《双城记》是狄更斯最重要的代表作之一。早在创作《双城记》之前很久，狄更斯就对法国大革命极为关注，反复研读英国历史学家卡莱尔的《法国革命史》和其他学者的有关著作。他对法国大革命的浓厚兴趣发端于对当时英国潜伏着的严重的社会危机的担忧。

　　1854年底，他说：“我相信，不满情绪像这样冒烟比火烧起来还要坏得多，这特别像法国在第一次革命爆发前的公众心理，这就有危险，由于千百种原因——如收成不好、贵族阶级的专横与无能把已经紧张的局面最后一次加紧、海外战争的失利、国内偶发事件等等——变成那次从未见过的一场可怕的大火。”可见，《双城记》这部历史小说的创作动机在于借古讽今，以法国大革命的历史经验为借鉴，给英国统治阶级敲响警钟；同时，通过对革命恐怖的极端描写，也对心怀愤懑、希图以暴力对抗暴政的人民群众提出警告，幻想为社会矛盾日益加深的英国现状寻找一条出路。

　　At that moment a heavy and measured sound began to be audible at some distance. Jean Valjean risked a glance round the corner of the street. Seven or eight soldiers, drawn up in a platoon, had just debouched into the Rue Polonceau. He saw the gleam of their bayonets. They were advancing towards him; these soldiers, at whose head he distinguished Javert's tall figure, advanced slowly and cautiously. They halted frequently; it was plain that they were searching all the nooks of the walls and all the embrasures of the doors and alleys。

　　This was some patrol that Javert had encountered--there could be no mistake as to this surmise--and whose aid he had demanded.Javert's two acolytes were marching in their ranks。

　　At the rate at which they were marching, and in consideration of the halts which they were making, it would take them about a quarter of an hour to reach the spot where Jean Valjean stood. It was a frightful moment. A few minutes only separated Jean Valjean from that terrible precipice which yawned before him for the third time. And the galleys now meant not only the galleys, but Cosette lost to him forever; that is to say, a life resembling the interior of a tomb.There was but one thing which was possible。

　　Jean Valjean had this peculiarity, that he carried, as one might say, two beggar's pouches: in one he kept under his feet and elbows. Half a minute had not elapsed when he was resting on his knees on the wall。

　　Cosette gazed at him in stupid amazement, without uttering a word. Jean Valjean's injunction, and the name of Madame Thenardier, had chilled her blood。