Key Quote
“"He became as good a friend, as good a master, and as good a man, as the good old city knew"”
Narrator · Stave 5
Focus: “good”
The novella's concluding description completes Scrooge's transformation — the repetition of 'good' in a tricolon structure mirrors the three ghosts who enabled his redemption.
Technique 1 — TRICOLON / ANAPHORIC REPETITION
The tricolon (a group of three parallel phrases) — 'as good a friend, as good a master, and as good a man' — creates a rhythmic, incantatory (chant-like, ritualistic) conclusion. The anaphoric (beginning successive clauses with the same word) repetition of 'good' hammers home the moral transformation, moving from the private sphere ('friend') through the economic ('master') to the universal ('man').
The three roles — friend, master, man — map onto the novella's three spheres of responsibility: personal (relationships with individuals like Bob Cratchit), economic (how you treat employees and use wealth), and moral (your fundamental character). Dickens argues that true goodness requires all three — partial reform is not enough.
Key Words
RAD — PROGRESS
Scrooge's progression is total and public: he is now recognised by the entire city as 'good.' His transformation from isolated miser to beloved community member demonstrates Dickens' belief that redemption is not merely internal but must be manifested (shown, made visible) in action. The word 'became' is crucial — it implies a process, not an instant conversion, reinforcing the idea that goodness is an ongoing practice.
Key Words
Technique 2 — CIRCULAR NARRATIVE STRUCTURE
The novella ends where it began — with a narratorial assessment of Scrooge — creating a circular structure that invites direct comparison. The opening's 'tight-fisted hand at the grindstone' contrasts with the closing's 'good friend, good master, good man,' completing a symmetrical arc. This structural resolution (the conclusion of the narrative tension) satisfies the reader's desire for moral justice while reinforcing the novella's didactic purpose.
The final line — 'God bless Us, Every One!' — echoes Tiny Tim's earlier blessing and gives the last word to the character who represents the vulnerable poor. By ending with a child's voice, Dickens ensures the novella's final image is one of innocence and hope rather than adult authority — the moral compass belongs to the least powerful, not the most.
Key Words
Context (AO3)
VICTORIAN MORALITY
Victorian society placed enormous emphasis on moral self-improvement: the idea that individuals could and should constantly strive to become better. Scrooge's transformation embodies this ideal — but Dickens adds a social dimension: self-improvement must include responsibility to others, not merely personal piety.
THE NOVELLA AS REFORM TOOL
A Christmas Carol was immediately successful and widely discussed. It contributed to a growing public conversation about poverty, working conditions, and the responsibilities of wealth. While it did not directly change laws, it helped shift public sentiment (the general mood and opinion of society) toward greater compassion — exactly as Dickens intended.
Key Words
WOW — THE POSSIBLE SELF (Narrative Identity Theory)
Narrative psychologist Dan McAdams argues that identity is a life story we construct and revise. The concept of possible selves — the people we might become — drives motivation. The three ghosts show Scrooge three possible selves: his past self (who once had warmth), his present self (who causes suffering), and his future self (who dies unmourned). By confronting these narrative identities, Scrooge authors a new self — choosing to become the 'good man.' Dickens anticipates modern narrative identity theory: we are not fixed entities but ongoing narratives, capable of revision at any chapter. The novella's ultimate message is that identity is a story you can rewrite — but only if you have the courage to read the pages that came before.
Key Words