How Does Madame Defarge Change In A Tale Of Two Cities

In A Tale Of Two Cities characters are introduced and described multiple times throughout the novel; examples of said characters being the likes of Sydney Carton, Lucie Manette, Dr. Manette, and Madame Defarge. Each of these personalities are dark (negative), light (positive), or even both and, as a result, they all affect the story heavily despite the differences every individual brings to the table. In any story there are the good and the bad, in this book the “bad” are doing good but in the wrong way at certain times which, in turn, affect the lives of the “good”. Overall every character truthfully desires to help but they all find their own directions towards a “rightfully good” path. To further explain, an example of this is how Defarge

Unlike Lucie, Madame Defarge is a force of darkness whom reveals how the Revolution affected her and how her reaction affects the storyline of the book. Madame Defarge had a rough past, a similarity she shares with Lucie, but she allows the darkness to take ahold of her and corrupt her previously kind mind. In Chapter Twelve of Book Three, Defarge displays the amount of hatred she holds for something that happened so long ago (her want to kill all in the family of Evrémonde) when firmly stating, ‘Then tell Wind and Fire where to stop, but don't tell me.” She clearly explains she will not stop her killing and does not care for the lives of the innocent relatives of the Evrémonde. This darkness from so many years ago corrupts her and causes an unnecessary distribution of pain, giving the novel an even better way to intrigue its readers. Defarge’s constant thirst for revenge and her large revolutionary mind create an atmosphere of negativity around her when her motives are mostly good. When the reader truly puts his/her mind to it, they can see that Madame Defarge wants to avenge her family and make her country a better place (both being good motives) but she is perceived as the evil one because of her form of approaching these situations. As a revolutionary, we

Sydney Carton is the perfect example of a balance for the light and darkness in A Tale Of Two Cities. Carton goes through multiple “mood swings”, if you will, throughout the book and switches constantly between a depressing state and a positive one. To be clear he never truly leaves this depressing state, Carton just accepts the depression and handles it in his own way (be it twisted or not). A third of the way into the book in Chapter Thirteen of Book Two, Carton becomes depressed because he hears good news about everyone but him. In the first paragraph he is explained rather darkly, “If Sydney Carton ever shone anywhere, he certainly never shone in the house of Doctor Manette. He had been there often, during a whole year, and had always been the same moody and morose lounger there. When he cared to talk, he talked well; but, the cloud of caring for nothing, which overshadowed him with such a fatal darkness, was very rarely pierced by the light within him.” This proves that Sydney had acted like a lifeless husk whom didn’t feel anything; it brings up the idea of light also, saying that his light didn't shine through this dark state of his very often. The important part of Carton’s depressing state was that, in the end, he was able to save a few lives. In Book Three of A Tale Of Two Cities, Carton expresses his