“It was the best of times, it was the worst of…?”
That line haunts every high‑school English class, every movie trailer that tries to sound epic, and anyone who’s ever tried to sound literary on a first date. But why does that opening line of A Tale of Two Cities still feel like a punch to the gut after more than two centuries?
If you’ve ever wondered what makes that sentence click, how Dickens built it, and why you should care about a line written in 1859, you’re in the right place. Let’s pull apart the famous opening, see what most readers miss, and walk away with a few tricks you can steal for your own writing That's the part that actually makes a difference..
What Is the Opening Line of A Tale of Two Cities
The sentence reads:
“It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness…”
That’s just the first half. Dickens continues for a full paragraph, stacking opposites until the rhythm itself becomes a kind of music. In plain English, the line is a contrast‑driven summary of the French Revolution era, presented through a series of binary pairs: best/worst, wisdom/foolishness, belief/disbelief, light/darkness.
Short version: it depends. Long version — keep reading.
Instead of a dry historical overview, Dickens throws us into a mood‑painting. But he’s not saying “the 1780s were chaotic. ” He’s showing us the chaos by making the sentence feel like a seesaw you can’t stop watching. That’s the secret sauce.
The Structure in a Nutshell
- Parallelism – each clause mirrors the previous one, creating a rhythm that’s easy to remember.
- Antithesis – the “best vs. worst” pattern forces the brain to hold two opposing ideas at once.
- Anaphora – the repeated “it was” at the start of each clause ties the whole thing together.
Put those three together and you get a line that’s instantly catchy, instantly profound, and instantly quotable Most people skip this — try not to..
Why It Matters / Why People Care
First, the line is cultural shorthand. So when a movie trailer says “the best of times, the worst of times,” you instantly get a sense of drama without any exposition. That’s marketing power right there.
Second, for writers it’s a masterclass in economy of language. You have to convey an entire epoch in a single paragraph. If you can do that, you’ve earned a seat at the table of great storytellers.
Third, the line frames the novel’s themes. Worth adding: the dualities—rich/poor, love/hate, life/death—aren’t just historical footnotes; they’re the emotional engine that drives every character. Understanding the opening line helps you see why Sydney Carton’s sacrifice feels inevitable rather than random.
Finally, on a personal level, that opening line makes you feel something before you even meet a single character. It’s a reminder that great literature can hook you with a single breath.
How It Works (or How to Do It)
Let’s break down the mechanics so you can spot them in other works—or use them yourself Not complicated — just consistent..
### 1. Parallelism: The Rhythm Engine
Parallelism is the repetition of grammatical structures. Worth adding: in Dickens’ line, each clause follows the pattern “it was the [adjective] of [noun]”. That creates a cadence that rolls off the tongue And that's really what it comes down to. Still holds up..
Why it works:
- Memory aid – our brains love patterns; we remember them better.
- Emphasis – repeating the structure highlights each pair of opposites equally.
Try it: Write a one‑sentence summary of your day using parallelism. “I was the early bird, I was the night owl, I was the coffee addict, I was the exhausted commuter.” Feel the rhythm? That’s parallelism at work Not complicated — just consistent. Nothing fancy..
### 2. Antithesis: The Contrast Magnet
Antithesis pits two opposite ideas side by side. Dickens uses twelve pairs, each one sharpening the other.
Why it works:
- Tension – opposing ideas create a mental tug‑of‑war that keeps readers engaged.
- Depth – the contrast hints at complexity; life isn’t black‑and‑white.
Try it: Pick a theme (e.g., love) and list its opposites (e.g., love/hate, devotion/indifference). Slip those into a sentence: “Love was the fire that warmed us, the blaze that burned us.” Instantly richer.
### 3. Anaphora: The Anchor Word
Repeating “it was” at the start of each clause is anaphora. It acts like a drumbeat, giving the sentence a steady pulse.
Why it works:
- Cohesion – the repeated phrase ties disparate ideas together.
- Momentum – each “it was” pushes the reader forward, making the paragraph feel inevitable.
Try it: Write a short paragraph about a city you love, starting each sentence with “The streets…” You’ll notice the paragraph feels more unified.
### 4. Layered Meaning: The Hidden Subtext
Beyond the obvious historical contrast, Dickens is also commenting on human nature. Consider this: “It was the epoch of belief, it was the epoch of incredulity” hints at the same people who can be both hopeful and skeptical. That duality mirrors the novel’s central character, Sydney Carton, who is both a wastrel and a hero.
How to replicate:
- Identify a broad theme (e.g., technology).
- Pair it with its opposite (e.g., connection/isolation).
- Sprinkle in a third layer that hints at personal stakes (e.g., “It was the age of connectivity, it was the age of loneliness, it was the era of screens, it was the era of silence”).
Common Mistakes / What Most People Get Wrong
-
Thinking the line is just a “pretty quote.”
Most readers stop at “nice phrasing.” The truth is, the line is a structural blueprint. Ignoring the mechanics means missing a huge lesson in storytelling. -
Trying to copy the exact wording.
You can’t just swap “times” for “days” and expect the same punch. The magic lies in the balance of opposites and the rhythmic repetition. Without both, the line falls flat. -
Over‑loading with too many pairs.
Dickens uses twelve, but that’s because he’s a master of pacing. For most writers, three to five pairs are enough before the rhythm becomes a slog. -
Neglecting context.
The opening line works because the novel is set during a massive societal upheaval. Drop the line into a cozy romance and it feels pretentious. Always match the contrast to the story’s stakes. -
Forgetting the emotional hook.
The line isn’t just intellectual; it’s visceral. If you read it aloud, you feel the tension. If you write a similar opening, read it aloud first. If it doesn’t make your chest tighten, you’ve missed the point Practical, not theoretical..
Practical Tips / What Actually Works
- Start with a list of opposites. Grab a notebook, write down ten binary pairs that relate to your topic. Pick the strongest three to five.
- Choose a single anchor phrase. “It was,” “She felt,” “The city…” Repeating the anchor gives you the anaphora backbone.
- Read aloud while you write. The rhythm will reveal itself. If you stumble, rearrange the clause order.
- Limit the number of pairs. Aim for a sweet spot: 4–6 pairs for a paragraph, 10–12 if you’re going full Dickens.
- Tie the contrast to your theme. Don’t just throw in “light/darkness” for the sake of it. Make sure each pair reflects the core conflict of your piece.
- Leave room for subtext. After the list of opposites, add a line that hints at a personal or narrative consequence. Dickens does this with “we had everything before us, we had nothing before us…”
Example in practice:
“It was the dawn of remote work, it was the dusk of office chatter, it was the surge of video calls, it was the silence of empty desks, it was the promise of flexibility, it was the fear of isolation.”
That’s a modern take on Dickens’ template, ready for a blog post about post‑pandemic work culture Which is the point..
FAQ
Q: Is the opening line really a single sentence?
A: Technically it’s a paragraph made of several clauses, but most people quote the first two halves as a single sentence. The full paragraph continues the pattern for about a dozen pairs But it adds up..
Q: Did Dickens write the line in one go?
A: He drafted it, revised, and refined the opposites. Early manuscripts show a shorter version that grew as he honed the rhythm.
Q: Can I use a similar structure in non‑fiction?
A: Absolutely. Journalists often open feature stories with a series of contrasts to set the scene. Just keep the language factual and the opposites relevant.
Q: Why does the line start with “It was”?
A: The pronoun “it” is deliberately vague, allowing the reader to fill in the context—London, Paris, the era—before the specifics arrive. It’s a subtle way to pull the audience in Worth keeping that in mind. Still holds up..
Q: Does the line have hidden numerology?
A: Some scholars note the twelve pairs echo the twelve months or the twelve signs of the zodiac, reinforcing the idea of a complete cycle. It’s not a hard rule, but an interesting layer.
That opening line isn’t just a relic of Victorian prose; it’s a compact writing workshop. Now, by dissecting its parallelism, antithesis, and anaphora, you can see why it still feels fresh after 185 years. Next time you need a hook, try building your own “best of times, worst of times” moment. You might just end up with a line that people quote at parties for decades to come That's the part that actually makes a difference..
Happy writing.
