex symbolic meaning. Miss Flite and Richard invest the Court of Chancery with a symbolic optimism. To them, the court represents a rich future, just as soon as it reaches a judgment. They have faith in the court to an almost religious degree; Miss Flite likens the final judgment in her case to the day of judgment described in the Bible. To people like Richard and Miss Flite, the court’s bureaucracies become symbolic rituals similar to the ceremonies in a church. Both characters try to learn more about the legal system so that they can fully invest themselves in this ritualist hope.
Characters like Jarndyce have a far darker view of the court. To Jarndyce, the court is a bleak symbol of obsession and corruption. He has seen many of his family members become completely infatuated with the glacial case, to the point where he has washed his hands of the entire enterprise. The tragedy of Jarndyce’s interpretation of the court is that he cannot convincingly communicate it to his young ward. To Jarndyce, the court ultimately becomes a symbol of his failure to help Richard. Once the ruling is delivered and the characters realize that the entire process was a waste of time, the court fades from memory, and all the characters have left is their respective regrets. Jarndyce’s view of the symbolic meaning of the court is validated.
Jarndyce does not fear the East Wind, but he treats it as an ominous sign that trouble is afoot. The East Wind is a symbol of the external forces of chaos that threaten Jarndyce’s happiness—most notably, the Jarndyce and Jarndyce case. The case brings nothing but trouble, but he dislikes talking about it or feeling that he is at its mercy, so he projects his annoyance and his dread onto a similarly uncontrollable force: the East Wind. Blaming the weather as a vindictive force is easier than accepting his lack of agency. Jarndyce uses the East Wind to vent his frustrations, which keeps them obscured. Mentions of the East Wind especially litter Jarndyce’s interactions with Richard, revealing his increasing fear that Richard has become obsessed with the Jarndyce and Jarndyce case. Jarndyce cannot stop the wind, just as he cannot stop Richard’s obsession.
At the end of the novel, Jarndyce accepts that the wind has seemingly stopped blowing from the east. After the case is settled and Esther married, there is no persistent threat to the family’s happiness any longer. The fear of unknown, chaotic, uncontrollable forces is gone, and the wind goes with it.
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By Charles Dickens