CHAPTER II. IMPORTANT SIDES OF PRODIGAL SON IN GREAT

CONTENT INTRODUCTION…………………………………………………………..................3 CHAPTER I. THE MAIN POINTS OF THE CHARLES DICKEN’S NOVEL GREAT EXPECTATION……………………………………………………….........5 1.1 Charles Dickens life …………………………………………………………..........5 1.2 The Prodigal Son in Great Expectations …………………………………………...11 Conclusion on chapter I…………………………………………………..……………20 CHAPTER II. IMPORTANT SIDES OF PRODIGAL SON IN GREAT EXPECTATIONS……………………………………………………………………21 2.1 Significance of the title Great Expectations…………………………….................21 2.2 Guilt that Pip feels ………………………………………………………………...27 Conclusion on chapter II………………………………………………………………34 CONCLUSION………………………………………………………….……............34 GLOSSARY…………………………………………………………………………..36 LIST OF USED LITERATURE…………………………………………….............37 INTERNET RESOURSES………………………………………………….……….39 INTRODUCTION This coursework will focus upon a specific novel, and consider some of the different ways in which it can be read. We do this by identifying its genre, or the kind of writing it belongs to. The novel as a kind of writing continuously involved in offering representations of the everyday, of the past and present world, is inevitably bound up with the different ways in which we have come to think about ourselves in relation to that world. As novels typically have a specific location in time and place, they are characteristically involved in the major upheavals of their societies, directly or indirectly: we are viewing the novel as a genre capable of registering in satisfyingly complex ways what we think we know about how the world we live in has come about. Dickens begins the story in kent, and in the time of his childhood between about 1810 and about 1830. His hero is an orphan, Pip, who gives food and a file, stolen from his home, to a convict who has escaped from a nearby prison - ship but is soon recaptured. He receives a strange invitation to wait upon a rich lady in the neighboring town, miss Havisham, who was jilted on her wedding day many years ago, and has since lived cut off from the light of day. He visits her often, and becomes infatuated with her beautiful ward, Estella, a girl of his own age, whom miss Havisham has reared to be cruel and distant, as her revenge upon the male sex. The visits cease when, at fourteen, he is apprenticed to his friend and foster - father, Joe Gaggery the black smith. Then, four years later, he learns that he has " great expectations " from a mysterious benefactor, who wishes him to be educated as a gentleman. He believes that he owns this to miss Havisham, and that she intends him to Marry Estella. He goes to London for his education, and snobbishly neglects his childhood friends. He lives idly and unhappily, constantly snubbed by Estella. When he is twenty-three, his true benefactor appears. Dicken's "tragi - comic conception " is this: that Pip owes his fortune to the convict he befriended on the convict he befriended on the marshes, who has grown rich in Australia. Pip slowly conquers his snobbish aversion from the convict, Magwitch, and tries desperately to save him from the punishment which he has earned by coming back. Magwitch is finally retaken, and dies under sentence of death, but Pip has learned his lesson and is a changed man. Great Expectations is the thirteenth novel by Charles Dickens and his penultimate completed novel. It depicts the education of an orphan nicknamed Pip. It is Dickens' second novel, after David Copperfield, to be fully narrated in the first person. The novel was first published as a serial 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, Charles (1861). Great Expectations. Vol. I (First ed.). London: Chapman and Hall. Retrieved 6 January 2017 – via Internet Archive. The novel is set in Kent and London in the early to mid-19th century and contains some of Dickens's most celebrated scenes, starting in a graveyard, where the young Pip is accosted by the escaped convict Abel Magwitch. Great Expectations is full of extreme imagery – poverty, prison ships and chains, and fights to the death – and has a colourful cast of characters who have entered popular culture. These include the eccentric Miss Havisham, the beautiful but cold Estella, and Joe, the unsophisticated and kind blacksmith. Dickens's themes include wealth and poverty, love and rejection, and the eventual triumph of good over evil. Great Expectations, which is popular both with readers and literary critics, has been translated into many languages and adapted numerous times into various media. Upon its release, the novel received near-universal acclaim. Although Dickens's contemporary Thomas Carlyle referred to it disparagingly as "that Pip nonsense", he nevertheless reacted to each fresh instalment with "roars of laughter". Later, George Bernard Shaw praised the novel, describing it as "all of one piece and consistently truthful". During the serial publication, Dickens was pleased with public response to Great Expectations and its sales; when the plot first formed in his mind, he called it "a very fine, new and grotesque idea". In the 21st century, the novel retains good ratings among literary critics and in 2003 it was ranked 17th on the BBC's The Big Read poll. Theme of my course work sounds as following: Great expectation. This course work can be characterized by the following: actuality of this work caused by several important points. We seem to say that Charles Dickens novels are one of the main trends in development of English literature in the 19th century, especially in Queen Victorian period of ruling the country, that works were written in its turn at high degree and concluded the development of country, culture, about life of poor and reach people in Victorian age and one of the influenced writer or best know writer of Critical Realism period in English literature who was Charles Dickens The purpose of the course work. The main purpose of the research is to study, collect and deliver in-depth research about Great Expectation. Learning and presenting it to students. Researched degree of course work. This theme has been learned by many people over the world and added some news by learning this theme. The object and subject of course work. Books, lectures, articles and articles about American literature are the main objects and subjects of this course work. The theoretical and practical significance of the work. The fact that our research has collected information about masterpieces of world literature, and the generalization of the data, determines its theoretical significance. The fact that these recommendations and conclusions can be used in literary studies and English courses at different levels of education and in writing articles, coursework, qualification works and master's theses proves its practical significance. Scientific methodological bases of the work. This course work includes techniques such as writing, comparing, and criticizing and commenting on the author's writings. The general structure of the work. Our course work consists of 2 chapters, conclusion, glossary and a list of used literature. CHAPTER I. THE MAIN POINTS OF THE CHARLES DICKEN’S NOVEL GREAT EXPECTATION 1.1 Charles Dickens life Dickens 1812-1870 was a great English novelist and one of the most popular writers of all time. His best-know books include A Christmas Carol, David Copperfield, Great Epectations, Oliver Twist, The Pick-wick Papers, and a Tale of Two Cities. Dickens created some of the most famous characters in English literature. He also created scenecs and descriptions of places that have long delighted readers. Dickens was a keen observer of life and had a great understanding of humanity, especially of young people. He sympathized with the poor and helpless, and mocked and criticized the selfish, the greedily and the cruel.was also a wonderfully inventive comic artist Butt, John E. and Kathleen Tillotson - Dickens at Work. 1957, reprinted 1982.. The warmth and humor of his personality appear in all his works. Perhaps in no other large body of fiction does the reader receive so strong and agreeable an impressions of the person behind the story. Life John Huffam Dickens was born in Portsmouth, England, on Feb 7, 1812. He moved with his family to London when he was about two years old. Many of the events and people in Dickens books are based on events and people in his life. Dickenss father, John Dickens, was a poor and easygoing clerk who worked for the navy. John served in some respects as the model for Wilkins Micawber in David Copperfield. He spent time in prison for debt, an event that Charles re-created in Little Dorrit. Even when John was free, he lacked the money to support his family adequately. At the age of 12, Charles worked in a London factory pasting labels on bottles of shoe polish. He held the job only a few months, but the miser or that experience remained with him all his life attended school off an on until he was 15, and then left for good. He enjoyed riding and was especially fond of adventure stories, fairy tales, and novels. He was influenced by such earlier English writers William Shakespeare, Tobias Smollet and Henry Fielding. However, most of the knowledge he later used as an author came from his observation of life around him became a newspaper reporter in the late 1820s. He specialized in covering debates in Parliament and also wrote feature articles. His work as a reporter sharpened his naturally keen ear for conversation and helped develop his skill in protracting his characters speech realistically Chesterton G.K. - Charles Dickens. London, 1903, reprinted 1977.. It also increased has ability to observe and to write swiftly and clearly. Dickenss first book, Sketches by Boz, consisted of articles he wrote for the Monthly Magazine and the London Evening Chronicle. These descriptions, fictional portraits, and short stories surveyed manners and conditions of the time.life.unhappiness marred Dickens public success. In 1836, he married Catherine Hogarth. Catherine had a sister Mary, who died in 1837. Dickens greif at Marys death has led some scholars to believe that he loved Mary more than his wife. Catherine was a good woman but lacked great intelligence. She and Dickens had 10 children. The couple separated in 1858 had remarkable mental and physical energy. He recorded his activities in thousands of letters, many of which make delightful reading. He spent much of his crowded social life with friends from the worlds of art and literature. Dickens enjoyed drama and went to the theater as often as he could. When he was rich and famous, he made a hobby of producing and acting in amateur theatrical productions. He had great success giving public readings of his works. Dickens gift for Creating dramatic scenes in his novels can be traced to his love for the theater, writing, editing, and touring as a dramatic reader, Dickens busied himself with various charities. These charities included schools for poor children and a loan society to enable the poor to move to Australia. Dickens often walked for hours to work off his remaining energy. He came to know the streets and alleys of London better, perhaps, than any other person of his time health began to decline about 1865 and he died of a stroke on June 9, 1870 Kitton, Frederic G. - Charles Dickens: His Life, Writings and Personality. London, 1956.. Charles Dickens career success won his first literary fame with The Posthumous Papers of the Pickwick Club. Published in monthly parts in 1836 and 1837, the book describes the humorous adventures and misadventures of a group of slightly eccentric characters in London and the English country side. After a slow start, The Pickwick Papers- as the book is usually called-gained a popularity seldom matched in the history of literature. At 24, Dickens suddenly found himself famous. He remained so until his death founded and edited two highly successful weekly magazines. He edited Household Words from 1850 to 1859 to his death. As a public figure, Dickens was constantly in the news, and was recognized and honored wherever he went. He was famous in America as well as in Britain, and he toured the United States in 1842 and in 1867 and 1868. Book wrote 20 novels, and many sketches, travel books, and other non-fiction works. Not all of his books were best sellers, but the most popular one broke all sales records for the time. Most his novels were published in sections.first phase.the success of The Pickwick Papers, Dickens turned to more serious themes and plots. However, he always introduced enough humor to keep his books entertaining. From the beginning of the novel, Pip experiences a strong drive to learn and improve his status, demonstrating this drive through the practice of tracing his parents’ names on their tombstones. Unsatisfied with the disorganized education he receives at Mr. Wopsle’s local school, he elicits help from Biddy, who teaches him to read, write, and add using whatever books she can find. Pip recognizes early on, however, that even with Biddy’s help, it will be difficult to become uncommon in his circumstances. In another revealing scene, Pip practices writing on a slate, leading Joe to remark on his talent as a scholar. Joe then tells the story of his own disrupted education as a poor child from a family with an abusive father. With Joe’s story, Dickens establishes that education, literacy, and refined communication skills are privileges that are not readily available to people from Pip’s social class. ‘Great Expectations’ is considered as one of the most sophisticated novels of Charles Dickens, the great Victorian writer. Critics rightly comment that this is a semi-autobiographical work by Dickens decorated with harsh life realities, a tremendous experiment in theme and treatment. The novelist has presented the theme of the novels in various levels which offers the opportunity for the reader to enjoy it from various levels. After the reading of the novel, one feels it as a story that has prominence in all ages There are many different and complex characters in " Great Expectations. " Now we will research these characters about which characters are minor and which characters are Major in Great Expectations novel. In Great Expectations he gives us ten major characters, fourteen minor characters and a host of what might be called ' walk on ' parts such as Trabb boy and the sergant who comes with his soldiers to the forge. It is, of course, Pip is most major character in the story. He is there from the beginning to the end, and he is in a special relationship to the other characters because the story is told by him. Also, Pip is drawn of remarkable skill, and the change are cleverly charted as he makes his pilgrimage from a little boy lost and cruelly abused through the period in London. When he abandons his trice friends in his aspiration to be a " gentleman " and impress Estella. In most of Dicken's novels we are given at least one character who may be regarded as the norm of goodness the standard against which other characters must be measured and judged. Joe is such a norm and being such, he remains unchanged character throughout the book. It is not easy create a believable and interesting good character, but dickens were completely successful with Joe who never becomes so saint like as to be unacceptable. Biddy is not so fully drawn but she too is a norm of goodness and we find her like Joe, wholly believable. Joe's first wife with her aggressive irritability, Miss Havisham with her obsessive almost maniacal, hatred and in especially Estella who is coldness contrasts with Biddy's warmth and underlines one of the book's major themes. Magwitch, in spite of everything being against him, will emerge as one of the good characters in the novel but we saw at the end. When we first meet Magwitch to see how very carefully Dickens give us clues that he is more sinned against than sinning that he is material. Magwitch may appear in convict's clothes but we learn that appearances are deceptive and that Magwitch in those clothes has more claim to our sympathy than Pip dressed up as a gentleman. Another character who deserves particularly close attention is Wemmick who is shown as having a dual personality. In the office and when he is with his boss Jagger’s, he is shrewd, taciturn, calculating and coldly impersonal. But at home his face softens and he is full of warmth and shows in his relationships to the "Aged Parent" that he is loving and generous son. Pumblechook is also responsible for Pip’s sense of guilt, and therefore his influence on Pip must also be surveyed. Pumblechook often strangely and accurately points out Pip’s flaws, and that of course increases Pip’s sense of guilt. On one occasion he encounters Wole on the way from Sati’s House, and then he takes Pip to Pumblechook’s house to make him listen to George Barnwell. Barnwell, a young apprentice, orders Sarah Millwood, a prostitute, to murder his master, but they come to the gallows ultimately. When Pip listens to the tragedy, he identifies with Barnwell as follows: “What stung me, was the identification of the whole affair with my unoffending self. When Barnwell began to go wrong, I declare that I felt positively apologetic, Pumblechook's indignant stare so taxed me with it”. Such is his sensitivity that he even sees himself in Barnwell. After that, Mrs. Joe is attacked and he falls deeply into the following meditation: “With my head full of George Barnwell, I was at first disposed to believe that I must have had some hand in the attack upon my sister, or at all events that as her near relation, popularly known to be under obligations to her, I was a more legitimate object of suspicion than anyone else”. Pip has of course nothing to do with the affair; however, he is possessed by the idea that he murders her because of his sensitivity. There are many different and complex characters in " Great Expectations. " Now we will research these characters about which characters are minor and which characters are Major in Great Expectations novel. In Great Expectations he gives us ten major characters, fourteen minor characters and a host of what might be called ' walk on ' parts such as Trabb boy and the sergant who comes with his soldiers to the forge. It is, of course, Pip is most major character in the story. He is there from the beginning to the end, and he is in a special relationship to the other characters because the story is told by him. Also, Pip is drawn of remarkable skill, and the change are cleverly charted as he makes his pilgrimage from a little boy lost and cruelly abused through the period in London. When he abandons his trice friends in his aspiration to be a " gentleman " and impress Estella. In most of Dicken's novels we are given at least one character who may be regarded as the norm of goodness the standard against which other characters must be measured and judged. Joe is such a norm and being such, he remains unchanged character throughout the book. It is not easy create a believable and interesting good character, but dickens were completely successful with Joe who never becomes so saint like as to be unacceptable. Biddy is not so fully drawn but she too is a norm of goodness and we find her like Joe, wholly believable. Joe's first wife with her aggressive irritability, Miss Havisham with her obsessive almost maniacal, hatred and in especially Estella who is coldness contrasts with Biddy's warmth and underlines one of the book's major themes. Magwitch, in spite of everything being against him, will emerge as one of the good characters in the novel but we saw at the end. When we first meet Magwitch to see how very carefully Dickens give us clues that he is more sinned against than sinning that he is material. Magwitch may appear in convict's clothes but we learn that appearances are deceptive and that Magwitch in those clothes has more claim to our sympathy than Pip dressed up as a gentleman. Another character who deserves particularly close attention is Wemmick who is shown as having a dual personality. In the office and when he is with his boss Jagger’s, he is shrewd, taciturn, calculating and coldly impersonal. But at home his face softens and he is full of warmth and shows in his relationships to the "Aged Parent" that he is loving and generous son. Pumblechook is also responsible for Pip’s sense of guilt, and therefore his influence on Pip must also be surveyed. Pumblechook often strangely and accurately points out Pip’s flaws, and that of course increases Pip’s sense of guilt. On one occasion he encounters Wole on the way from Sati’s House, and then he takes Pip to Pumblechook’s house to make him listen to George Barnwell. Barnwell, a young apprentice, orders Sarah Millwood, a prostitute, to murder his master, but they come to the gallows ultimately. When Pip listens to the tragedy, he identifies with Barnwell as follows: “What stung me, was the identification of the whole affair with my unoffending self. When Barnwell began to go wrong, I declare that I felt positively apologetic, Pumblechook's indignant stare so taxed me with it”. Such is his sensitivity that he even sees himself in Barnwell. After that, Mrs. Joe is attacked and he falls deeply into the following meditation: “With my head full of George Barnwell, I was at first disposed to believe that I must have had some hand in the attack upon my sister, or at all events that as her near relation, popularly known to be under obligations to her, I was a more legitimate object of suspicion than anyone else”. Pip has of course nothing to do with the affair; however, he is possessed by the idea that he murders her because of his sensitivity. Pumblechook then, once again, strangely and accurately reminds Pip of his sense of guilt. Another example is that after Pip separates from Magwitch, Pumblechook attacks, saying that Pip is ungrateful. In this scene Pumblechook regards the benefactor as himself, reasoning, in other words, that by substituting Pumblechook for Joe and Biddy, it is true that Pip goes down because of his being ungrateful. In this way, Pip is already bad enough to feel guilty, and what is worse, he is, being unwittingly stimulated by the characters around him, who are also troubles by Pip’s past. Pip’s sense of guilt derives from the domestic environment of his childhood and frequently threatens him, so much so that every time it appears, his mind shivers with fear. Experiencing such loneliness, Pip desperately sets his hopes on the otherworldly atmospheres represented by Havisham and Estella, that is, Sati’s House. The impact they have on him with their violence will be examined in the following section. 1.2 The Prodigal Son in Great Expectations Charles Dickens’s novel Great Expectations, written as a series in his magazine All the Year Round, 1860-1861, is about a young boy named Philip Pirrip, or Pip, who dreams of becoming a gentleman. His wish is granted, and before long, he becomes a capitalist who forgets all about his past and the people who love him. The main focus of this novel is about the conversion of the protagonist from bad to good. Therefore, this essay will analyse Pip’s journey from the perspective of a conversion narrative. By comparing it to what can be seen as a prototypical Christian conversion narrative, with its descriptions of hell, purgatory and paradise, Dante Alighieri’s The Divine Comedy, this essay will show that the journey of the protagonists Pip and Dante have resemblances beyond pure chance. Both Dante and Pip meet different sinners along their way, but the main theme is the life of one flawed human being, and his way to redemption. Fiction has through ages provided stories about good and evil, and about heroes and villains. When fictional characters are going through life they follow a map based on religion, ideology, people, and activities to help making choices. The choices are divided into what people ought to do and what people would like to do. The philosopher Immanuel Kant stated that what ought to be done is the true form of morality. Pip’s choices in Great Expectations are based on morality, but can be interpreted as following the conversion narrative also seen in The Divine Comedy. A conversion narrative is from the beginning a Christian concept and tells “individual stories of descent into sin and redemption by divine power”. However, more secular versions developed from this religious origin. This divine power is in Great Expectations therefore replaced by the moral changes the protagonist goes through in the capitalistic class society of Victorian England. Since Dickens’s view on religion was ambiguous, he did not attend church but kept a respectful attitude towards God, it seems more like he is trying to show that the said Hell and Paradise exist on earth and that there is no need to wait for death to experience them. Studies have shown that one important feature to look for when studying conversion narratives is to identify, compare, and account for the formal conversion of individuals and social context. For a narrative to be seen as one of conversion it has to describe the protagonists journey through a period of struggle, emptiness, or drift, to a point where he or she hits “rock bottom”, and from there forms positive features of him- or herself. This transformative nature of the conversion experience can be shown through metaphoric contrast, as light and dark as well as a contrast between thoughts or actions of the old self and the ones of the new self and Great Expectations are also divided into three sections. Not only can the reader make out Pip’s quick descent into what could be compared to Dante’s “Hell”, his trials to become a better person have similarities to “Purgatorio”, and lastly he ascends into a perfect and happy life, as in “Paradisio”. Dickens has also pointed out the beginnings and ends of these three sections, or stages. He does this by writing: “this is the end of the first stage of Pip’s expectations”, and later the same thing for the end of the second stage. Since both stories, like the typical conversion narrative, are also told from a first person perspective, and beginning on major Christian holidays – The Divine Comedy on the day before Good Friday and Great Expectations on Christmas Eve – makes their connection even stronger. Pip’s conversion narrative begins when he, on Christmas Eve, goes to the churchyard to mourn his dead parents. There he meets a fearful convict who threatens to kill him unless he brings him some food and a file. As Pip promises to do this, one of the most important developments of his life is set in motion. Even if the young Pip helps the convict, he does not do so because he is noble. He does it out of fear, and he can feel that the convict is strongly connected to death. He says that it looks as if the convict is trying to elude the hands of the dead, rising from their graves, trying to pull him down. Nevertheless, Pip is nothing but kind to the convict when he returns with the food and the file he stole from his sister and guardian Mrs Joe Gargery and her husband Joe Gargery. The convict, on the other hand, is rude, angry and seems to be dangerous. This rude behaviour does not change the fact that Pip wants to help him and is kind to him. Great Expectations by Charles Dickens is an elaborate retelling of the Biblical parable of the prodigal son. It follows the life of Pip as he rises through and falls from society. He begins his life as an orphaned boy in a blacksmith’s home to become a young gentleman of “great expectations”. Pip forsakes the love and care of his guardian, Joe Gargery, for advancement in society. Misfortunes befall him; he loses all his wealth and he is forced to return to his home. Pip is the prodigal son who ungratefully leaves his home and squanders all his wealth. Joe Gargery is the loving father who patiently forbears and lovingly welcomes his boy back. Pip’s redemption is revealed in the novel. Great Expectations is a bildungsroman; it is a novel which shows the education of Pip. Pip learns about the corruptness of society and the shallowness of social class. In true Victorian fashion, Dickens’ novel is a form of social criticism; it attacks the conceited notions of society. The allusion to the parable prodigal son is hinted at early in the novel. Mr. Pumblechook and Mr. Wopsle constantly admonish Pip to be “‘grateful to them which brought up by hand’”. Mr. Wopsle declares that “‘swine were the companions of the prodigal’” and an ungrateful child is worse than swine. Mrs. Joe often reproaches Pip for being ungrateful. She resents having to raise Pip up since his infancy. However, Mrs. Joe abuses Pip. She whips him for unnecessary reasons and is annoyed by any question he asks. The person to whom Pip owes his gratitude to is Joe. Joe had “sanctified” his home, making it a “pleasant place”. The plot of Great Expectations is both complicated and, in some ways, difficult to believe. The opening coincidence by chance there come into Pip's life both Magwitch and Miss. Havisham two people linked together by Estella, Magwitch’s daughter and Miss Havisham’s adopted daughter, might seem to put too great a strain on our credulity. That Magwitch should become wealthy in Australia and on his return after so many years, attract the attention and hatred once again seems somewhat unlikely. Also, even more difficult to accept is the device Dickens uses the save Pip from being murdered by Orlick -- the letter accidentally dropped by Pip and picked up by Herbert. But the story so well written, so full excitement and interest so circumstantially conceiving, that it doesn't seem to matter that we are asked to believe in such extraordinary events, and in fact, one's final impression is of the amazing ingenuity of Dickens invention. He achieves this by his use of realistic detail , the give little stone lozenges in the churchyard, for example: by humor as in the description of Pip turned upside down and shaken by the convict ; by excitement in such incidents as the note I received by Pip from Wemmick with its brief message , "Don't go home" and by suspense in our conational anxiety as to whether Magwitch will escape his pursuers. There is also, of course the cleverness of keeping the reader and Pip in ignorance of the 'growing coincidence‘, until it comes as a surprise very late in the story. As we have seen , it was written as a serial, and it was vital, therefore that Dickens should keep the interest of his readers from week to week, The end of each weeks instalment in this Macmillan Students Edition is marked with an asterism so that you can see how successful Dickens was in doing this it is sometimes said that this need to have cliff - hanging situations at the end of each instalment weakened the novel but it could be as easily argued that the challenge posed to the writer brought , out the best in Dickens and that part of the books appeal lies in the way he responded to it, By the time Dickens come to write Great Expectations, in 1860 he had been writing fiction for about twenty - five years and he had learnt the need for careful structuring of his story. Some of his earlier novels had been criticized as shapeless and it is true that he had written them with such speed and so little experience that there had been little regard for pattern or development. Now, however he gave his story a definite from. It is divided into three almost equal parts, each marking a different 'Stage of pip's Expectations‘ taken us up to Pip's departure for London full of expectations and believing Miss. Havisham to be his ' fairy godmother ‘. Stage 2 covers his life in London up to the return of Magwitch and the shock of his discovery that it is to the convict, not seen since the beginning of Stage is that he owes everything. Stage 1 began with Pip helping Magwitch; in Stage 2 Magwitch has unknown to Pip, begun to help him and in stage Pip is helping Magwitch again. The third stage, so packed with drama, takes us through to Magwitch's arrest again, and his death'. to Pip's illness and his return to ask Joe and Biddy to forgive him for his post conduct, and then to the finding again of Estella many years later, a solitary figure amid the ruins of Sati’s House. Her presence there ties the end of the novel to the beginning when we first saw her a pert, proud and pretty young girl. The three stages also serve to mark Pip's development from a frightened and cruelly frightened little boy, to a proud snobbish, and insensitive young man, and then to a fully-grown mature person who has learnt kindness and humility through suffering. I There has been much critical controversy about the end of the story. The original ending is given in this edition as note 1 of chapter 59, and it will be understood from this that Estella, was not to have finished hand in hand with Pip, but was to have married a doctor after the death of her bully of a husband, Drummle. Pip and she meet for a moment in a London street and from her face , voice and touch Pip is given the assurance ' that suffering had been stronger than Miss. Havisham teaching and had given her a heart to understand what my heart used to be '.But Bulwer Lytton another writer and a friend of Dickens , objected to be sadness of this, and Dickens wrote the ending we now have . Some critics think that this is too sentimental, romantic and out of keeping with what the tone of the closing chapters and the inner logic of the story require. Others have argued, just as conclusively that the original ending is too moralistic, too contrived and out of keeping with the story’s inner logic. Perhaps we should ask ourselves whether it really matters. Doesn't the story end for most purposes when Pip returns to the forge after those eleven years in the East and meets the new young Pip where we, the readers, first saw him in the opening chapters? Where there was darkness there is now light, where there was the anger and bullying of Joe's first wife there is now the sweetness and kindness of Biddy, and although we end where we began, we have all changed - Pip through suffering, we the readers through our experience of Dickens vision of human life. The novel is primarily about Pip's expectations and it is because of these that he hopes to become a "gentleman" in the future. An also impress Estella. Becoming a "gentleman" for Pip means having money, good clothes, a servant and the admiration of those not so well - off as himself. He had learned however that these are just a veneer, that true "gentlemanliness" has nothing to do with money but a great deal to with friendships and loving - kindness. Joe Gargery for all his lack of social graces is the true gentleman in the novel, he is loyal and kind as a friend long - suffering and forgive in his human relationships and constantly generous. Also, he is symbol of love and he finds the perfect mate in the gentle and devoted Biddy. Then, Pip's kindness to the starring convict on the wind - swept marsh softens Magwitch character so that he is filled with love for that terrified little boy. Also, hate too is present in the story. We see at the beginning in the hatred which exists between Magwitch and Compeyson and in Miss. Havisham hatred of all men. Here we see how easily love can become hate and Miss. Havisham learned to Estella to break men's heart is I an example hate begetting hate. Also, we see on Mrs. Gargery's cruel treatment of her husband and brother and the confrontations between Joe and his wife armed with the ironically named Tickler, is the meeting of love and hate. 24 Another main subject in the novel is criminal. There are two criminals in the story, Orlick and Compeyson . Orlick is a murderer whose malice seems to emerge from an almost motiveless evil. His faith in humankind does not blind Dickens to his kind of absolute wickedness, his liberalism is tempered with realism. Compeyson' s crimes are not just those of swindling, stealing, and forging. Compeyson' s fate, by contrast, is to be drowned in the dark of waters of the Thames Estuary. Another name of criminal is Magwitch. He is drawn into a life of crime by poverty and harsh social conditions. When Magwitch becomes wealth in Australia his money is of value to him only because he had seen it as way of thanking Pip and making him a 'gentleman‘. In 'Great Expectations' the gentleman criminal, first in the person of Compeyson is seen to get a lighter sentence than Magwitch due to his appearance yet in reality his is the greater crime. One of the great ironies of the novel is that Pip's expectations are dependent upon a criminal’s money. Great Expectations uses Pip’s coming-of-age story and class ambitions as a means of deconstructing a “gentleman’s” education. By examining the long, multi-layered process behind “making” Pip into a gentleman, Dickens reveals that there is nothing natural about the elegant dress, habits, and speech of the upper-class. Rather, these modes of dressing, behaving, and speaking come through extensive systems of education and social conditioning, to which lower-class individuals typically have no access. From the beginning of the novel, Pip experiences a strong drive to learn and improve his status, demonstrating this drive through the practice of tracing his parents’ names on their tombstones. Unsatisfied with the disorganized education he receives at Mr. Wopsle’s local school, he elicits help from Biddy, who teaches him to read, write, and add using whatever books she can find. Pip recognizes early on, however, that even with Biddy’s help, it will be difficult to become uncommon in his circumstances. In another revealing scene, Pip practices writing on a slate, leading Joe to remark on his talent as a scholar. Joe then tells the story of his own disrupted education as a poor child from a family with an abusive father. With Joe’s story, Dickens establishes that education, literacy, and refined communication skills are privileges that are not readily available to people from Pip’s social class. ‘Great Expectations’ is considered as one of the most sophisticated novels of Charles Dickens, the great Victorian writer. Critics rightly comment that this is a semi-autobiographical work by Dickens decorated with harsh life realities, a tremendous experiment in theme and treatment. The novelist has presented the theme of the novels in various levels which offers the opportunity for the reader to enjoy it from various levels. After the reading of the novel, one feels it as a story that has prominence in all ages There are many different and complex characters in " Great Expectations. " Now we will research these characters about which characters are minor and which characters are Major in Great Expectations novel. In Great Expectations he gives us ten major characters, fourteen minor characters and a host of what might be called ' walk on ' parts such as Trabb boy and the sergant who comes with his soldiers to the forge. It is, of course, Pip is most major character in the story. He is there from the beginning to the end, and he is in a special relationship to the other characters because the story is told by him. Also, Pip is drawn of remarkable skill, and the change are cleverly charted as he makes his pilgrimage from a little boy lost and cruelly abused through the period in London. When he abandons his trice friends in his aspiration to be a " gentleman " and impress Estella. In most of Dicken's novels we are given at least one character who may be regarded as the norm of goodness the standard against which other characters must be measured and judged. Joe is such a norm and being such, he remains unchanged character throughout the book. It is not easy create a believable and interesting good character, but dickens were completely successful with Joe who never becomes so saint like as to be unacceptable. Biddy is not so fully drawn but she too is a norm of goodness and we find her like Joe, wholly believable. Joe's first wife with her aggressive irritability, Miss Havisham with her obsessive almost maniacal, hatred and in especially Estella who is coldness contrasts with Biddy's warmth and underlines one of the book's major themes. Magwitch, in spite of everything being against him, will emerge as one of the good characters in the novel but we saw at the end. When we first meet Magwitch to see how very carefully Dickens give us clues that he is more sinned against than sinning that he is material. Magwitch may appear in convict's clothes but we learn that appearances are deceptive and that Magwitch in those clothes has more claim to our sympathy than Pip dressed up as a gentleman. Another character who deserves particularly close attention is Wemmick who is shown as having a dual personality. In the office and when he is with his boss Jagger’s, he is shrewd, taciturn, calculating and coldly impersonal. But at home his face softens and he is full of warmth and shows in his relationships to the "Aged Parent" that he is loving and generous son. Pumblechook is also responsible for Pip’s sense of guilt, and therefore his influence on Pip must also be surveyed. Pumblechook often strangely and accurately points out Pip’s flaws, and that of course increases Pip’s sense of guilt. On one occasion he encounters Wole on the way from Sati’s House, and then he takes Pip to Pumblechook’s house to make him listen to George Barnwell. Barnwell, a young apprentice, orders Sarah Millwood, a prostitute, to murder his master, but they come to the gallows ultimately. When Pip listens to the tragedy, he identifies with Barnwell as follows: “What stung me, was the identification of the whole affair with my unoffending self. When Barnwell began to go wrong, I declare that I felt positively apologetic, Pumblechook's indignant stare so taxed me with it”. Such is his sensitivity that he even sees himself in Barnwell. After that, Mrs. Joe is attacked and he falls deeply into the following meditation: “With my head full of George Barnwell, I was at first disposed to believe that I must have had some hand in the attack upon my sister, or at all events that as her near relation, popularly known to be under obligations to her, I was a more legitimate object of suspicion than anyone else”. Pip has of course nothing to do with the affair; however, he is possessed by the idea that he murders her because of his sensitivity. Pumblechook then, once again, strangely and accurately reminds Pip of his sense of guilt. Another example is that after Pip separates from Magwitch, Pumblechook attacks, saying that Pip is ungrateful. In this scene Pumblechook regards the benefactor as himself, reasoning, in other words, that by substituting Pumblechook for Joe and Biddy, it is true that Pip goes down because of his being ungrateful. In this way, Pip is already bad enough to feel guilty, and what is worse, he is, being unwittingly stimulated by the characters around him, who are also troubles by Pip’s past. Pip’s sense of guilt derives from the domestic environment of his childhood and frequently threatens him, so much so that every time it appears, his mind shivers with fear. Experiencing such loneliness, Pip desperately sets his hopes on the otherworldly atmospheres represented by Havisham and Estella, that is, Sati’s House. The impact they have on him with their violence will be examined in the following section. Conclusion on chapter I Pip has a tremendous desire to learn and advance his status from the start of the book, and he shows this desire by regularly tracing his parents' names on their gravestones. He asks Biddy for assistance after becoming dissatisfied with the disjointed education he is receiving at Mr. Wopsle's neighborhood school. Biddy uses whatever books she can find to teach him to read, write, and add. However, Pip realizes right once that it will be challenging for him to stand out in his situation, even with Biddy's assistance. Another telling moment is Pip practicing writing on a slate, which prompts Joe to remark on his aptitude for learning. Joe continues by recounting how his own schooling was derailed while growing up in a low-income family with an abusive father. . CHAPTER II. IMPORTANT SIDES OF GREAT EXPECTATIONS 2.1 Significance of the title Great Expectations Throughout literary history, the titling of a novel, play or poem can, has and will continue to define not just what a book will be filed under, but how it is received by the readership and critics alike. In the case of Dickens’ “Great Expectations”, the thematically driven ambiguity of the title allows readers and critics to draw interpretations of its implications based on theme, character and the interweaving of these in the narrative, whilst providing intrigue over its relevance and suitability to the Bildungsroman that Dickens crafts. Naturally, the very phrase “Great Expectations” provokes intrigue as to what these expectations are, and the variation between what is great, and expected by various characters is central to the presentation of character and its depth in the novel. For Pip, the idea of “great expectations” is precisely that, a superficial idea, and it is Pip’s vehement and frequently misguided idealism over the obstacles and events that he comes across throughout his life that shapes his actions. One of the most important examples of this is upon his dreams of becoming a gentleman being realized- the superficial picture of the behavior that constitutes “gentlemanliness” that he draws from the “very pretty, very proud and very insulting” Estella and the vengeful Miss Havisham lead him to begin to act in a way that is ultimately, “very pretty, very proud and very insulting” towards Joe and Biddy- he is “ashamed of him” when Joe visits Sati’s House, and complains to Biddy that “I am not at all happy as I am. I am disgusted with my calling and with my life”, the ambition with which he so fervidly wishes to learn to read under Matthew Pocket, and to become “a gentleman” overtaking what he previously refers to as “a good-natured companionship” with Joe and a description of Biddy, just a few paragraphs previous to his outburst, as “so clever». However, by the end of the novel, Pip’s idealism has been replaced to an extent with a grounded compassion for life, and a partial realization that it is not a crime to say “I work pretty hard for a sufficient living, and therefore- Yes, I do well”- however like much of the sparse praise afforded to Pip by his adult self in the novel, it stems from painful and foolish experience and ideals, and the negative influence of “Great Expectations”. However, Pip is not the only character upon whom the suffering of perceived “Great Expectations” falls, with the inextricably linked Estella and Miss Havisham providing another side to the idea of what constitutes “expectations” and how they are “great”. For Miss Havisham, her “Great Expectations” are great in the sense that they entirely consume her- Compeyson’s jilting of her leaves her in a static inversion of marital bliss, as she decays in her wedding dress- “I saw that everything within my view which ought to be white as faded and yellow”, this directly describing Miss Havisham, but also serving as a metaphor for the perceptions of the good and the “white” of expectation, and how throughout the novel these expectations so often become “faded and yellow». In fact, Miss Havisham can be put on a par with Pip with her vehement idealism, yet hers is to “break their hearts”, and her lack of realization as to the consequence of her actions is reflected at her outrage at Estella’s “Do you reproach me for being cold, you upon Estella’s return to Sati’s House, with “Look at her, so hard and thankless”- the image that Miss Havisham molded Estella to embody. However, like Pip, she is seen to have a moment of realization upon the climax of her role- “What have I done! What have I done!” upon her realization that Pip was not her idealization of the men she thought of and sought so bitterly to crush, just as Pip sees that fortune and power are not all that one can desire or be happy from? Like Pip however, her realization seems futile when put into context with events, as shortly after she is rendered an invalid from the fire. In contrast to these grandiose expectations that lead to misfortune and only latent redemption, the other side of what can constitute a “Great Expectation” is how it is relevant to he or she who pursues it, and this interpretation of the title is embodied by the character of Joe. From the start of the novel he is seen as an uncompromising character, his job as blacksmith embodying this, but he is described as having “Herculean” solidarity in “strength and in weakness”, implying the later realization of his character as one, like many who belongs in one place and cannot fit in with another. However, it is the treatment of this, and the contrast between it from Pip to Joe and Joe to Pip that really sets apart the two characters- they both struggle with identity, yet the other’s reaction to this struggle is very different. Pip states that he “Knew I was ashamed of him” when Joe comes to Sati’s House, and recognizes him by “his clumsy manner of coming upstairs”, rather than the sense of moral goodness and solidarity that Joe exudes throughout. This treatment he receives from Pip is antithetical almost entirely to that which he gives to Pip- “Pip, dear old chap, life is made of ever so many partings welded together, as I may say, and one man’s a blacksmith, and one’s a whitesmith, and one’s a goldsmith, and one’s a coppersmith. Divisions among such must come”, Joe realizing before it is too late, unlike Pip that changes must happen and that identity must be accepted, alongside his moral goodness but possible naivety by not blaming Pip, as perhaps he ought to, but on the inherently infallible failure of the human condition. This is furthered by the ending, as his greatest expectation is realized in his marriage to Biddy and his remaining at the forge and his hope that Little Pip “might turn out a little bit like you Pip». Here Dickens masterfully illustrates how expectations are only truly made relevant and understood by who they are intended for, illustrating how Pip was never made to be a gentleman, yet Joe was always made to be his own gentleman, rather than the socially idealized one that is scorned throughout the text. One of the pervading elements of the title in relation to the novel’s content is that of irony, and how the individual ironies of the plot shape the themes of the novel as a whole, and as a result shape the implications and meaning of the chosen title. One of the greatest of these stems from one of Pip’s guiding stars, his pursuit of the “very pretty and very proud” Estella. Pip’s agonies and moral naiveties over this subject are central to the novel as a whole, and this ironic naivety can be seen from the first time that they play cards. Estella describes him as a “common, laboring boy” and further on Pip states that he will “never cry for her again”, Dickens masterfully juxtaposing that childish outburst against the following adult line that is of course beneficial to hindsight, “Which was, I suppose, as false a declaration that was ever made”. However, it is interesting that the greatest irony of her character is never realized and banished from his mind by Pip- even when he learns that his star, that all he has romantically aspired to is in fact one of the lowest of the social lows, born to a murderess and a convict, he does not alter from his cause to be with her, the book ending with the line “I saw no shadow of another parting from her”, even the happier of Dickens’ two endings still portraying the naivety in character and irony in determination Pip displays for the length of the novel, from this closing line filled with a yearning desire of unattainable companionship, back to the opening of the novel, which sees Pip describing how he drew foolish conclusions from gravestones as to their moral nature and ways, just as Pip draws foolish conclusions of the grandeur and beauty of fortune from the opulent surroundings of Sati’s House. This ironic quality to the novel, and the challenge and social damning of the concept of superficial idealism is one that runs throughout the novel, and is especially relevant in conjunction with the frequent doubling up of portrayals of character and theme. Thematically, the ambiguity irony of the title of “Great Expectations” means that it can be referenced in many themes reflected in the book- monetary expectations, romantic aspirations and moral fulfilment to name but a few, and as a consequence provoking thought over what “Great Expectations” is supposed to mean and ultimately will come to mean throughout the course of the novel. The idea of financial expectations and their outcomes is one that is consistently referenced alongside those described in the title, and these manifest throughout the novel through many characters, most notably of course the eminently mediocre protagonist, Pip. The course of his transition from the nail? very sympathetic boy on the misty Kent marshes, where he talks of his “good natured companionship” with Joe, to the moment of social mortification upon Joe’s appearance in at Sati’s House. “I know I was ashamed of him- when I saw that Estella stood at the back of Miss Havisham’s chair, and that her eyes laughed mischievously”, highlights the profound impact that his exposure to the festering grandeur of Sati’s House and the subsequent expectation of wealth has had on him- he is moved to caring more for what is unfulfilled than what is enough, than what is satisfactory. This is highlighted by his sheer dismay when he learns that Miss Havisham had no intention of raising him to be a gentleman, “She seemed to prefer my being ignorant”, and is one of the first hints of the aforementioned ironic quality in the title “Great Expectations”. This again promotes an idea of uncertainty and incongruousness in the title- these forceful “Great Expectations” are in fact more superficial, and can be “bent into a better shape” in a way that is perceivably “in strength and in weakness”. In conclusion, the implication of the title “Great Expectations” is one relating to idealism and perception, as is the entirety of the novel. The title itself is grandiose and powerful, and presents the reader with an initial view of a book about class, money, and good fortune. However, through Dickens’ varied narrative perception and use of ironies, the title is superficially seen to lose suitability, as the narrative becomes one more suited to a title closer to “Eminent Mediocrities” than anything else. However, this is where the title is so suitable- the narrative itself challenges the title’s idealistic and ironic nature, and provides the implication that things are not what they seem- as Dickens portrays with his interpretations of class against status, money against fortune, and narrative against title. The title of Charles Dickens’s novel Great Expectations mainly refers to Pip’s "great expectations" which are many dimensional and ever-evolving. His great expectations arrive in the form of his fortune and are embodied in his dream of becoming a gentleman. These expectations also take the shape of his longing for a certain cold star named Estella. Each of the three parts of the novel treats a different expectation, and we watch how Pip changes in the face of his changing expectations. Pip undergoes 3 phases in his life, in which he has different expectations: The first stage of Pip’s expectations Pip is a poor orphan living with his sister and her husband the blacksmith. He has an encounter with an escaped criminal on Christmas and the help he gives him results in the criminal setting him up with a secret inheritance. One day a lawyer comes and says that he has money coming or "great expectations" and he has to have a different education now that is he is to be a gentleman rather than a blacksmith. The title also alludes to the idea of great things to come or things that are expected to come but aren't there yet. The second stage of Pip’s expectations When Pip receives riches from a mysterious benefactor, he snobbishly abandons his friends for London society and his 'great expectations'. The third stage of Pip’s expectations On his arrival in London, Pip’s initial impression is London is unattractive and dirty. Nonetheless, his great expectations lie before him, and he is informed by Jagger’s and his clerk, Wemmick, of his new living quarters. When Pip turns 21 years old, he visits Jagger’s for further information on his expected fortune and hopefully the identity of his benefactor. Jagger’s tells him he will have an annual allowance of 500 pounds until his benefactor is made known to him, but refuses to tell him when his benefactor will be revealed to him. He also tells Pip that when his benefactor is revealed, Jagger’s’ business will end, and he need not be informed about it. In yet a fourth (metafictional) sense, we can say that the title refers to the readers’ great expectations, which Dickens builds upon for his wonderful plot twists. All of these layers of meaning in the title make for a rich reading experience. Dickens portrays the expectations of other characters very efficiently in the novel. Miss Havisham’ Expectation Miss Havisham is the wealthy, eccentric old woman who lives in a manor called Sati’s House near Pip's village. She is manic and often seems insane, flitting around her house in a faded wedding dress, keeping a decaying feast on her table, and surrounding herself with clocks stopped at twenty minutes to nine. As a young woman, Miss Havisham was jilted by her fiancé minutes before her wedding, and now she has a vendetta against all men. Her expectation is to obtain revenge on the male sex and so she adopts Estella and deliberately raises her to be the tool of her revenge, training her beautiful ward to break men's hearts. Magwitch’s Expectation Magwitch and Pip first meet when Pip is a boy and Magwitch an escaped convict. Magwitch does not forget Pip's kindness in the marshes, and later in life devotes himself to earning money that he anonymously donates to Pip. Magwitch’s expectation is to make Pip gentleman in a full sense and so his expectation is great. The sad irony of the title is that expectations are never great. A man is what he does. A man who expects to be given is a parasite and a fool. The title has something to do with the nature of Pip's perception of society. He comes from a poor blacksmith family and has these great expectations of what he's missing out on. As the book progresses these "great" expectations become less and less great to Pip. He meets Magwitch and he is just realizing how much he'd rather be back at home at the forge than live out all of these great expectations he had for the rich social class. 2.2 GUILT THAT PIP FEELS Pip has low self-esteem. He is not valued and does not value himself. He feels guilty for his very existence, thanks to his sister who constantly reminds him how she has suffered because of him. Other relatives and friends reinforce his feelings by telling him how grateful he should be. His only positive in life is Joe, and Pip looks forward to being his apprentice in the forge. Miss Havisham and Estella, however, destroy that dream when they teach him to be ashamed of his coarse and common life. Their influence, coupled with his low self-worth and his sister's messages about wealth and security, fuel his desires, ambitions, and snobbery. Pip, abused by his sister, is a passive personality who fears the stronger emotions in him. He rarely shows power, passion, or self-determination, reacting instead to those around him and living his life as a dreamer. The fantasy world of Sati’s House feeds that part of him. Shut from the light of day, Miss Havisham lives in her strange world. Pip responds to this and preserves that world by keeping the light of day — questions his sister and Pumblechook ask — from destroying its special fairy-tale quality. That world is something that is his, and it holds his only passion in life, the fairy-tale princess he desires, Estella. In that world there are things he has never seen — beauty, wealth, polish, power — and they dazzle him. They become his quest in life and he will give up everything — Joe, the forge, his own good conscience and behavior — to get money and Estella. In Pip, the reader sees several of the themes of the novel: obsession, desire, greed, guilt, ambition, wealth, and good and evil. Pip leaves his state of childish innocence and "grace" and descends into sin on his quest to gain his desires. He wants it all and he wants no costs. Yet Dickens does not make him totally bad, instead leaving the truly good qualities asleep underneath. They surface as his guilt over his snobbery to Joe and Biddy, over dragging Herbert into debt, and about trading Joe for a convict's money. Even during his worst moments, Pip manages to show some good, as, for example, when he sets Herbert up in business. His road back to grace starts when Magwitch reveals himself as the source of Pip's rise in social stature. The irony that the source of his gentility is from a creature more socially detestable than the uneducated Joe is not lost on Pip. It is the slap in the face that brings Pip out of the fantasy world he has been living in. His dream has suddenly been seen in the light of day, and now he knows what it has cost him. The concepts of self-responsibility and the cost for choices made make up his lessons in the last part of the book. Nothing in life comes free and one must accept the consequences of the choices made. Dickens generously gives Pip four "father figures" in the book to model this for him. Joe makes his choice to stay with Mrs. Joe and show her more love than his mother had, fully accepting the cost of enduring her abuse. Jaggers chooses control and an emotionless life and accepts the cost of loneliness and alienation. Wemmick knows the only way to support himself, his father, and their home is to endure an emotionless job that could drive him crazy if he let it; he accepts responsibility by keeping his work and home life separate and knowingly accepts and pays the price for his actions. Magwitch knows the cost for seeing his "dear boy" is death, makes his choice to go to England anyway, and accepts the outcome. Pip learns from all of them that there are no free rides, that wealth does not guarantee freedom from consequences, and in the end, he has to take responsibility for whatever he chooses. The frightened Pip is tormented by a sense of guilt which some readers have found excessive, for it is not justified by the events in his life. Julian Moynahan asserts, "Pip has certainly one of the guiltiest consciences in literature." They explain this guilt in terms of Dickens's biography and attribute it to Dickens's own guilt over his affair with Ellen Ternan and the breakup of his marriage of over twenty years. But is Pip's guilt excessive, and is it unjustified by the events in his life? First of all, this question assumes that our sense of guilt is always proportionate to our actions, but is this true? Do we sometimes feel guilty over behavior, feelings, or thoughts which are natural, which are minor transgressions, or which we have no control over? Do children, for instance, take responsibility for their parents' divorce or a parent's alcoholism and feel guilty? Second, is there indeed no justification in his life for his sense of guilt? Consider the way that he is physically, verbally, and emotionally abused by his sister. Could such treatment give a child a sense of being somehow wrong and deserving to be punished? A close reading of the opening chapters suggests other possible causes for Pip's guilt: His behavior at times causes his sister to assault Joe; when Joe's oblique references to Pip's supposed bolting of his bread drive her to knock Joe's head against the wall, Pip looks on helplessly and "guiltily". In taking food to the convict, Pip is stealing, and he certainly knows that stealing is a crime. When Pip asks what a convict is, the only word Pip understands of Joe's explanation is "Pip." Reinforcing Pip's identification of himself as a criminal, his sister says criminals who murder and rob always start by asking questions. A little later he thinks he has somehow murdered Pumblechook with the doctored brandy. When he runs into the sergeant at the door, he thinks the handcuffs are for him. Pip is made to feel that his very existence is a crime: "I was always treated as if I had insisted on being born in opposition to the dictates of reason, religion, and morality, and against the dissuading arguments of my best friends". His sister tells the Christmas dinner guests about the acts of sleeplessness I had committed and all the high places I had tumbled from, and all the high places I had tumbled from, and all the low places I had tumbled into, and all the injuries I had done myself, and all the times she had wished me in my gave, and I had contumaciously refused to go there. She constructs a scenario of the ordinary actions of childhood as crimes; the final crime is his stubbornly continuing to live. The guests all acquiesce. Only Joe, who is powerless to protect Pip, offers solace; he ineffectually spoons more gravy onto his plate. Pip several times refers to the corruptness of his own nature. The adult Pip wonders what terrible acts he might have committed as a child, under the pressure of fear and the consciousness of having no adult to turn to for help: "I was in mortal terror of myself I am afraid to think of what I might have done on requirement, in the secrecy of my terror". He does not confess the theft to Joe because he is afraid of losing Joe's love and trust. He sees this failure and the theft as examples of deliberate moral transgressions: "In a word, I was too cowardly to do what I knew what was right, as I had been too cowardly to avoid doing what I knew to be wrong". In the fight with the pale young gentleman in Miss Havisham's garden, Pip confesses, "I am sorry to record that the more I hit him, the harder I hit him." Looking back, the adult Pip hopes that he regarded himself "as a species of savage young wolf, or other wild beast". The young Pip suffers agonies afterwards, expecting to be arrested or otherwise punished for the young gentleman's injuries. The culmination of Pip's being treated as a criminal occurs with his apprenticeship. Pumblechook takes Pip "into custody" and physically handles Pip as if he committed a crime; bystanders in court think he has been caught "red-handed"; one even commented that he "looks bad, don't he?" and another gives him a tract written for young criminals. After his visit to Satis House, Pip becomes ashamed of himself, his home, and Joe and dreams of becoming a gentleman. Could the rejection of the loving Joe, his true friend and constant companion, contribute to a child's feeling guilty? THE ASSAULT ON MRS. JOE. Pip's internalization of guilt is expressed in his reaction to the assault on his sister. He agrees to participate in Wopsle's reading of The Tragedy of George Barnwell, in which an apprentice murders his uncle; Pip is, of course, now an apprentice. Though he is annoyed at Wopsel's identifying him with the murder, at the same time he accepts the identification because of the way Wopsle and Pumblechook treat him: "When Barnwell began to go wrong, I declare I felt positively apologetic." He describes the murderous apprentice's actions as his own, "Even after I was happily hanged". When Pip first hears of the assault on his sister, his immediate thought is that he must have attacked her or that he will be suspected as the assailant. He explains that he was still thinking of the play. But is it possible, at a psychological level, that Pip is expressing guilt at his own hostility toward and resentment of his sister? Wouldn't anger and perhaps a desire for revenge be natural responses to his sister's abuses? Another connection between Pip and the assault is his belief that the weapon is the leg iron his convict filed off using the file Pip stole for him. For thousands of years, families put their children to work on their farms or in whatever labor was necessary for survival — only children of the wealthy and powerful escaped this fate. Until the last one hundred years or so, children were considered by most societies to be the property of their parents. They had little protection from governments who viewed children as having no human or civil rights outside of their parents' wishes, and Great Expectations brings some of these conditions to light. The industrial revolution in early nineteenth-century England made things worse. Laborers were in greater demand than ever. Mines, factories, and shops needed help, and not enough men or women could fill their needs. Children were cheap, plentiful, and easy to control. Orphanages — and even parents — would give their children to the owners of cotton mills and other operations in exchange for the cost of maintaining them. At that time, the government didn't establish a minimum age, wage, or working hours. Children as young as five or six were forced to work thirteen to sixteen hours a day for slave wages and barely any food. The Sadler Committee, investigating textile factory conditions for Parliament in 1832, discovered children working from six in the morning to nine at night with no breakfast, one hour for lunch, and a two-mile walk home. Children late for work were often beaten, and if they worked too slowly or fell asleep at the machines, they were hit with a strap, sometimes severely. There was no family time and some of them did not get supper because they were too tired to wait for it. Children who were "bound" to companies often tried to run away. If they were caught, they were whipped. Aside from being underfed, exhausted, sick, or injured, children spending so many hours a day over factory machines often had bowed legs and poorly developed limbs and muscles. The coal mines were worse, with young children having to travel through the mines without any light, often carrying loads while walking in water that was up to their calves. The main reason for employing women and children in the mines was that they would work for less than a man would accept. If a child was not "lucky" enough to be employed in these manners, they had the unpleasant option of life on the streets, with its raw sewage, rotting animal and vegetable wastes in the streets, rats, disease, and bad water. They also had to find food and a place to stay out of the rain and cold. Turning to crime for survival was not an act of greed so much as one of pure need. Small wonder, then, that Magwitch turned to crime at a young age. As the century progressed, laws were passed that outlawed infant abandonment and failure to provide shelter, clothing, food, and medical care. In 1884, national laws in Britain protected children in their own homes. In addition, Parliament regulated working conditions, minimum age for working, and the length of the workday for children. Laws for mandatory schooling, however, did not come until the twentieth century. Joe, – perhaps for no better reason in those early days than because the dear fellow let me love him, – and, as to him, my inner self was not so easily composed.”  Later he feels also guilty for lying to Mrs. Joe, and Pumblechook about his experience at Miss Havisham house. “I felt convinces that if I described Miss Havisham’s as my eyes had seen it, I should not be understood.”  Pip first ashamed of his life and his family once he starts to visit Miss Havisham and saw there Estella, because he loves only Estella and he wants really impress her, but Estella, charming lady who had been adopted by Miss Havisham and growing up as a «revenge on all the male sex» is manipulating men’s feelings and always tries to hurt them so as she does to Pip. He is ashamed of being a blacksmith and wear his clothes and boots next to Estella, because she considers him as a low class “boy”. “With this boy! Why, he is a common laboring boy!” Also Pip feel ashamed and completely uncomfortable when they went to visit Miss Havisham with Joe, because Joe does not know how to act and talk in front of high-class people. “I am afraid I was ashamed of the dear good fellow – I know I was ashamed of him – when I saw that Estella stood at the back of Miss Havisham’s chair, and that her eyes laughed mischievously.” While Pip is in London, he tries to forget his past and everyone related to the past too, and whenever he returns from London to his home, he always visits only Miss Havisham, because he believes that she is his benefactor, so he comes only to visit her. He does not go to visit her sister or Joe, later when Mrs. Joe dies, Pip feels ashamed, angry and guilty to himself for what he has done or maybe it is more about what he has not done. However, Joe comes to London to visit Pip, but Pip being ridiculous, he does not want Joe to be introduced to his friends and was in a hurry to send him back to home, because Joe’s manners is brusque and he is clumsy. And only after Joe has left, Pip realizes how rude he was and he started to feel guilty once again. When Pip found out that his benefactor is Abel Magwitch and not Miss Havisham, he was disappointed and disgusted of him, because he believed that it was Miss Havisham and thought that she wanted to help him to become a gentleman and marry to Estella. In the end Pip realized that Abel is a good man and he is even better father than Joe, because Abel really does make Pip into a gentleman. And Pip feels also shame and guilt about this fact. In my opinion is also important to mention that in the novel it was another character who feel guilty about what they have done. Pip comes to London to start a new life, but it happens that he changes one guilty environment to another one, because Mr. Jaggers is Pip’s guardian and Miss Havisham’s lawyer is connected to guilty criminal as it is a part of his job. Mr. Jaggers washes his hands constantly, because he is trying to get rid of all the dirt on his and also his client’s guilt off of his hands. Orlick is another character, he is a journeyman at Joe’s forge who seems to symbolize the shadow of Pip’s guilt. It feels like he is everywhere where is a Pip. Ends up making it clear that Orlick attacked Mrs. Joe and even if Pip did not knowingly know and was not an accomplice, but to some extent he wanted this to happened, because he wanted to take revenge on his sister for all the guilt that she made him feel from childhood. Pip is a main character and during the novel he had a life full of all emotions and feelings. Nonetheless, feel of guilt and shame are preponderance in his life. He has this feeling with almost everyone he was with. I think that Pip is a good young man who wants to achieve more in life and become a real gentleman, he has great expectations and unlike many other characters, he has feelings of guilt and shame and this makes him more human. Conclusion on chapter II The coal mines were worse, with young children having to travel through the mines without any light, often carrying loads while walking in water that was up to their calves. The main reason for employing women and children in the mines was that they would work for less than a man would accept. If a child was not "lucky" enough to be employed in these manners, they had the unpleasant option of life on the streets, with its raw sewage, rotting animal and vegetable wastes in the streets, rats, disease, and bad water. They also had to find food and a place to stay out of the rain and cold. Turning to crime for survival was not an act of greed so much as one of pure need. Small wonder, then, that Magwitch turned to crime at a young age. As the century progressed, laws were passed that outlawed infant abandonment and failure to provide shelter, clothing, food, and medical care. In 1884, national laws in Britain protected children in their own homes. In addition, Parliament regulated working conditions, minimum age for working, and the length of the workday for children. Laws for mandatory schooling, however, did not come until the twentieth century. CONCLUSION To conclude, the series of events occurring in Great Expectations show that the story is about redemption and conversion from being a person of bad moral choices, to one of good. The novel Great Expectations follows the parts in a conversion narrative just as The Divine Comedy does. Some of the more obvious similarities between Great Expectations and The Divine Comedy are that they are both parted into three sections as conversion narratives usually are, and they are both told from a first person perspective, which makes it easier for the protagonists to reflect upon their deeds. In the first part, Pip meets Miss Havisham and Estella in Satis House and starts to feel empty and inadequate. This leads to a struggle for Pip to fill his emptiness,  which is typical for a conversion narrative. In his struggle, he meets different sins within himself and in others, for example pride, avarice, lust, gluttony and wrath. The second part of the conversion narrative in Great Expectations is about how Pip deals with the sins mentioned. Doing so, he reaches the third part of the conversion narrative and forms positive features of himself. In other words Great Expectations is a typical conversion narrative.For thousands of years, families put their children to work on their farms or in whatever labor was necessary for survival — only children of the wealthy and powerful escaped this fate. Until the last one hundred years or so, children were considered by most societies to be the property of their parents. They had little protection from governments who viewed children as having no human or civil rights outside of their parents' wishes, and Great Expectations brings some of these conditions to light. The industrial revolution in early nineteenth-century England (the industrial revolution started about one hundred years later in the United States) made things worse. Laborers were in greater demand than ever. Mines, factories, and shops needed help, and not enough men or women could fill their needs. Children were cheap, plentiful, and easy to control. Orphanages — and even parents — would give their children to the owners of cotton mills and other operations in exchange for the cost of maintaining them. At that time, the government didn't establish a minimum age, wage, or working hours. Children as young as five or six were forced to work thirteen to sixteen hours a day for slave wages and barely any food. The Sadler Committee, investigating textile factory conditions for Parliament in 1832, discovered children working from six in the morning to nine at night with no breakfast, one hour for lunch, and a two-mile walk home. Children late for work were often beaten, and if they worked too slowly or fell asleep at the machines, they were hit with a strap, sometimes severely. There was no family time and some of them did not get supper because they were too tired to wait for it. Children who were "bound" to companies often tried to run away. LIST OF USED LITERATURE Chesterton, G. K. Appreciations and Criticisms of the Works of Charles Dickens. New York: Dutton, 1911. Collins, Philip. Dickens and Education. New York: St. Martins, 1963. Dickens, Charles. Great Expectations. New York: Bantam, 1986. Leavis, F. R., and Q. D. Leavis. Dickens the Novelist. London: Chatto and Windus, 1970. Manning, Sylvia Bank. Dickens as Satirist. New Haven: Yale University Press, 1971. Wilson, Angus. The World of Charles Dickens. New York: Viking, 1970. Wilson, Edmund. The Wound and the Bow: Seven Studies in Literature. Boston: Houghton Mifflin, 1941. Collins, Philip, Dickens and Crime, Macmillan, 1962 Collins, Philip, Dickens and Education, Macmillan, 1963 Collins, Philip, Dickens: The Critical Heritage, Routledge, 1982 Gilbert, Sandra and Susan Gubar, The Madwoman in the Attic: The Woman Writer and the Nineteenth Century Literary Imagination, Yale University Press, 1979 Gilmour, Robin, The Idea of the Gentleman in the Victorian Novel, Allen and Unwin, 1981 House, Humphry, The Dickens World , Oxford University Press, 1941 Leavis , F.R. and Leavis Q.D. , Dickens the Novelist, Chatto, 1970 123 Schor , Hilary M. , Dickens and the Daughter of the House Cambridge University Press, 1999 Van Ghent , Dorothy, The English Novel: Form and Function, Holt, Rinehart and Winston, 1953 GLOSSARY David Copperfield He is the central character in the novel and tells the story of his life from birth to adulthood. David is a sensitive youth who first suffers under the cruel Murdstones and then is sent away to work in a wine warehouse. David first marries Dora Spenlow, an empty-headed young girl; afterward, he realizes how incompatible they really are. When Dora dies, he marries Agnes Wickfield and by the novel's end, he has matured into a successful writer and adult. Clara Copperfield David's mother. She is an attractive, tender person, but impractical and emotional and easily taken in by Mr. Murdstone, who marries her because he is interested in her annuity. Clara Peggotty The Copperfields' housekeeper, who also acts as David's nurse. She is a woman of intense loyalty and is David's only companion after his mother's death. Peggotty marries Barkis, the cart-driver, and continues throughout the novel to be David's friend. Edward Murdstone David's stepfather. A dark, handsome man who cruelly beats David and slowly drives David's mother to an early death. Jane Murdstone Mr. Murdstone's sister. She runs the Copperfield household and incessantly harasses David. Mr. Barkis The driver of the horse-cart that travels between Yarmouth and David's home, He is a shy, quiet man who uses David as a messenger in his courtship of Peggotty. Mr. Chillip The doctor who delivers David. He is an exceedingly mildmannered, frightened little man who is especially afraid of David's aunt, Betsey Trotwood. Daniel Peggotty Clara Peggotty's brother and a Yarmouth fisherman. He is a warm-hearted man whose house is a refuge for anyone who needs help. Ham Peggotty Mr. Peggotty's orphaned nephew. Ham, like his uncle, is a considerate, kindly person. He is in love with Em'ly and waits patiently for her after she runs away. He finally dies in an attempt to save Steerforth, Em'ly's seducer. Little Em'ly Mr. Peggotty's orphaned niece. She is David's childhood sweetheart, but becomes engaged to Ham and later runs away with Steerforth. She is a quiet, compassionate young girl who wants to become a "lady," a desire that leads to unhappiness. Mrs. Gummidge The widow of Mr. Peggotty's partner. She constantly complains about her hardships, but when Em'ly runs away, she changes into a helpful, inspiring confidante of Mr. Peggotty. Charles Mell A schoolmaster at the Salem House boarding school. A gentle friend and teacher of David. Mr. Creakle The sadistic headmaster of the Salem House School. He is a fiery-faced man who enjoys flogging the boys with a cane. He later becomes a prison magistrate. Mr. Tungay The assistant and cruel companion of Mr. Creakle. He has a wooden leg and repeats everything that Creakle says. James Steerforth A spoiled young man whom David admires. He has a surface polish and the good manners that deceive people who do not know him. His true selfishness is shown when he deserts Em'ly, leaving her with his servant, Littimer. He is killed in a storm off Yarmouth along with Ham, who tries to save him. Tommy Traddles David's friend. Of all the boys at the Salem House School, Traddies receives the most punishment. He is a good-natured, loyal friend to both David and Mr. Micawber. Traddles is persistent, and this quality helps him rise from his humble background to become a judge. Wilkins Micawber A constantly impoverished, but always optimistic, gentleman who boards David during his stay in London. He is a broad comic character with a passion for writing flowery letters and uttering grandiloquent speeches. He finally accompanies Mr. Peggotty to Australia, where he becomes a successful magistrate. INTERNET RESOURCES https://www.sites.google.com/site/greatexpectationsapenglish12/home/vocabulary https://www.cliffsnotes.com/literature/g/great-expectations/study-help/full-glossary https://www.charlesdickenspage.com/charles-dickens-glossary.html https://www.vocabulary.com/signup/ https://www.shmoop.com/study-guides/literature/great-expectations/analysis/ending https://interestingliterature.com/2021/05/dickens-great-expectations-summary-analysis/ https://www.researchgate.net/publication/351162551_Representation_Analysi/ PAGE \* MERGEFORMAT5 PAGE \* MERGEFORMAT39