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Title page of Vol. 1 of first edition, July 1861
|Series||Weekly: 1 December 1860 – 3 August 1861|
|Genre||Realistic fiction, social criticism|
|Publisher||Chapman & Hall|
|1861 (in three volumes)|
Title page of Vol. 1 of first edition, July 1861
|Series||Weekly: 1 December 1860 – 3 August 1861|
|Genre||Realistic fiction, social criticism|
|Publisher||Chapman & Hall|
|1861 (in three volumes)|
Great Expectations is Charles Dickens's thirteenth novel. It is his second novel, after David Copperfield, to be fully narrated in the first person.[N 1] Great Expectations is a bildungsroman, or a coming-of-age novel, and it is a classic work of Victorian literature. It depicts the growth and personal development of an orphan named Pip. The novel was first published in serial form in Dickens's weekly periodical All the Year Round, from 1 December 1860 to August 1861. In October 1861, Chapman and Hall published the novel in three volumes.
Dickens originally intended Great Expectations to be twice as long, but constraints imposed by the management of All the Year Round limited the novel's length. The novel is collected and dense, with a conciseness unusual for Dickens. According to G. K. Chesterton, Dickens penned Great Expectations in "the afternoon of [his] life and fame." It was the penultimate novel Dickens completed, preceding Our Mutual Friend.
It is set among the marshes of Kent and in London in the early to mid-1800s. The novel contains some of Dickens most memorable scenes, including its opening, in a graveyard, when the young orphan Pip is accosted by the escaped convict, Abel Magwitch. Great Expectations is a graphic book, full of extreme imagery, poverty, prison ships ("the hulks"), barriers and chains, and fights to the death.
Upon its release, Thomas Carlyle spoke of "All that Pip's nonsense." Later, George Bernard Shaw praised the novel as "All of one piece and consistently truthfull." Dickens felt Great Expectations was his best work, calling it "a very fine idea," and was very sensitive to compliments from his friends: "Bulwer, who has been, as I think you know, extraordinarily taken by the book."
Great Expectations has a colourful cast that has entered popular culture: the capricious Miss Havisham, the cold and beautiful Estella, Joe the kind and generous blacksmith, the dry and sycophantic Uncle Pumblechook, Mr. Jaggers, Wemmick with his dual personality, and the eloquent and wise friend, Herbert Pocket. Throughout the narrative, typical Dickensian themes emerge: wealth and poverty, love and rejection, and the eventual triumph of good over evil. Great Expectations has become very popular and is now taught as a classic in many English classes. It has been translated into many languages and adapted many times in film and other media.
As Dickens began writing Great Expectations, he undertook a series of hugely popular and remunerative reading tours. His domestic life had disintegrated in the late 1850s however, and he had separated from his wife, Catherine Dickens. He was keeping secret an affair with a much younger woman, Ellen Ternan. It has been suggested that the reluctance with which Ellen Ternan became his mistress is reflected in the icy teasing of Estella in Great Expectations. 
In his Book of Memoranda, begun in 1855, Dickens wrote names for possible characters: Magwitch, Provis, Clarriker, Compey, Pumblechook, Orlick, Gargery, Wopsle, Skiffins, some of which became familiar in Great Expectations. There is also a reference to a "knowing man," a possible sketch of Bentley Drummle. Another evokes a house full of "Toadies and Humbugs," foreshadowing the visitors to Satis House in chapter 11. Margaret Cardwell discovered the "premonition" of Great Expectations from a 25 September 1855 letter from Dickens to W. H. Wills, in which Dickens speaks of recycling an "odd idea" from the Christmas special "A House to Let" and "the pivot round which my next book shall revolve." The "odd idea" concerns an individual who "retires to an old lonely house…resolved to shut out the world and hold no communion with it."
In an 8 August 1860 letter to Earl Carlisle, Dickens reported his agitation whenever he prepared a new book. A month later, in a letter to Forster, Dickens announced that he just had a new idea.
Dickens was pleased with the idea, calling it "such a very fine, new and grotesque idea." He planned to write "a little piece," a "grotesque tragi-comic conception," about a young hero who befriends an escaped convict, who then makes a fortune in Australia and anonymously bequeaths his property to the hero. In the end, the hero loses the money because it is forfeited to the Crown. In his biography of Dickens, Forster wrote that in the early idea "was the germ of Pip and Magwitch, which at first he intended to make the groundwork of a tale in the old twenty-number form." Dickens presented the relationship between Pip and Magwitch pivotal to Great Expectations but without Miss Havisham, Estella, or other characters he later created.
As the idea and Dickens's ambition grew, he began writing. However, in September, the weekly All the Year Round saw its sales fall, and its flagship publication, A Day's Ride by Charles Lever, lost favour with the public. Dickens "called a council of war," and believed that to save the situation, "the one thing to be done was for [him] to strike in." The "very fine, new and grotesque idea" became the magazine's new support: weeklies, five hundred pages, just over one year (1860–1861), thirty-six episodes, starting 1 December. The magazine continued to publish Lever's novel until its completion on 23 March 1861, but it became secondary to Great Expectations. Immediately, sales resumed, and critics responded positively, as exemplified by The Times's praise: "Great Expectations is not, indeed, [Dickens's] best work, but it is to be ranked among his happiest."
Dickens, whose health was not the best, felt "The planning from week to week was unimaginably difficult" but persevered. He thought he had found "a good name," decided to use the first person "throughout," and thought the beginning was "excessively droll": "I have put a child and a good-natured foolish man, in relations that seem to me very funny." Four weekly episodes were "ground off the wheel" in October, and apart from one reference to the "bondage" of his heavy task, the months passed without the anguished cries that usually accompanied the writing of his novels. He did not even use the Number Plans or Mems;[N 2] he only had a few notes on the characters' ages, the tide ranges for chapter 54, and the draft of an ending. In late December, Dickens wrote to Mary Boyle that "Great Expectations [is] a very great success and universally liked."
Dickens gave six readings from 14 March to 18 April 1861, and in May, Dickens took a few days holiday in Dover. On the eve of his departure, he took some friends and family members for a trip by boat from Blackwall to Southend. Ostensibly for pleasure, the mini-cruise was actually a working session for Dickens to examine banks of the river in preparation for the chapter devoted to Magwitch's attempt to escape. Dickens then revised Herbert Pocket's appearance, no doubt, asserts Margaret Cardwell, to look more like his son Charley. On 11 June 1861, Dickens wrote to Macready that Great Expectations had been completed and on 15 June, asked the editor to prepare the novel for publication.
Following comments by Edward Bulwer-Lytton that the ending was too sad, Dickens rewrote it. The original ending has Pip, who remains single, briefly see Estella in London; after becoming Bentley Drummle's widow, she has remarried. It appealed to Dickens due to its originality: "[the] winding up will be away from all such things as they conventionally go." Dickens revised the ending so that Pip now meets Estella in the ruins of Satis House.
His changes at the conclusion of the novel did not quite end either with the final weekly part, and the first bound edition, because Dickens further changed the last sentence in the amended 1868 version from "I could see the shadow of no parting from her." to "I saw no shadow of another parting from her".As Pip uses litotes, "no shadow of another parting," it is ambiguous whether Pip and Estella marry or if Pip remains single. Angus Calder, writing for an edition in the Penguin English Library, believed the less definite phrasing of the amended 1868 version perhaps hinted at a buried meaning: '...at this happy moment, I did not see the shadow of our subsequent parting looming over us.' 
In a letter to Forster, Dickens explained his decision to alter the original ending: "You will be surprised to hear that I have changed the end of Great Expectations from and after Pip's return to Joe's...Bulwer, who has been, as I think you know, extraordinarily taken with the book, strongly urged it upon me, after reading the proofs, and supported his views with such good reasons that I have resolved to make the change. I have put in as pretty a little piece of writing as I could, and I have no doubt the story will be more acceptable through the alteration."
Earle Davis, writing in his 1963 study of Dickens, wrote that "it would be an inadequate moral point to deny Pip any reward after he had shown a growth of character," and that "Eleven years might change Estella too." Forster felt that the original ending was "more consistent" and "more natural" but noted the new ending's popularity. George Gissing called that revision "a strange thing, indeed, to befall Dickens" and felt that Great Expectations would've been perfect had Dickens not altered the ending in deference to Bulwer-Lytton.[N 3]
In contrast, John Hillis-Miller stated that Dickens's personality was so assertive that Bulwer-Lytton had little influence, and welcomed the revision: "The mists of infatuation have cleared away, [Estella and Pip] can be joined." Earl Davis notes that G.B. Shaw published the novel in 1937 for The Limited Editions Club with the first ending and that The Rhinehart Edition of 1979 presents both endings.
George Orwell wrote, "Psychologically the latter part of Great Expectations is about the best thing Dickens ever did," but, like John Forster and several early 20th-century writers, including George Bernard Shaw, felt that the original ending was more consistent with the draft, as well as the natural working out of the tale. Modern literary criticism is split over the matter.
Dickens and Wills co-owned All the Year Round, one 75%, the other 25%. Since Dickens was his own publisher, he did not require a contract for his own works. Although intended for weekly publication, Great Expectations was divided into nine monthly sections, with new pagination for each. Harper's Weekly published the novel from 24 November 1860 to 5 August 1861 and All the Year Round published it from 1 December 1860 to 3 August 1861. Harper's paid £1000 for publication rights. Dickens welcomed a contract with Tauchnitz 4 January 1861 for publication in English for the European continent.
Robert L. Patten identifies four American editions in 1861 and sees the proliferation of publications in Europe and across the Atlantic as "extraordinary testimony" to Great Expectations's popularity. Chapman and Hall published the first edition in three volumes in 1861, five subsequent reprints between 6 July and 30 October, and a one-volume edition in 1862. The "bargain" edition was published in 1862, the Library Edition in 1864, and the Charles Dickens edition in 1868. To this list, Paul Schlicke adds "two meticulous scholarly editions," one Claredon Press published in 1993 with an introduction by Margaret Cardwell and another with an introduction by Edgar Rosenberg, published by Norton in 1999.
|1–5||1, 8, 15, 22, 29 December 1860||(1–8)|
|6–9||5, 12, 19, 26 January 1861||(9–15)|
|10–12||2, 9, 23 February 1861||(16–21)|
|13–17||2, 9, 16, 23, 30 March 1861||(22–29)|
|18–21||6, 13, 20, 27 April 1861||(30–37)|
|22–25||4, 11, 18, 25 May 1861||(38–42)|
|26–30||1, 8 15, 22, 29 June 1861||(43–52)|
|31–34||6, 13, 20, 27 July 1861||(53–57)|
|35||3 August 1861||(58–59)|
Publications in Harper's Weekly were accompanied by forty illustrations by John McLenan; however, this is the only Dickens work published in All the Year Round without illustrations. In 1862, Marcus Stone, son of Dickens's old friend, the painter Frank Stone, was invited to create eight woodcuts for the Library Edition. According to Paul Schlicke, these illustrations are mediocre yet were included in the Charles Dickens edition, and Stone created illustrations for Dickens's subsequent novel, Our Mutual Friend. Later, Henry Mathew Brock also illustrated Great Expectations and a 1935 edition of A Christmas Carol, along with other artists, such as John McLenan, F. A. Fraser, and Harry Furniss.
Robert L. Patten estimates that All the Year Round sold 100,000 copies of Great Expectations each week, and Mudie, the largest circulating library, which purchased about 1,400 copies, stated that at least 30 people read each copy. Aside from the dramatic plot, the Dickensian humour also appealed to readers. Dickens wrote to Forster in October 1860 that "You will not have to complain of the want of humour as in the Tale of Two Cities," an opinion Forster supports, finding that "Dickens's humour, not less than his creative power, was at its best in this book." Moreover, according to Paul Schlicke, readers found the best of Dickens's older and newer writing styles.
Not all reviews were favourable; Margaret Oliphant's review, published May 1862 in Blackwood's Magazine, vilified the novel. Overall, Great Expectations received near universal acclaim. Critics hailed it as one of Dickens's greatest successes although often for conflicting reasons: GK Chesterton admired the novel's optimism; Edmund Wilson its pessimism; Humphry House in 1941 emphasized its social context; while in 1974, JH Buckley saw it foremost as a bildungsroman. John Hillis Miller wrote in 1958 that Pip is the archetype of all Dickensian heroes, and in 1970, QD Leavis asks "How We Must Read Great Expectations." In 1984, Peter Brooks, in the wake of Jacques Derrida, offered a deconstructionist reading. The most profound analyst, according to Paul Schlicke, is probably Julian Moynahan, who, in a 1964 essay surveying the hero's guilt, made Orlick "Pip's double, alter ego and dark mirror image." Schlicke also names Anny Sadrin's extensive 1988 study as the "most distinguished."
On Christmas Eve, around 1812, Pip, an orphan who is about seven years old, encounters an escaped convict in the village churchyard while visiting the graves of his mother, father, and siblings. The convict scares Pip into stealing food and a file to grind away his shackles, from the home he shares with his abusive older sister and her kind, passive husband Joe Gargery, a blacksmith. The next day, soldiers recapture the convict while he is engaged in a fight with another convict; the two are returned to the prison ships from which they escaped.
Miss Havisham, a wealthy spinster who wears an old wedding dress and lives in the dilapidated Satis House, asks Pip's "Uncle Pumblechook" (who is actually Joe's uncle) to find a boy to play with her adopted daughter Estella. Pip begins to visit Miss Havisham and Estella, and falls in love with Estella, as Miss Havisham encourages him. Pip visits Miss Havisham multiple times; Joe accompanies Pip for the last visit. Later, when Pip has set out learning Joe's trade, an apprentice blacksmith, an unknown person attacks Joe's wife, leaving her with unintelligible speech and disturbed vision. Biddy arrives to help with her care and becomes 'a blessing to the household'.
Whilst Pip is still apprentice at Joe's forge, a lawyer, Mr. Jaggers, approaches him and tells him he is to receive a large sum of money from an anonymous benefactor and must immediately leave for London, where he is to become a gentleman. Assuming that Miss Havisham is his benefactress, he visits her at Satis House to say good-bye before he sets out for London.
Pip sets up house with Herbert Pocket at Barnard's Inn. Herbert tells Pip the circumstances of Miss Havisham's romantic disappointment, her jilting by her fiancé. Pip goes to Hammersmith, to be educated by Mr Matthew Pocket and gets money from Jaggers to set himself up to reflect his enhanced social status. Joe visits Pip at Barnard's Inn. At Miss Havisham's request, via Joe, Pip visits Satis House and meets Estella again. Pip and Herbert exchange their romantic secrets - Pip that he adores Estella and Herbert that he is engaged to Clara. Pip meets and escorts Estella in London.
Pip and Herbert build up debts. Mrs Joe dies and Pip returns to his village for the funeral. Pip's income is fixed at £500 per annum when he comes of age at twenty-one. Pip takes Estella to Satis House. She and Miss Havisham quarrel. At Assembly Ball in Richmond Estella leads on Bentley Drummle. Abel Magwitch, the convict he helped, who was transported to New South Wales where he eventually became wealthy, reveals himself to Pip as his benefactor. Magwitch has wanted to return to see Pip and the gentleman he has become, yet is cautious as he fears he will be hanged as a returned transport if he is caught. Pip and his friends Herbert Pocket and Startop hatch a plan for Magwitch to flee by boat.
Pip tells Miss Havisham that he is as unhappy as she can ever have meant him to be. He asks her to finance Herbert Pocket. Estella tells Pip she is to marry Bentley Drummle.
Miss Havisham, questioned by Pip, tells him that Estella was brought to her by Jaggers aged two or three. In the midst of her depression and remorse, Miss Havisham accidentally sets her dress on fire. Pip saves her, but she eventually dies from her injuries, lamenting her manipulation of Estella and Pip. Jaggers tells Pip Estella's true story.
A few days before the escape, Joe's former journeyman, Orlick, who was responsible for the attack on Mrs. Joe, attacks Pip. Herbert Pocket and his friends save Pip and prepare for the escape.
During the escape, Magwitch kills his enemy Compeyson, a con artist and Miss Havisham's fiancé. Police capture Magwitch and jail him. Pip visits a deathly ill Magwitch in jail and tells him that his daughter Estella is alive. Barely alive, Magwitch responds with a squeezing of Pip's palm and dies shortly after but before his execution. Pip has fallen ill when he is confronted with arrest for an unpaid debt; he awakens to find Joe has come to his rescue. Joe nurses Pip back to health and pays off the debt. Pip realises that in his fruitless pursuit of Estella and wealth, he has callously ignored Joe. Realising the error of his ways, Pip returns to propose to Biddy, a friend from his childhood in Kent, only to find that she and Joe have just married.
Pip asks Joe for forgiveness, and Joe forgives him. As Pip has lost his fortune upon Magwitch's death, he is no longer a gentleman. Pip promises to repay Joe and goes to Egypt, where he shares lodgings with Herbert and Clara and works diligently as a clerk.
Eleven years later, Pip visits the ruins of Satis House and meets Estella, whom her dead husband, Bentley Drummle, had abused. She asks Pip to forgive her, assuring him that misfortune has opened her heart and that she now empathises with Pip. As Pip takes Estella's hand and leaves the ruins of Satis House, he sees "no shadow of another parting from her."
Great Expectations's single most obvious literary predecessor is Dickens's earlier first-person narrator-protagonist David Copperfield. The two novels trace the psychological and moral development of a young boy to maturity, his transition from a rural environment to the London metropolis, the vicissitudes of his emotional development, and the exhibition of his hopes and youthful dreams and their metamorphosis, through a rich and complex first person narrative. Dickens was conscious of this similarity and, before undertaking his new manuscript, reread David Copperfield to avoid repetition.
The two books both detail homecoming. Although David Copperfield is based on much of Dickens personal experiences, Great Expectations provides, according to Paul Schlicke, "the more spiritual and intimate autobiography." Even though several elements hint at the setting — Miss Havisham, partly inspired by a Parisian duchess, whose residence was always closed and in darkness, surrounded by "a dead green vegetable sea," recalling Satis House, and the countryside bordering Chatham and Rochester — no place name is mentioned,[N 4] nor a specific time period, which is indicated by, among other elements, older coaches, the title "His Majesty" in reference to George III, and the old London Bridge prior to the 1824–1831 reconstruction.
The theme of homecoming reflects events in Dickens's life, several years prior to the publication of Great Expectations. In 1856, he bought Gad's Hill Place in Higham, Kent, which he had dreamed of living in as a child, and moved there from faraway London two years later. In 1858, in a painful divorce, he separated from Catherine Dickens, his wife of twenty-three years. The divorce alienated him from some of his closest friends, such as Mark Lemon. He quarrelled with Bradbury and Evans, who had published his novels for fifteen years. In early September 1860, in a field behind Gad's Hill, Dickens burned almost all of his correspondence, sparing only letters on business matters. He stopped publishing the weekly Household Words at the summit of its popularity and replaced it with All the Year Round.
The Uncommercial Traveller, short stories, and other texts Dickens began publishing in his new weekly in 1859 reflect his nostalgia, as seen in "Dullborough Town" and "Nurses' Stories." According to Paul Schlicke, "it is hardly surprising that the novel Dickens wrote at this time was a return to roots, set in the part of England in which he grew up, and in which he had recently resettled."
Margaret Cardwell draws attention to Chops the Dwarf from Dickens's 1858 Christmas story "Going into Society," who, as the future Pip does, entertains the illusion of inheriting a fortune and becomes disappointed upon achieving his social ambitions. In another vein, Harry Stone thinks that Gothic and magical aspects of Great Expectations were partly inspired by Charles Mathews's At Home, which was presented in detail in Household Words and its monthly supplement Household Narrative. Stone also asserts that The Lazy Tour of Two Idle Apprentices, written in collaboration with Wilkie Collins after their walking tour of Cumberland during September 1857 and published in Household Words from 3 to 31 October of the same year, presents certain strange locations and a passionate love, foreshadowing Great Expectations.
Beyond its biographical and literary aspects, Great Expectations appears, according to Robin Gilmour, as "a representative fable of the age." Dickens was aware that the novel "speaks" to a generation applying, at most, the principle of "self help" and believed to have increased the order of daily life. That the hero Pip aspires to improve, not through snobbery, but through the Victorian conviction of education, social refinement, and materialism, was seen as a noble and worthy goal. However, by tracing the origins of Pip's "great expectations" to crime, deceit, and even banishment to the colonies, Dickens unfavourably compares the new generation to the previous one of Joe Gargery, which Dickens portrays as less sophisticated but especially rooted in sound values, presenting an oblique criticism of his time.
The format of the weekly periodical more-or-less limited Dickens, notes Paul Davis. It required short chapters, centred on a single subject, and an almost mathematical structure. Pip's story contains three stages: his childhood and early youth in Kent, dreaming to rise above his humble station; his time in London after receiving the eponymous "great expectations"; and his final disillusionment when he discovers the source of his fortune and slowly realises the vanity of his false values. The novel further divides each stage into twelve parts of equal length. This symmetry contributes to the impression of completion, underlined by a number of commentators, including George Gissing, who, when comparing Joe Gargery and Dan'l Peggotty (from David Copperfield), preferred the former, as he was a stronger character who lives "in a world, not of melodrama, but of everyday cause and effect."
G. B. Shaw called the novel "compactly perfect"; similarly, Algernon Swinburne stated, "The defects in it are as nearly imperceptible as spots on the sun or shadow on a sunlit sea." This impression of excellence also comes from, according to Christopher Ricks, "the briskness of the narrative tone."[N 5] Pip's thoughts while he is in London, preparing for a visit from Joe, his oldest friend and protector demonstrates this:
Not with pleasure, though I was bound to him by so many ties; with considerable disturbance, some mortification, and a keen sense of incongruity. If I could have kept him away by paying money, I certainly would have paid money.
Similar brevity is key to the "decantation", stated Ricks, particularly in the second sentence, showing Pip's chilling, pitiless indifference but "without making a terrific demonstration of mercilessness."
Further, as explained by Henri Suhamy in his course on Great Expectations, beyond the chronological sequences and the weaving of several storylines into a tight plot, the sentimental setting and morality of the characters form a consistent "pattern". He describes this pattern with two central poles, that of "foster parents" (Miss Havisham, Magwitch, and Joe) and that of "young people" (Estella, Pip, and Biddy) between two other poles called "Dangerous Lovers" (one of Compeyson, the other of Bentley Drummle and Orlick). Pip is the centre of this web of love, rejection, and hatred.
This is "the general frame of the novel", as of the overwhelming crisis when Pip realises his and Estella's situations. Suhamy specifies that the term "love" is generic, applying it to both Pip's true love for Estella and the social attraction Estella harbours for Drummle, the former of which she cannot feel and the superficiality of the latter she does not conceal. Similarly, Suhamy adds, Estella's "rejection" of Magwitch becomes a matter of interpretation; the young lady does not know he is her father but still holds contempt for everything that appears below her station.
Great Expectations appears then as a tragedy, since the characters suffer physically, psychologically or both, or die, often violently, while suffering. Happy resolutions of the web of love remain elusive, while the web of hate thrives throughout the novel. The only happy ending is Biddy and Joe's friendship sealed in marriage by the birth of two children, since the final reconciliations, except that between Pip and Magwitch symbolizing Pip's maturation, do not alter the general order. Though Pip extirpates the web of hatred, the first ending denies him happiness and the second leaves his future uncertain, punctuating his storyline with a question mark.
Although the novel is written in first person, the reader knows - as an essential prerequisite – that Great Expectations is not an autobiography but a novel, a work of fiction with plot and characters, including a narrator-protagonist and pure virtual creations of Dickens's imagination that, by the mere virtuosity of his words, remains the real master of the game and alone orchestrates the subtle complexity of the different strata of speech.
In addition, as Sylvère Monod pointed out, the treatment of the autobiography differs from David Copperfield: Great Expectations does not draw from events in Dickens's; "at most some traces of a broad psychological and moral introspection can be found".
However, according to Paul Pickrel's analysis, Pip is both narrator and protagonist; as such, he recounts with hindsight the story of the young boy he was, who did not know the world beyond a narrow geographic and familiar environment. The novel's direction emerges from the confrontation between the two layers of time. At first, the novel presents a mistreated orphan, repeating situations from Oliver Twist and David Copperfield, but the trope is quickly overtaken. The theme manifests when Pip discovers the existence of a world beyond the marsh, the forge, and the future Joe envisioned for him, the decisive moment when Miss Havisham and Estella enter his life. This is a red herring, as the decay of Satis House and the strange lady within signals the fragility of an impasse. At this point, the reader knows more than the protagonist, creating dramatic irony that confers a superiority that the narrator shares.
It is not until Magwitch's return, a plot twist that unites loosely-connected plot elements and sets them into motion, that the protagonist's point of view joins those of the narrator and the reader. In this context of progressive revelation, the sensational events at the novel's end serve to test the protagonist's point of view. Thus proceeds, in the words of A. E. Dyson, "The Immolations of Pip".
The eponymous "Expectations" refers to its Victorian definition, "a legacy to come". The title immediately announces that money plays an important part in the novel and its themes but is only part of a broader package whose coherence John Hillis-Miller highlights in his book, Charles Dickens, The World of His Novels.
John Hillis-Miller first shows that, as in many Dickensian novels, most characters, and in the beginning, the protagonist, are "outcasts" living in insecurity. Thus, Pip, orphaned, grows up in a world full of sinister tombs, dangerous swamps, and threatening masses of prison ships emerging from the fog that dominate the shores. His existence reproaches him: "I was always treated as if I had insisted on being born in opposition to the dictates of reason, religion and morality".
Great Expectations is written in first person and uses some language and grammar that has fallen out of common use since its publication. The title Great Expectations refers to the 'Great Expectations' Pip has of coming into his benefactor's property upon his disclosure to him and achieving his intended role as a gentleman at that time. Great Expectations is sometimes seen as a bildungsroman, a novel depicting growth and personal development, in this case, of Pip.
Some of the major themes of Great Expectations are crime, social class, empire and ambition. From an early age, Pip feels guilt; he is also afraid that someone will find out about his crime and arrest him. The theme of crime comes into even greater effect when Pip discovers that his benefactor is in fact a convict. Pip has an internal struggle with his conscience throughout the book. Great Expectations explores the different social classes of the Georgian era. Throughout the book, Pip becomes involved with a broad range of classes, from criminals like Magwitch to the extremely rich like Miss Havisham. Pip has great ambition, as demonstrated constantly in the book.
Like many other Dickens novels, Great Expectations has been filmed for the cinema or television numerous times, including:
Stage versions have included:
|This article may be expanded with text translated from the corresponding article in the French Wikipedia. (October 2012)|
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