Studying Great Expectations

[Pages:41]Studying Great Expectations Andrew Moore

Studying Great Expectations

Introduction

This study-guide is written to help you study Great Expectations. It is suitable for students taking exam courses in English and English literature at Advanced (AS and A2) level in the UK, and may be helpful to able students taking GCSE courses.

1. To succeed on such courses, you need to understand the novel and, one hopes, enjoy it. You are not required to memorize the narrative, but you should know it well. Parents and teachers often encourage you to read "classic" texts, on the ground that they are "good for you". This is not likely to tear you away from your television. You may also notice that your parents and teachers do not themselves spend hours in the company of Dickens or Shakespeare. ("If it's so good, why don't you read it, dad?") So what are "classics" and why are they worth studying?

Telling stories

In all ages and countries, some kind of story telling seems to have been popular. What varies is the form of the stories. In ancient Greece or mediaeval England, long poems were written to tell stories; in Athens in the 5th century B.C. and in 16th century England the popular form was plays. No one wrote novels before the last years of the 17th century, and the novel only became the most popular form in the 19th century, as more people learned to read; in our own time the feature film and television drama have become popular forms for narratives. One reason why certain of these stories are called "classics" is their popularity. In his time, Shakespeare's plays packed the theatres, in a way no other playwright could match. More surprisingly, they have continued to attract large audiences to this day. Dickens, in the 19th century, published his novels, and those of other writers, as episodes in magazines; this meant lots of people could afford to buy them. It also meant that those who liked the story, and could afford to, would buy the complete book when this was published later. For those who could not read, or could not read well, there were public readings; Dickens "performed" extracts from his works to large and enthusiastic audiences.

But is it still any good?

Make up your own mind. Some things are thought to be good because they are fashionable. Some of the most popular books of the past are never touched today (mercifully). Where books remain popular over long periods of time, there is probably a good reason for this. Dickens is still widely read, although not all his stories and novels are popular. Oliver Twist and A Christmas Carol are far better known today than Martin Chuzzlewit and Barnaby Rudge. Great Expectations is unusual because it is considered by leading scholars to be a work of genius, but is also very widely-read by ordinary people.

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Dickens is boring

Studying any work at school or for an exam can make it seem boring. In the future when Coronation Street is studied for exams, some students will complain. Dickens uses language we find off-putting: his vocabulary often seems unfamiliar to modern readers, and his sentences often long and complex.

Dickens is a great lover of verbal irony: he uses words in such a way that he seems to be saying the opposite of what he really means; he expects the reader to understand this from the tone or the details of what he is saying.

Dickens also loves caricature: the peculiarities of his characters are often amplified for comic purposes; if we do not understand this, we will miss much of his humour. At a deep level, Dickens is very serious about his subjects, but on the surface, he is often ironical, sarcastic or whimsical. What is good about Dickens is his all-round strength: there is a huge range of characters, all well-drawn; places and other details are described vividly where necessary to the story and omitted where irrelevant; dialogue is lively and varied (though prone to comic exaggeration); mood and atmosphere are convincingly conveyed, while the plotting of the novels is faultless.

Ways into Great Expectations

Once you have read through the novel (you may need published notes to help you, but these may slow you down, and you should read as quickly as you can), you should identify subjects for study. We can arrange these in categories.

One would be characters and their relationships. In this novel many of the characters are best considered in pairs, as they resemble or are mirror images of others. Try and arrange them into pairs or small groups.

Another category is themes. Themes are important ideas, which recur through the novel; often they are connected with particular characters. What, in your view, are the important ideas in this novel?

The third category is perhaps the hardest of the three to consider: this is the author's technique, how the story is told. Technique includes:

? the plot and structure; ? the style of narrative and dialogue; ? the viewpoint of the narrative; ? symbolism and imagery, and ? other decorative or "poetic" features.

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Studying Great Expectations

You will see from this, that there are special words used for writing about literature. The best critical writing is simple and natural; in your work, you should not try to write complex or long-winded commentaries. But certain key words (like plot or symbolism) cannot be avoided, as they are the only standard names for the ideas they express. You should always ask your teacher to explain any such words that you do not understand. You can't learn maths, science or music by guessing what words stand for what ideas, and the same is true of the study of literature!

What examiners hate most is anything that looks like retelling of the story, without comment. On the other hand selected details from the story may be written about, so long as they are used to support your comment. In fact, interpretation of the text must be supported by evidence. Where possible, you should give the chapter number from which the evidence is taken. Do not write at great length about the first few chapters of any novel, and then leave out reference to the later parts of the novel. You must show that you know your way around the whole of any novel.

? Copyright: Andrew Moore, 2001

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Studying Great Expectations

A plan of the novel

Here is a plan of the novel. The numbers are those of the chapters. The plan shows events and lists details. If you have not read the novel, it will make no sense. If you have read it, or as you are reading it, the plan will help you form a sense of the whole narrative structure.

Part 1

1. Christmas Eve, afternoon: Pip meets the convict (Abel Magwitch); Pip asked to steal file and "wittles"

2. Joe and Mrs. Joe introduced; guns signal escaped convicts; Pip steals food 3. Christmas Day: Pip at the Battery; tells Magwitch of the "young man" (Compeyson) 4. Christmas Dinner ? we meet Pumblechook, Wopsle, the Hubbles; Pip said to be

"naterally wicious"; tar-water; the sergeant 5. The soldiers; Magwitch and Compeyson; Magwitch "confesses" to Pip's crime; the

Hulks 6. Pip's guilt; Pumblechook describes Magwitch's "theft" 7. Pip's education (from Biddy); Joe's lack of learning; Miss Havisham wants Pip to

visit; Pip goes to stay with "Uncle" 8. Pip sees Estella, Miss Havisham at Satis House; twenty to nine; Estella seen as "a

star"; Pip "calls knaves, Jacks" 9. Pip's lies about Satis; Pumblechook pretends to know; Pip tells Joe the truth; first

"link" of "long chain" 10. The stranger in the Three Jolly Bargemen; the file and the two one-pound notes (see

Chapter 28 for the sequel) 11. Miss Havisham's birthday; Sarah Pocket, Camilla, Raymond condemn Matthew; Pip

sees Jaggers; fights Herbert 12. More guilt; Pumblechook's hypocrisy; Pip to be apprenticed - Mrs. Joe slighted not to

see Miss Havisham 13. Joe at Satis House ? given twenty-five guineas; Pip bound apprentice; dinner at the

Blue Boar 14. Reflection on Pip's shame and ingratitude; Joe's virtues described 15. The half-holiday: Joe fights Dolge Orlick, Pip visits Miss Havisham, Estella abroad;

Mrs. Joe assaulted 16. Pip's guilt at the weapon (the leg-iron); Biddy moves in; Mrs. Joe "asks" for Orlick 17. Biddy's virtues praised; she becomes Pip's confidante but is pursued by Orlick 18. Jaggers tells Pip of Great Expectations and secrecy of benefactor; Joe refuses

payment for Pip's release 19. Pip argues with Biddy; Pumblechook smug; Mr. Trabb; Miss Havisham knows all;

Pip leaves home

? Copyright: Andrew Moore, 2001

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Studying Great Expectations

Part 2

20. Little Britain and Newgate; Jaggers at work; Wemmick; Pip to lodge with Herbert 21. Wemmick takes Pip to Barnard's Inn; Pip recognizes Herbert as "pale young

gentleman" 22. Herbert tells Miss Havisham's story; the counting house; he and Pip visit

Hammersmith 23. The Pockets' establishment; Drummle and Startop; Pip takes up rowing; the drunk

cook 24. Pip decides to stay with Herbert; Wemmick and "portable property"; Jaggers at work 25. Drummle, Startop, Camilla described; Pip visits Walworth; the Castle and the post-

office; the "Aged" 26. Jaggers at home to Pip, Herbert, Drummle and Startop; Molly's wrists; Jaggers'

interest in Drummle 27. Biddy's letter; the Avenger; Joe visits Barnard's Inn; calls Pip "Sir"; Joe's "simple

dignity" 28. Pip goes to the Blue Boar; the convicts; Pip reads in local paper that Pumblechook is

his "patron" 29. Pip visits Miss Havisham; Orlick is gatekeeper; Sarah Pocket, Estella and Jaggers; "I

love her..." 30. Pip has Orlick dismissed; Trabb's boy; Herbert tells of Clara; the playbill 31. Mr. Wopsle/Waldengarver appears as Hamlet Prince of Denmark 32. Pip waits for Estella who is visiting London; Wemmick shows him Newgate (convict

motif) 33. Pip takes Estella to Richmond; she tells him of Miss Havisham's flatterers 34. Pip's and Herbert's debts; the "Finches of the Grove"; "leaving a Margin"; Mrs. Joe

dies 35. The funeral; Biddy to leave the forge, mentions Orlick; Pip reproaches her unfairly 36. Pip comes of age (November); becomes responsible for finances; asks Wemmick's

advice for Herbert 37. Pip at Walworth; meets Miss Skiffins; her brother to advance Herbert's affairs;

Clarriker's House 38. Estella at Mrs. Brandley's; Pip to escort Estella; takes her to Satis; quarrels with Miss

Havisham; Drummle as suitor 39. Pip (now twenty-three) has moved to the Temple; Magwitch returns - he is Pip's

benefactor

? Copyright: Andrew Moore, 2001

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Studying Great Expectations

Part 3

40. The man on the stairs; "Provis" to stay; Jaggers confirms his story; Herbert meets Magwitch

41. Herbert advises Pip to take Magwitch out of the country; they ask him about his life 42. Compeyson, Sally; the death of Arthur Havisham.; the trial; Herbert's deduction about

Compeyson's identity 43. Pip to visit Miss Havisham; Drummle in the Blue Boar; the man "like" Orlick (it

probably is him) 44. Pip asks Miss Havisham. to help Herbert; tells Estella he loves her; Estella to marry

Drummle; Wemmick's note 45. Pip goes to Walworth via the Hummums; Magwitch moved to Clara's house 46. Mrs. Whimple's: Clara and Old Barley; the boat at Temple Stairs; Pip feels he is

watched 47. Pip fears Estella is married but will not make sure; Mr. Wopsle sees Compeyson in

audience 48. Pip dines with Jaggers; Estella is married; Pip recognizes Molly as her mother;

Wemmick tells of Molly's trial 49. Miss Havisham's confession and repentance; Estella's adoption; the fire; "I forgive

her" 50. Herbert tells of Magwitch's child; Pip knows Estella is his; Magwitch has said Pip.

reminded him of her 51. Pip receives money for Herbert; Jaggers explains Estella's adoption and advises that

he keep it secret 52. Herbert to go East; Startop to row: Orlick's note (in Compeyson's hand); Pip accused

of "ingratitude" to Pumblechook 53. Orlick's confession and attempted revenge; Pip rescued by Trabb's boy and Herbert 54. Magwitch's escape thwarted; Compeyson drowned; Pip reconciled to his benefactor,

Magwitch 55. Pip's wealth forfeit to the crown; Herbert offers job; Old Barley dying; Wemmick

marries Miss Skiffins 56. Magwitch convicted and sentenced; Pip tells him, before his death, of Estella 57. Pip ill, arrested for debts; rescued by Joe; Orlick in jail; Miss Havisham's will; Pip

plans to propose to Biddy 58. Pumblechook at the Blue Boar; Satis House for auction; Joe marries Biddy; Pip joins

Herbert abroad 59. Eleven years later, Pip returns; sees young Pip; meets (widowed) Estella at Satis; "no

shadow of...parting"

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Themes and motifs

There is great unity in this novel: it is principally about guilt and shame, and these ideas are reinforced in many ways. Pip is made to feel guilty for being a child, yet has genuine cause for guilt in his dealings with Magwitch. Pip feels shame at his lowly origin and pride in his sudden rise in fortunes; he continually contrasts the elegant lady, Estella, with the disgusting felon, Magwitch, while chance occurrences (the two convicts on the coach, say) reinforce such thoughts. It is central to his understanding of Magwitch's essential goodness, and his reconciliation with him, that he sees the common humanity of Estella and her convict father. To idealize Estella and demonize Magwitch is recognized as an error of which Pip must repent. His acceptance of Magwitch marks his redemption in the reader's eyes. Pip's shame at his origins fuels his desire to be a "gentleman", and the novel is very much about what makes a gentleman. Other motifs (recurring images) arise out of the novel's setting: the river as a metaphor for human experience, and the mists which descend or are rising at various points in Pip's story.

Pip's guilt

Dickens convincingly depicts the oppressive sense with which guilt can lie on the young mind. Pip is repeatedly told by his elders that he lacks gratitude (for them that "brought him up by hand") and that the young are "naterally wicious". The child senses the injustice of such views but is denied opportunity to dispute it, as is Joe, who correctly sees (Ch. 57) that defending Pip leads to his harsher treatment. When Magwitch forces Pip to steal from the forge, Pip believes he is guilty of a serious crime, but is unable to confide in Joe, as he fears (wrongly) that he will lose his love. Magwitch's "confession" to the theft and Pumblechook's ridiculous "explanation" of it further compound Pip's dilemma. In the novel's third chapter Pip, in the mist, sees accusers in the phantom finger-post and the clerical ox, while in the next chapter he sees how remarks about the general wickedness of youth are directed at him; while keenly aware that, as yet, his sister and Pumblechook have no reason to accuse him of vice, he has committed a crime which must at any moment be discovered.

At this stage in the novel, the reader's disapproval of the smug diners is balanced against sympathy for the "poor wretches" on the marshes articulated by Pip's "pitying young fancy" no less than by Joe's kindness to a "poor miserable fellow-creatur". On a frosty night (Ch. 7) Pip thinks how awful it would be for a man "lying out on the marshes" and seeing "no help or pity" in the stars. When Mrs. Joe prepares Pip for his visit to town, he likens himself to a "penitent in sackcloth", "trussed up" and "delivered over" to Pumblechook, who is compared to a sheriff.

Pip's visit to Satis House leads to his awareness of himself as coarse and common; he is ashamed of the limitations imposed upon him by his social class; the great opportunity of his associating with Miss Havisham has led only to dissatisfaction. The stranger with the file in the Three Jolly Bargemen and the fight with the "pale young gentleman" (Herbert) have only added to Pip's feelings of guilt. In Chapter 14, Pip explains at some length his shame and ingratitude: ironically he is guilty (as regards Joe) of the very sin of which hitherto Pumblechook and Mrs. Joe have falsely accused him. Pip's half-holiday visit to Miss Havisham gives Orlick the motive and opportunity for his attack on Mrs. Joe; while Pip's earlier meeting with Magwitch provides the weapon.

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