Great Expectations - Study Guide 2

Studying Great Expectations

Andrew Moore


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.
Copyright: Andrew Moore, 2001

http://www.bigfoot.com/~armoore1955

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.

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.

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

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 postoffice; 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

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 ofparting

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 Pips
earlier meeting with Magwitch provides the weapon.

Pip, his head full of George Barnwell at first thinks himself to be guilty; later he correctly
guesses that Orlick is the assailant, but is still troubled by having provided the weapon,
however undesignedly, and contemplates confessing all to Joe, but never does so.
Pip becomes wrongly ashamed of his home and occupation and desperate to rise socially, but
knows this to be impossible. Biddy wisely questions his motives but Pip, while aware of his
inconsistency, cannot take her good advice, retreating into a fantasy of Miss Havisham's
making his fortune. The discovery of his great expectations and the unusual secrecy of his
patron lead Pip into an error of which neither Miss Havisham nor Mr. Jaggers cares at first to
undeceive him. He becomes proud, patronizes Biddy and considers ways to make Joe a
suitable companion. He is anxious to hide Joe from his London companions, though he
knows them to be worthless. He is uncomfortable in behaving in this way, but not enough to
alter his conduct. In narrating all this, of course, the older, better Pip is filled with shame for
his betrayal of Joe.
Pip is proud to take the inherited money (as he thinks) of his adoptive fairy godmother but
has a horror of his real benefactor. And yet Magwitch has, by hard work in an honest
occupation, earned the wealth to make a gentleman of his boy. Pip has, in fact, got exactly
what he has wished for. When Pip meets Magwitch his snobbish distaste for the convict (for
which Magwitch does not at all blame him) is only slightly restrained by recognition of what
the man has risked for him. He does, to his credit, feel it his duty to help Magwitch escape
and resigns himself to being his companion.
But it is only as Magwitch lies dying in the prison infirmary that Pip comes to know him and
love him. The earlier shame of association with a criminal gives way to a tolerant and
sympathetic view not unlike that expressed by Joe, years before, on the marshes. Pip writes
critically of the sentencing of two-and-thirty men and women but sympathetically of the
prisoners who work as nurses in the infirmary: malefactors, but not incapable of kindness,
GOD be thanked. The understanding of the common humanity of the beloved Estella and
the convict has helped Pip to this view, but his addressing him as Dear Magwitch is
sincere: he petitions the Home Secretary for mercy, he brings him comfort as he dies, and he
prays for him as a penitent sinner.
Pip is now fully cured of his snobbery. He resists depending on others, but his illness makes
him accept Joe's help and he is not too proud to take the job Herbert offers him. Joe's tact
makes him withdraw when Pip is well, but Pip returns to the forge and is happily reconciled
to Joe and Biddy. Pip has already suffered for his folly, but years of honest work and
contentment with his lot in life are needed to complete his redemption. It is because he has
accepted that he may never marry, that he has lost Estella, and that happiness is to be found in
the friendship of Herbert and Clara, of Joe and Biddy, that his unexpected reuniting with the
also older and humbler Estella is not implausible.
Pip as a child has an exaggerated sense of guilt but enough awareness to doubt Mrs. Joe's,
Hubble's and Pumblechook's view of the young. He trusts Joe's judgement, but too soon
mistakes Joe's lack of learning for lack of wisdom. His association with Magwitch wrongly
troubles him, and his horror of the man is, even more wrongly, exaggerated by his love of
Estella. Chance occurrences, always linked in the narrative with Estella, reinforce this sense
of guilt (the man with the file, his reappearance later, Orlick's use of the leg-iron, a visit to
Newgate and even Wopsle's recitation of the murder of George Barnwell, to say nothing of
Jaggers' business and Wemmick's mementoes of crime).

But when Pip goes to London any guilt at his own crime is lost in a snobbish sense of shame
at the degraded social status of the convict and the thought of how such association would
strike Estella. The Estella of the last chapter might view her paternity without disgust, but
there is no hint in the narrative of Pip's telling her of it (as he tells Jaggers and Wemmick).
Pip has weak feelings of guilt for his treatment of Joe, but these are sacrificed to his need not
to lose face with the Finches. With the death of Magwitch and Joe's reappearance in the
novel the snobbery gives way to an open confident expression of love and gratitude. The
ingratitude of which Pumblechook accuses Pip is a fault he is guilty of to Joe. The narrative
voice of the thirty-something Pip conceals nothing but shows all of the failings of the
younger self.
Being a gentleman
In the novel we are introduced to two different ideas of what makes a gentleman.
One idea is that a gentleman is made what he is by his social status or class: this is measured
in terms of his understanding of rules of social etiquette (table manners and so on), habits of
dress and speech and the standing of his family; of course, wealth is important, too. Even a
poor gentleman, such as Mr. Pocket employs a number of servants. Early in the novel Pip
forms this idea: meeting Estella makes him desperate to be her social equal; at the same time
he becomes ashamed of his honest master, and disgusted by the recollection of his dealings
with Magwitch.
A quite different standard is apparent to the reader from early in the novel, and eventually to
Pip: that being a true gentleman is a matter of virtue and honesty, of having a station in life
which one can fill with dignity, as Biddy says of Joe.
Dickens, in the novel, exploits the ambiguity (having more than one meaning) of the term
gentleman. Then, as now, it would mean someone who behaved in a certain way (truthful,
honest, considerate etc.). But it also carried a sense of belonging to a separate class.
Gentlemen and women (or gentry) derived their wealth from owning land. This wealth had
been kept in families for generations by marrying within their own class. Ordinary people
would work as farm-labourers or domestic servants. Trades people formed the middle class
and could, by marriage, move into the upper class. Elder sons usually inherited whole estates
(to prevent their being broken up); younger sons would go into the army or navy or the
church. Daughters would receive a dowry but would only inherit where there was no male
child (and not always then; an estate might be entailed to the nearest male relation).
By Dickens' time, a new factor had entered this situation, which had hardly changed for
centuries: the industrial revolution and foreign trade had enabled men of very humble
backgrounds to achieve immense wealth. They might eventually retire, move to a part of the
country where they were not known, buy a title, and thus gain entry to the higher social
circles. These were the nouveaux riches and might be disapproved by the more established
families. In Great Expectations we meet no one from the highest social ranks (no aristocrats,
for example). Bentley Drummle is from a landed family but is Mr. Drummle (he has no title,
though he is next heir but one to a baronetcy). We are told in Chapter 25 that Drummle's
family is from Somerset, but in Chapter 43 Pip speaks to him of your Shropshire, and
Drummle does not correct him.
10

It is possible that Pip is deliberately inaccurate (to annoy his rival) but Dickens would
certainly be aware of the distance between the two counties. Miss Havisham's fortune comes
from the brewery (now disused) at Satis. Herbert notes astutely (Ch. 22) that brewers, unlike
trades people generally, are admitted to the circles of gentility: I don't know why it should
be a crack thing to be a brewer; but...while you cannot possibly be genteel and bake, you may
be as genteel as never was and brew. You see it every day. And while a gentleman may not
keep a public house yet a public house may keep a gentleman. This explanation both
accounts for Miss Havisham's (and thus Estella's) social standing and provides comment on
the illogicality of Victorian notions of gentility. Magwitch's crude idea of buying the position
of gentleman would seem initially absurd to Dickens' contemporary readers; and yet money
has bought status for Estella (acceptable because her criminal parents are not known).
There is a paradox here: Miss Havisham with money for which she has not worked can do
what is impossible for Magwitch's honestly gained wealth. The only other genteel characters
we meet in the novel are the Pockets, who are related to Miss Havisham, Startop and Jaggers,
who has worked his way up in society by his skill in the law. Jaggers keeps a fairly modest
establishment; he is an attorney (solicitor) and cannot plead in the higher courts (see Ch. 48).
He is unlike most gentlemen in working (hard) to keep up his position in society.
Dress and speech are two things that mark a person's social class. Among the first things
Estella says in the novel is her reproach of Pip for speaking of Jacks rather than knaves.
Pip is conscious of his own dress in Satis; he repeatedly remarks that Joe looks well in his
working-clothes, but in his best resembles a scarecrow. When Pip begins his elevation in
fortune both Biddy and Joe take to calling him sir. Pip dislikes this, but they would feel
uneasy not to use formal terms to one of Pip's new station. When Magwitch returns, Pip finds
it impossible to disguise him effectively: whatever he wears, he retains the bearing and
actions of a convict.
Against this we can set Pip and Estella who do manage the transition from one class to
another successfully. Though Estella's status as Miss Havisham's ward is known, her
adoption in infancy seems to silence guesses about her origins. Even as a child she seems a
perfect lady, as she has the speech and bearing to complement her dress and beauty. Her
success is a challenge to those who believe good breeding to be essential to a lady or
gentleman. The opposite of this is Drummle who is favoured by background but stupid and
brutal. Pip is early aware of his uncouth manners, but needs a patient friend such as Herbert
to show him how to behave. We see Herbert's excellent blend of gentle humour and patience
as he teaches Pip table manners while giving him (Ch. 22) an account of Miss Havisham's
deception and jilting.
Compeyson has had some advantages (been to a public boarding-school) but, for reasons
we do not know, has resorted to crime as a means to wealth. As a young man (and already
married) he deceives Miss Havisham; he is later convicted for circulating counterfeit notes. It
is interesting that, according to Herbert, his father claims that Compeyson is not a gentleman,
because no man who was not a true gentleman at heart, ever was...a true gentleman in
manner. Quite clearly, Compeyson is not a gentleman at heart; but he does have the
outward manners of a gentleman. If Mr. Pocket is referring to such things as table-manners
and delicacy of speech, he is wrong, but if he means Compeyson's whole conduct towards
others he may be right, and this leads us to considering the second sense in which we come to
understand the term gentleman.
11

It was obvious even to the most conservative reader in Dickens' own day that social class and
virtue did not regularly overlap. This leads to the notion of a gentleman or lady as someone
who acts with integrity, who occupies with dignity his or her own proper place in society.
Dickens quite clearly approves of social mobility for those, like Pip, who have the means to
achieve it. But he recognizes that this is more the exception than the rule. Joe does not want
to be a gentleman; he has a craft and a position in the village's society, which he fills well
and with respect. If we consider this second sense of the term, we will see that Dickens
arranges characters (this is plausible, because Pip, as narrator, sees them in these terms)
according to their integrity or lack of it.
Thus we contrast Joe with the hypocrite Pumblechook; Matthew Pocket with his toady
relations; Drummle with Startop or Herbert; Magwitch with Compeyson; the young Biddy
with the young Estella, and so on. Dickens does not make the sentimental error of supposing
all village people to be simple but good, while those in the town are bad. There is a range of
types in both places, from Biddy to Orlick, from Herbert or Wemmick to Compeyson.
Pip wants to be a gentleman so he can win Estella. His thinking of his expectations in
romantic terms, with Miss Havisham as fairy godmother, suggests that this is an immature
and foolish notion. The ridiculing of Pip by Trabb's boy is just, in a way: although Pip has not
snubbed the boy, he has treated Joe and Biddy badly, by staying at the Blue Boar, rather than
his old home. At the end of the novel, we believe, Pip has become a true gentleman: he no
longer cares for outward pretence, he is reconciled to Joe and Biddy, he has abandoned his
romantic delusions and he has worked for his (modest) wealth. His new position he owes to
the one virtuous use he made of Magwitch's money (setting up Herbert in business).
The Estella of the final chapter is also a lady in a truer sense than the young snob or the
callous heartbreaker of earlier times. Herbert and Biddy are exemplary in their industry,
patience, tolerance and good sense (although Herbert is led into extravagance by Pip); while
the most virtuous character in the novel, Joe, is the subject of frequent comment by Pip, in
regard to his ignorance or rejection of conventions of genteel conduct.
Although Dickens examines issues of social class with seriousness, there is also much
humour in the treatment. The convict's quaint notion of buying a gentleman as good as any
other one is laughable, all the more so because Magwitch almost succeeds (he seems pleased
to find Pip rather snobbish; Ch. 39). The reactions of such as Pumblechook and Trabb to Pip's
changing prospects are comic in their extravagance (Pumblechook's continually asking to
shake Pip's hand, Trabb's abuse of the boy morally laid upon his back by the stupendous
power of money).
The folly of those for whom being a gentleman is a matter of show and outward forms of
conduct is perfectly exemplified by the Finches of the Grove. A ridiculous example of how
common sense is defeated by such superficial judgments comes in Chapter 23. Sophia, the
Pockets housemaid, has reported the cook for being drunk and having stolen the butter, to
sell it. Although her husband sees this for himself, Mrs. Pocket complains of Sophia as a
mischief-maker and defends the cook for having always been a nice respectful woman and
for having supported Mrs. Pocket's deluded idea of her own value by claiming she was born
to be a Duchess.
12

Crime and punishment
Just as obviously as Dickens examines issues of social class in Great Expectations, so he
reveals an interest in crime.
Pips benefactors real and supposed
As Magwitch appears in the novel's first pages, the reader understands what Pip only
observes: the man is an escaped convict who has suffered great hardship. Pip sees Magwitch
only twice more, before his wholly unexpected return (Ch. 39), some sixteen years later, and
yet Magwitch has been the unseen influence in Pip's life, which he has mistaken for Miss
Havisham.
She and Magwitch are connected in more ways than in their being Pip's supposed and real
benefactors. They are linked through Compeyson, her suitor and Magwitch's mentor; Estella,
his natural and her adoptive daughter, and through Jaggers, who acts for both. Though
Magwitch is absent for much of the novel (he boards the Hulk in Ch. 5, and reappears in Ch.
39) there are constant hints of his unseen hand. When his messenger brings Pip a small
present, he shows Pip a file; and later this same convict is overheard by Pip recounting this
incident to another. Here Pip cannot help remembering Magwitch, but at other times he does
so without such clues, and often thinks of him at times when he is concerned for Estella: this
is made plausible as being Pip's own worst fear of why he is unfit for her. It is thus
thematically perfect that she should be the child of Magwitch.
When Orlick (as we learn later in Chapter 53) picks up the leg-iron, he has no idea Pip has
helped in its removal. So when it is found beside Mrs. Joe, Pip feels guilty for the attack on
her, knowing whose it was.
It is natural enough that Magwitch in New South Wales should appoint a lawyer to be Pip's
guardian. It is not necessary for Pip to lodge in Little Britain, however. But by doing so, he is
close to Jaggers' practice and sees him at work; he listens to Wemmick's gruesome criminal
anecdotes, and is able to visit Newgate. When Magwitch returns, Pip becomes familiar with
the penal system at first hand, even petitioning the Home Secretary. Reminders of crime
abound for Pip in London, but even in the village, as well as the nearby Hulks and the
mystery of the assault on Mrs. Joe, there are such seemingly trivial details as (on the very day
of the attack) Mr. Wopsle's performance of George Barnwell. The same Mr. Wopsle, two
chapters later, is reading from a newspaper the account of a highly popular murder, when
Jaggers enters the pub, and cross-examines him.
13

Dolge Orlick and Compeyson
Orlick is a simple but evil character, abetted in his crimes by low cunning. He assaults Mrs.
Joe who has earlier forced Joe to fight him, even though Joe has allowed him the half-holiday
which caused the quarrel, he attempts to murder Pip, being thwarted by Trabb's boy and
Herbert, he is in league with Compeyson, and he completes the catalogue of his crimes by his
raid on Pumblechook's premises, for which he is imprisoned. Orlick is punished somewhat
lightly, as his worst crimes are not widely known, and Pip has no interest in pursuing him for
them. Dickens soothes our possible objection to this by reducing Orlick terrifying as he
prepares to kill Pip with a stone-hammer to a rather comic status but also making him the
means of punishment for Pumblechook, who, appropriately, has his mouth stuffed with
flowering annuals to prevent his crying out. Unlike Orlick, Compeyson rarely appears in the
novel in person, but, like Magwitch, is an unseen influence. We see him (twice) on the
marshes and once more when he is drowned. Mr. Wopsle also sees him in a theatre audience;
he has been behind Pip, who has not observed him.
Where Orlick is a very tangible flesh-and-blood presence with a characteristic bluntness of
speech (he calls Pip wolf and says to Mrs. Joe: You're a foul shrew, Mother Gargery),
Compeyson is shadowy and elusive. He lurks in darkness, he can copy any handwriting
(illiterate Orlick admires this) and speaks little in the novel, although he has been a very
persuasive speaker in his earlier deceptions.
Orlick is brutal, but harms only Mrs. Joe (indirectly bringing Joe and Biddy together).
Compeyson, though he seems to dislike physical violence, is far more effective in his
villainy: he blights the lives of Miss Havisham and her weak half-brother, and of Magwitch,
to say nothing of the many victims of his crimes of whom we do not know, and he harms,
indirectly, Estella and Pip, whom Miss Havisham and Magwitch use to get even with him,
and with the world which (they wrongly think) he represents.
14

Magwitch and Compeyson
Though Compeyson has harmed Magwitch, his treachery in their trial and Magwitch's
harsher sentence have been his undoing: Magwitch will stop at nothing to destroy
Compeyson. Magwitch loses the chance of freedom at the start of the novel to return his
enemy to prison. Though Magwitch is a generous man by nature his sense of the great
injustice done him, which the world cannot see, prompts him both to expose Compeyson for
what he is, as well as to punish him. Compeyson does not ultimately profit from his crime.
He is in constant fear of Magwitch's vengeance, and in the very moment of supposed relief
from this, as Magwitch is captured again, he receives the punishment he has long feared. As
he goes over the side of the boat, Pip sees on his face a white terror which he shall never
forget.
Death by drowning is a horrible end, which Dickens reserves for some of his worst villains
(Daniel Quilp in The Old Curiosity Shop; Bradley Headstone and Roger Riderhood in Our
Mutual Friend). Compeyson's treachery appears to the last: Wemmick's mistake in advising
the attempted flight arises from a belief that Compeyson is absent. I can only suppose now,
says Wemmick (Ch. 55), that it was a part of his policy... habitually to deceive his own
instruments.
If Compeyson is a mystery of evil, Magwitch is an open book. Of those deceived by
Compeyson Magwitch is the one ripest for exploitation. He has had no advantages in life, and
has had his trust abused by everyone. It is no doubt Pip's keeping of his trust which inclines
him to adopt the boy. He is capable of violence, but is a naturally affectionate and generous
man. His dealings with Molly show him to behave honourably according to the customs of
his class: he marries her over the broomstick and stands by her until he agrees to the
separation which Jaggers uses to save mother and child.
As Pip comes to know Magwitch, so his ideas about criminals in general are modified. He
distinguishes between the criminal by choice (Compeyson) and those driven to crime by
desperation (like Magwitch). Pip notes the decency of the prisoners who serve in the hospital,
and works to save Magwitch from the gallows. His punishment has been made tolerable by
the notion of working for his gentleman, but eventually it becomes intolerable not to see
Pip enjoying the fruits of his labour. Having seen this (and not knowing his property is
forfeit) he has no fear of death. In a fine episode Dickens attacks the barbarity of the system
which sentences thirty-two people at a time, then mocks the pompous judge who singles out
Magwitch for especial censure. Where the judge speaks at length, Magwitch is a model of
brevity and humour: My Lord, I have received my sentence of death from the Almighty, but
I bow to yours.
15

The narrative voice
Pip as narrator
Pip is a character in the story whom we can study, as any other character; but his is the
novel's narrative voice. Dickens, in Great Expectations, shows enormous skill in his control
of the narrative.
First, we should note how, without any great variation in Pip's own narrative style, a
vast range of characters is introduced. This is largely achieved by allowing these
characters to speak for themselves.
Second, Pip is able to convey the viewpoint both of his younger self (from the simple
child of the novel's opening to the young prig of the middle chapters) and of the
mature narrator: he is merciless in exposing his faults, allowing them to appear by the
honesty of his narration rather than passing judgement.
He does pass judgement on others for good (Joe, Biddy) or ill (Pumblechook, Orlick), but
these judgements do not seem to the reader to be simple personal likes or dislikes; they are
convincing, because they are borne out by the words and deeds of these characters. Thus Pip
tells us of Herbert (Ch. 22), that he has seen no one else who expresses more strongly in
every look and tone, a natural incapacity to do anything secret and mean. In Chapter 27,
Dickens illustrates perfectly the gulf between the embarrassment of the young prig at Joe's
provincial speech and outlandish dress, and the adult Pip's understanding of the moral stature
of the man:
I had not been mistaken in my fancy that there was a simple dignity in him. The
fashion of his dress could no more come in its way, when he spoke these words, than
it could come in its way in Heaven.
Earlier (Ch. 19) Pip gives an account of a conversation with Biddy: he wishes her to educate
Joe so as to make him a more suitable companion to the gentleman, who plans to remove
him into a higher sphere. When Biddy retorts that Joe may be too proud to let anyone take
him out of a place that he is competent to fill, and fills well and with respect she is accused
by Pip of envy. Pip (as narrator) has so presented the conversation as to ensure the reader's
disapproval of his own conduct and approval of Biddy as a person, and in her view of Joe.
Joe and Magwitch are not gentlemen, but they work for their living; each finds dignity in
honest toil (though Magwitch, as if to hit back at those who have injured him, mistakenly
uses his wealth to set Pip up as a gentleman). Contrast this with the indolence of those who
style themselves the Finches of the Grove. If Joe is out of place in London, so much the
worse for London, and his remark of Barnard's Inn, that it may be a werry good inn by
London standards, but that he wouldn't keep a pig in it is all the more damning of Barnard
because we know Joe is not trying to give offence (his subsequent comment about fattening
the pig and eating him with a meller flavour on him shows that Joe is not speaking
figuratively here!).
16

Dickens allows Pip to speak with a distinctive voice: the story telling is vivid, the sentences
fluent and varied and the honesty of the narrator is shown in his self-condemnation. The
opening chapter is remarkable for the switching from the child's state of mind to the
explosive appearance of Magwitch. Dickens is prepared to allow Pip to depart from normal
grammar in the paragraph beginning: A fearful man. Note the precision with which details
of Magwitch's appearance are listed, his quirks of speech (Pint, wittles) and his treatment
of Pip, as when he turns Pip upside down and Pip sees the church steeple under my feet
On the other hand the narrator perfectly conveys the child's ignorance: Pip notes that the man
eats the bread but does not understand why he should be so ravenous; later he asks Joe what a
convict is: here he seems not to know that Magwitch is a convict. Some comments are
strikingly acute: when Mrs. Joe says: You may well say churchyard, you two, Pip notes
that: One of us, by-the-bye, had not said it and when the sergeant says he has mentioned
the nature of his errand to this smart young shaver, Pip notes, in parenthesis, that he
hadn't. As well as presenting the child's view of things, the adult narrator allows adult
observations about the young Pip's situation and those around him, as when we read that he
and Joe going to church must have been a moving spectacle for compassionate minds.
These observations are often marked by humour and irony; indeed Pip is allowed to share
Dickens' eye for the comic in human behaviour, and the novel abounds in memorable comic
phrases, as in the description of Biddy's grandmother:
Mr. Wopsle's great-aunt kept an evening school in the village; that is to say, she was
a ridiculous old woman of limited means and unlimited infirmity, who used to go to
sleep from six to seven every evening, in the society of youth who paid twopence per
week each, for the improving opportunity of seeing her do it.
The most sustained comedy in the novel is in Chapter 31, which is barely necessary to the
plot (save for its preparation for the later episode where Wopsle sees Compeyson in the
theatre). Pip is merciless in his account of the deficiencies of the performance of Hamlet that
he attends.
17

Other voices
Pip may have a distinctive voice, but allows others to speak with their own voices in a way
which establishes character: Joe is uneducated but often most articulate, as when he observes
of his blacksmith father: he hammered at me with a wigour only to be equalled by the
wigour with which he didn't hammer at his anvil, or as in the comment on Barnard's Inn
quoted above. The hypocritical Pumblechook, the cold Mrs. Joe, polite but plain-speaking
Biddy, the snarling Orlick, the rough but kindly Magwitch and the twin versions of
Wemmick - all these (and many more) have their characteristic voices.
Of course, Dickens exploits the conventions of first-person narrative with skill: we can
believe that the story is all Pip's but the voice is not unlike Dickens' own in third-person
novels. More tellingly, Pip is able to recall verbatim complete conversations which take place
when he is seven, even though he is at least in his mid-thirties when he is supposed to be
telling the story. Good examples come in Ch. 7, where Joe speaks at length, and in Ch. 11.
On the other hand we can suppose that Pip would recall the substance of the conversation,
Joe's actions with the poker and Joe's general turn of speech; for this reason the convention of
presenting the conversation and Joe's gestures as if exactly recalled is perfectly plausible.
Indeed, it only strikes one as odd if is pointed out, as here.
18

Characters
In the novel we meet a great range of characters. It is not possible to comment at length on all
of them, but you should be able to answer questions on the principal characters, and their
relationships. Remember to write about a character's depiction in the whole novel (use the
plan above; pp. 3 and 4). Do not write about the early chapters only.
Pip
So much has been said about Pip in the sections on themes and the narrative voice, that little
more is needed here. Pip is shown both through his own portrayal of his younger self, and in
his relationship with others. In outline, he is, at the start of the novel, a kind and intelligent
child, who lacks formal learning but is aware of the humbug of Pumblechook and Mrs. Joe.
He sees Joe's goodness, but mistakes his simplicity for lack of wisdom. His ambition at this
time is to avoid Tickler and in due course to become Joe's apprentice. His introduction to
Satis House gives him a glimpse of another world, to which he is anxious to gain access
socially. Its unattainability is embodied in Estella. He becomes unhappy with his lot and only
remains at the forge because Joe is so good to him.
The discovery of his expectations seems to give Pip reason for his shame at his origins, and
he is swift to place some distance between himself and his home village. He retains his
fondness for Joe, but cannot admit it openly, and is embarrassed by Joe in London. Pip
confirms his snobbery by keeping a servant and joining the Finches of the Grove. He
exceeds his income and leads the impoverished Herbert into extravagance. His smugness is
shattered by the discovery that Magwitch is his patron; he has supposed himself to be part of
a grand design, leading to marriage with Estella.
His treatment of Magwitch is at first unpleasant, but he softens as he realizes what the man
has risked to see him. He still dislikes him, however. Magwitch's account of his hard life
brings more sympathy, and Pip begins to like his uncle by degrees. When the man falls ill,
this turns to genuine affection, which issues in practical comfort. Pip has become a much
better man. He recognizes how ungrateful he has been to Joe and is reconciled to him, first
when Joe cares for him in London, and later when he returns to the forge on Joe's weddingday. Pip atones for his past errors by hard work abroad, but is resigned to a life of
bachelorhood: his earlier notion of marrying Biddy would have been a mistake, and he is
thankful he did not make the proposal, as Joe would have doubtless given way to Pip. He can
only ever marry one person, Estella: without her, he is better single. When she is softened and
humbled by her own harsh lessons in life, she may be able to accept him.
The novel's revised and ambiguous ending suggests that she and Pip will stay together. This
outline does little justice to a subtle and complex portrait; we know Pip as fully as we might
know many a real person. We also discover how the adult Pip judges his earlier conduct for
good or ill. He is an attractive character, but foolish in youth. His honesty as narrator is such
that he leaves no stone unturned in presenting the case against himself.
19

Joe Gargery
While it suits the plot for Pip's protector to be a blacksmith (he has the means to remove the
convict's leg-iron) it also seems a fitting occupation for the man Dickens wishes to depict.
The job is hard and requires skill, yet no formal learning, so Joe seems a fool to those around
him. We forgive the child, Pip, but Mrs. Joe and Pumblechook by turns patronize Joe and
ignore him. Miss Havisham, a shrewder judge, seems to see what Joe is really like, in spite of
his awkwardness, when she signs Pip's indentures. Joe becomes self-conscious and tonguetied in unfamiliar surroundings, yet is not without eloquence. This does not appear in his
intended epitaph for his father (Whatsume'er the failings on his part, Remember reader he
were that good in his hart), but in his earlier comment about his hammering and his remark
about keeping a pig in Barnard's inn (both quoted above).
Joe appears to be a poor scholar, but Biddy's patience succeeds where Pip has failed, and he
learns to read and write. The physical strength of blacksmiths is proverbial (so much so that
Pip's rowing tutor almost loses his pupil by saying Pip has the arm of a blacksmith) and Joe
conforms perfectly to this idea. Orlick, himself a big man, is knocked down by Joe as if he
had been of no more account than the pale young gentleman, and Pip knows of no-one who
could stand up long against Joe, although Joe is not at all aggressive. In defending (as he
thinks) Pip's interests before Jaggers, he becomes menacing but Jaggers swiftly placates him.
But Joe is typically a gentle giant. He does what he can to protect Pip from Tickler, but
sees that too much interference will lead to more trouble later. The reader is amused by the
picture of Mrs. Joe's constant assaults upon this great man, who never retaliates, for fear of
becoming like his bullying father.
Joe's great size is a metaphor for his moral stature. He knows what he can do well in life and
does it. He sees what is wrong with Pip's fantasy existence in London long before Pip does.
He is always faithful to Pip, but for long allows Pumblechook to take credit due to him.
(Pumblechook is, in the composition of the novel, the character most clearly contrasted with
Joe, or depicted as his opposite; we note similar structural pairings in Estella and Biddy,
Magwitch and Miss Havisham and so on.)
Though Joe (in Chapter 27) tells Pip he will never see him again out of his forge and his
working-clothes, he is man enough to go once more to London when Pip is ill and in danger
of prison. His money, earned by honest toil, pays off the immediate debt. Joe wants no thanks
and is embarrassed when Pip alludes to it: he does not give the matter a second thought, just
as there is no question whether he will take time off from his business (and so lose income) to
look after his friend. Both the older Pip who tells the story and Biddy, at the time of the
events narrated, point the reader to Joe's virtues. There are touches of sentimentality in the
depiction of this honest, simple but deep character; but they are only touches, and Pip,
remember, aware of his earlier ingratitude to Joe, can be excused for indulging them. The
portrayal of Joe is convincing and very moving.
20

Magwitch and Miss Havisham
These two are as far apart socially as can be imagined, and never meet in the course of the
novel. From the start they, their worlds, and how he thinks of them are contrasted in his
narrative by Pip, yet he often thinks of them together. They are linked in that both are the
dupes of Compeyson, and each responds to his cruelty in the same way, adopting a child and
trying to influence the child's upbringing.
Of the two, Magwitch would seem much the better as benefactor. Miss Havisham's
disappointment in love is great, but her attempt to lay waste all around her is a terrible
mistake: she suffers from it more than anyone else, and her power to destroy does not go
beyond Satis; more to the point, Compeyson does not deserve such a magnificent gesture, and
the desire to be revenged on an entire sex is immoral: Compeyson may not be unique in his
treachery, but he is far from typical of all men. Moreover, Estella may cause some suffering
but those who love her have not necessarily deserved it. Drummle, the chosen victim, is, as
Pip sees, not capable of suffering the pains of true love, while Jaggers fears he may have
more strength for a contest of wills than Estella. Finally, the corruption of a child to be the
agent of this revenge is immoral.
Miss Havisham's injury is great, but her reaction insane and disproportionate. Yet apart from
this she seems a clever and civilized woman. She sees through her flatterers, becomes as fond
of Pip is she is capable of liking any boy, treats Joe with courtesy, shuts out Pumblechook
and helps Herbert financially, while offering help to Pip, which he declines. She realizes
early on that Pip thinks her to be his benefactor, and knows enough from Jaggers to let him
continue in the delusion. It is his error, but she as an older person might easily put him right;
yet it suits her not to do so.
When she is confronted by Pip with the enormity of her actions she explains but does not
seek to excuse her conduct, before asking for his forgiveness. The fire (from which she never
fully recovers, as Joe tells Pip; Ch. 57) symbolizes her moral cleansing: it drives out the
beetles and spiders and destroys the faded bridal dress which represents (for her as much as
for the reader) her imprisonment in the past; now she can ask for the forgiveness, which Pip
is more than ready to give her, as his parting gesture shows.
She and Magwitch strike the young Pip as beings from another world. In both cases the
characters' strangeness is suggested by bizarre details of dress and appearance, and by their
surroundings, Magwitch in the churchyard, Miss Havisham amid her faded wedding finery.
Unlike her, Magwitch rapidly vanishes from Pip's life, though he haunts his memory.
Magwitch is a simple man, but having at length understood how Compeyson has used him
has a simple desire for vengeance. His desire for revenge seems not so much selfish as
motivated by an urge to punish the evildoer. Magwitch looks like a brute, as the young Pip
notes, and Compeysons lawyer exploits this when they are tried. He is strong and capable of
violence, as Compeyson's scar shows, but he is not habitually violent. Given his background,
he is as decent as could be expected; his conduct towards Molly and their child is exemplary.
He is too simple to see that he might harm Pip by giving him his great expectations.
Though he wants to hit back at those who have harmed him, he genuinely wants to promote
the interests of the child who helped him on the marshes, and reminded him of his lost
daughter. Magwitch is happy to see his gentleman, fearless of his sentence, and finally
comforted to know Estella lives.
21

Estella and Biddy
Apart from Clara, whom Pip does not meet until late in the novel, Biddy and Estella are the
only young women Pip seems to know. He considers both as possible partners, but for very
different motives. At first, it seems that, in her circumstances and background, Biddy is much
the more suitable, but it becomes clear eventually that Estella's experience almost exactly
matches Pip's own. Biddy, like Joe, is somewhat idealized. She is also used rather
schematically for purposes of contrast with Estella. For much of the novel she almost serves
as the voice of Pip's conscience, and certainly she expresses the reader's view against Pip's
false judgements.
Biddy is a village girl, slightly older than Pip, like him an orphan and brought up by hand.
While she lives with her grandmother, she is industrious but unkempt. When she comes to the
forge, she quickly becomes clean and tidy. She is presented to the reader as a pretty and
obliging girl. For this Pip likes her, but she cannot exercise the power over him of the
haughty and distant Estella. She was not beautiful - she was common and could not be like
Estella - but she was pleasant and wholesome. Pip adds that her eyes were very pretty and
very good. As Biddy is literally near to Pip in the house, so she is metaphorically. She
begins as his teacher and becomes his confidante. I shall always tell you everything, says
Pip (Ch. 17). He asks her advice concerning Estella and being a gentleman, and considers
how he might even have grown up to keep company with her. It does not occur to him that
Biddy might love him, nor that he is patronizing her.
Though she is not over-particular for herself, she does stand up for Joe, when Pip suggests
a scheme for his education and improvement (Chapter 19). Biddy is remarkable for her
ability to learn everything - a virtue arising from her disadvantaged start in life. As well as
acquiring housekeeping skills and basic literacy, she is theoretically as good a blacksmith
as Pip in his apprenticeship. When she comes to the forge, she quickly alters its domestic
character. She is a tender nurse for Mrs. Joe, whose death, though it at first takes her from the
forge (a single woman could not live alone with a man to whom she is not married),
ultimately enables her to marry Joe.
Biddy makes good use of every opportunity to better herself, and achieves a typical and
respectable progress, rising from the ragged orphan we first meet, to an educated woman,
village schoolmistress, model housewife and mother, married to a respectable craftsman of
reasonable means. This would be as much as any woman of the village could reasonably hope
for, and Biddy is more than happy with her lot. Her ambitions are modest, but she achieves
them; they are contrasted with the impossible longings of Pip.
Biddy is warm as the forge she makes her home, but Estella is as cold as her adoptive home
at Satis. Dickens' educated readers would know the meaning of her name though the young
Pip, who knows no Latin, makes the comparison for himself, as her light comes along the
dark passage like a star. Like a star, she is cold and distant; like a star she is a point by
which Pip steers the course of his life. She signals her haughtiness in her addressing Pip
repeatedly as boy and ridiculing his speech and thick boots. The one show of affection,
when she allows Pip to kiss her, is a reward for his knocking down Herbert.
22

Even Miss Havisham, having brought her up to be proud and insulting, is alarmed by her own
creation as she reproaches Estella for being cold to her (Ch. 38). When Estella goes to
Richmond, she makes Pip her friend and confidant; she likes him and wishes to spare him the
torment she intends for others.
She does not think it possible that she will ever love, and so does not ever entertain the idea
of Pip's courtship; as a friend she repeatedly warns him off. We regard a woman without
feeling, who torments others, with disapproval, but Estella is not a selfish femme fatale. Her
defective emotions are the result of Miss Havisham's cruel experiment. Estella has obeyed her
adoptive mother perfectly. And Estella is always honest about herself with Pip. The Estella of
the final chapter, chastened by her experience of marriage to Drummle, seems at last prepared
to admit Pip to a closer relationship, the course of which is left open to the reader's guesses.
Estella, like the convict, is present to Pip, even when absent (which is much of the time). She
is forever in his thoughts, the source of his obsessive desire to be a gentleman. Biddy
suggests that she does not deserve Pip's love. In fact, given that she is outwardly cold and
haughty, Dickens makes her surprisingly sympathetic; we do not feel that Pip is simply
wrong to love her. This is partly due to the fact that she, like Pip, is the victim of another
person's grand scheme. It is also partly due to her true origins, which Pip discovers and
divulges only to Jaggers and Wemmick: her parents are the lowest of the low, socially, and
yet she has risen to the pinnacle of elegant society. The warmth with which Pip tells
Magwitch of his lost daughter is surely shared by the reader.
Herbert Pocket
Herbert, like Biddy, is somewhat idealized in Dickens' portrayal. He is, like Biddy,
deferential and considerate. When we meet him, he is seeking employment, and looking
about him for an opening. In this he seems rather ineffectual (perhaps he is not pushy
enough) but given the opening in Clarriker's House (note that here Pip becomes the
anonymous benefactor) Herbert works with great industry, and fulfils the Victorian dream: a
little capital creates a business, trading in the east, which eventually brings moderate wealth
to Herbert and to Pip. Herbert's courtship of Clara is a conveniently ideal relationship against
which to judge Pip's problems with Estella, and Clara is somewhat of a clich, with her mild
manners and her tyrannical father, who dies at just the right time. Herbert is important to the
plot, as a link with Miss Havisham and Pip's past, in his loyally helping Pip with Magwitch,
and in his rescuing Pip from Orlick. In London he becomes Pip's intimate confidant, as
Biddy has been hitherto.
23

Other characters
Though you are unlikely to have to write about any other characters on their own, you may
need to comment on them in terms of their relationships with Pip, or with others. You may
also have to answer a question about a group of characters, such as the women in the novel,
or the people from Pip's village.
Mrs. Joe
Mrs. Joe is somewhat of a caricature: even Joe, her husband, admits that she is rather bony
and red-faced. She is a busy housewife, but her exertions are made it seems mainly to satisfy
her own inflated notions of her status, to make Pip and Joe suffer, and to seek credit for
bringing Pip up by hand. Her presence makes the forge a less welcome place.
Her sharp tongue provokes an apt comment from Orlick, and indirectly leads to her injury at
his hand, and early death. In terms of the plot, she brings Joe together with both Pip and
Biddy, before obligingly dying. She is not much missed.
Mr. Pumblechook
Mrs Joes great ally is Pumblechook. He is a perfect specimen of humbug: when Pip is a
child he speaks of the wickedness of the young, ignoring Pip and Joe; when Pip becomes a
local celebrity, he promotes his own reputation by claiming to have been Pip's earliest
benefactor and founder of his fortunes (the unspoken reason being his introduction of Pip
to Miss Havisham). In bringing Pip to Satis, he is pursuing his own gain, and exercising his
nosiness. He spends (with Mrs. Joe) a large part of Pip's premium on a dinner (as earlier he
gives the sergeant the wine meant to be Mrs. Joe's present). When, perhaps unwisely, Pip
snubs him, Pumblechook takes offence at this proof of his ingratitude. It is surprising how
many people this windy donkey takes in, but Miss Havisham is not one of them: Estella is
not to admit him to Satis.
Pumblechook prefers his own invention to the truth: he explains how Magwitch robbed the
forge and endorses Pip's fantastic description of Satis House. Pip, as narrator, generally
resists the temptation to judge others than himself, but Pumblechook is almost always
introduced with some such term as cheat or hypocrite. He also irritates Pip by such
actions as ruffling his hair (as a child), shaking his hand repeatedly and even adjusting his
mourning headdress at Mrs. Joe's funeral.
Other characters from the village that deserve comment are Trabb's boy and Dolge Orlick.
24

Trabbs boy
Trabb abuses the boy for his slowness in serving Pip. When Pip returns to the village, he is
publicly humiliated by a bizarre performance in which the boy suggests that Pip thinks
himself too superior to recognize ordinary people. Pip writes to Mr. Trabb about this, but we
have no idea what action Trabb takes. The same boy later helps Herbert rescue Pip from
Orlick. He is happy to be rewarded by Pip, but Pip's apology for having previously an ill
opinion of him makes no impression.
Dolge Orlick
Pip tells us early on that Orlick claims to be called Dolge, but suggests that this is not
possible. Orlick is simply villainous, and goes from bad to worse. He is evidently a
competent enough labourer for Joe to employ him. He knows that Pip dislikes him for his
attentions to Biddy, and he is dismissed from Miss Havisham's service on Pip's advice. It is
natural that Compeyson should use him; in return for which services, he writes out the note
with which Orlick lures Pip to the lime-kiln. Orlick's final crime is the robbery of
Pumblechook's premises, for which he is jailed (tying up a loose end in the plot). Pip suspects
that he may be guilty of the attack on his sister, but the reader is maybe misled by the
reappearance of the leg-iron at the scene of the attack. Perhaps the only action of Orlicks that
Pip approves is his stuffing Pumblechook's mouth with flowering annuals.
Other village characters
Other characters in the village are:
Mr. Wopsle, who is vain but harmless: as the church is not open to him (he is of the
wrong class and has not been to university), he becomes Mr. Waldengarver, an actor,
who begins as Hamlet, and descends to minor rles;
Mr. Hubble, notable for his long legs and remark about the young (Naterally
wicious), and his wife;
Mr. Wopsle's great aunt (Biddy's grandmother; introduced briefly in Ch. 7, and at
more length in Ch. 10), and
Mr. Trabb, another pompous type, but less so than Pumblechook.
To the village come the sergeant and the troop of soldiers (Chapters. 4 and 5) and Magwitch's
envoy with the file (Ch. 10).
25

The flatterers
At Satis House, Pip sees Miss Havisham's flatterers: Sarah Pocket, Georgiana, Camilla and
Cousin Raymond (Mr. Camilla). Though they have individual peculiarities, they are
branded together by Pip as toadies and humbugs, each pretending not to know the others
are toadies and humbugs. Pip's detailed account of their conversation is at odds with his
confusion as to who is who: they are not memorable, but typify the greedy relatives hoping
for a legacy. They are contrasted with Herbert's father, who asks for nothing but is rewarded
because of Pip's account of him, with a cool four thousand. Joe tells Pip also (Ch. 57) of
Miss Havisham's humorous treatment of the toadies in her will: twenty pounds to
Georgiana, twenty-five to Sarah to buy pills for her wind, and five pounds for Mrs. Camels
to buy rushlights to keep her spirits up in the night.
Mr. Jaggers
Mr. Jaggers appears at Satis House and again in the village inn, before Pip goes to London,
but it is there that he comes to know him properly. Jaggers is self-possessed and seems to
have no feelings. He is severe on his clients, and has a reputation so fearful that he boasts of
never locking his valuables away: no one will dare rob him. Jaggers lives alone with his
housekeeper, Molly, but is sociable on occasion. He is fascinated by Drummle (he does not
really like him, of course) and enjoys ridiculing Wopsle for his assumption that a murder
suspect is guilty. He tries to give the impression that he knows everything but admits nothing,
a professional tactic he has carried over into his personal life. Once only does Pip surprise
him, as he pieces together the whole of Estella's story (Chapter 51).
Though he rarely allows himself to indulge his feelings, Jaggers does not lack humanity: his
provision for Estella, and his dealings with Molly and Magwitch show him in a good light.
Like many Dickens characters, he is identified by habitual actions: he is fastidious in washing
his hands (as if metaphorically washing off the dirt of crime) but is chiefly marked out by his
habit of biting his finger as he speaks.
Mr. Wemmick
His clerk, Wemmick, is as severe as his master at work: his face is expressionless, though he
speaks freely enough to Pip. At home, at Walworth, he is a wholly different person, kind and
caring, delighting his aged parent with the drawbridge, the cannon and the ornamental lake.
Jaggers respects his privacy and knows nothing of Walworth. Pip remarks on how
Wemmick's mouth, which he likens to a letterbox, gradually relaxes as he walks home;
having seen Wemmick several times at home, he writes as if he were twins: a kind twin at
Walworth, a severe twin at Little Britain. Wemmick is aware of this, and makes a rule of it:
when Pip asks for his help in Herbert's behalf, Wemmick (in the office) appears to refuse, but
suggests that Pip ask him again at home; when Pip does this, the help is given at once.
Wemmick, like Herbert, has a sweetheart whom he eventually marries, though Pip (as best
man) and Wemmick's father are the only guests. His bride, Miss Skiffins, barely exists as a
character in the novel, other than to show Wemmick's human side, but her brother, an
accountant, finds the merchant, Clarriker, who becomes Herbert's partner.
26

The Pockets
Matthew Pocket and his family live in Hammersmith. Mr. Pocket is an impractical man of
integrity and patience; he is burdened by a foolish wife and many children. Mrs. Pocket
believes herself to be a great lady who has married beneath her. She is highly ornamental,
but perfectly helpless and useless. Pip notes that the servants are more in charge than the
Pockets; unfortunately, the servants are lazy and irresponsible: the cook, for example, drinks
and steals butter to sell. A toady neighbour (Mrs. Coiler) supports Mrs. Pocket in her vain
belief that she requires so much luxury and elegance.
Startop and Drummle
At Hammersmith, Pip first meets Startop and Bentley Drummle. Startop is a rather mild
character, from whom Drummle borrows money. He is loyal and honourable and helps Pip
and Herbert in their attempt to smuggle Magwitch out of the country. Drummle is far more
important: he is a conventional snob, proud of himself and his origins and wholly
contemptuous of Pip. He is next heir but one to a baronetcy, heavily built, sulky, idle and
stupid. Pip at once takes a dislike to him, which is returned in full. Jaggers remarks on
Drummle's stubbornness and persistence, which duly enable him to be Estella's chosen
husband and victim. Though Pip dislikes Drummle, he has a horror of his seeing Joe and
ridiculing him. Pip and Drummle quarrel spectacularly about Estella at the Grove.
Drummle typifies perfectly the world that Pip is so anxious to enter. Drummle's death, as well
as being convenient for the novel's plot is a kind of poetic justice: he dies in an accident
consequent on his ill-treatment of a horse.
Bill Barley and Clara
At Chinks's Basin, Pip meets Clara. Her motherly landlady, Mrs. Whimple, looks after her.
Both make the briefest of appearances, but are eclipsed by the comic figure of Bill Barley,
Clara's father. He is never seen by Pip, but is heard walking in the room overhead, and
singing aloud. The chief joke about Barley is his consumption of vast quantities of food and
drink. He keeps all the provisions in his room and measures out tiny portions for Clara
(including a tot of rum, which Herbert drinks for her!) and vast meals for himself, which
Clara must cook. Part of Clara's attraction to Herbert is that she has only one living relation
(and he will not live long): unlike Herbert, she has no family to worry about.
27

Time in the novel
We are fortunate in having Dickens' own calculations of his characters' ages in the latter part
of the novel. These clarify the information (much of it, but incomplete) in the text.
Pip is about seven at the beginning of the story. He would be apprenticed at fourteen and goes
to London at about eighteen. He comes of age in Chapter 36 (we learn that Herbert is eight
months older and that Pip's birthday is in November), and is twenty-three in the final part of
the novel, save for the last chapter which is eleven years later. In each of the novel's three
parts, except Chapter 59, time passes more slowly, or, to state this another way, the narrative
is more detailed.
Estella is of Pip's age but in her early teens seems much older; Magwitch is initially attracted
to Pip because he supposes him to be of his lost child's age. When Pip is twenty-three,
Magwitch is sixty; Compeyson, fifty-two or fifty-three; Miss Havisham, fifty-six; Biddy,
twenty-four or twenty-five; Joe, forty-five; Jaggers, fifty-five, and Wemmick near fifty. Miss
Havisham's engagement to Compeyson takes place thirty-years before this time (Herbert tells
the eighteen year-old Pip, in Chapter 22, that this took place five-and-twenty years ago).
The novel begins some time around 1810 (Great Expectations was published in 1861). We
cannot date the action precisely, but such things as the mode of transport indicate a fairly
early time (there is no reference to railways, for example).
Three exact dates can be given, however. In Chapter 40, Pip refers to Mary Shelley's
Frankenstein and in Chapter 46 he learns how to shoot the Old London Bridge. Shelley's
novel was published in 1818, while the bridge was demolished in 1831. In both chapters, Pip
is twenty-three; the novel begins fourteen years earlier.
And in Chapter 36 (Pip's coming of age) Wemmick refers to Waterloo Bridge (built 1817).
Thus the earliest date for the first meeting with Magwitch is 1805, and the latest date 1817.
The paddle steamers in Chapter 54 (propellers were introduced in the late 1830s) again
suggest the late 1820s for this part of the novel. One inconsistency is Magwitch's sentence of
death: the last returned transport to hang did so in 1810, though the offence remained a
capital one in theory until 1835.
28

Places in the novel
The novel opens in the low-lying peninsula of marsh country between the Thames and
Medway estuaries in Kent, east of London. Dickens seems to have combined the features of
several of the small villages here. In the churchyard of Cooling were the graves of twelve
small brothers and sisters buried together, like Pip's family. The nearby town - in which are
Satis House, the Blue Boar and Mr. Pumblechook's business - is not named in the novel but is
almost certainly based on Rochester (it has a cathedral; see Ch. 49). The old Battery was at
Cliffe, overlooking the Thames. The Hulk (Chapter. 5) appears to lie on the Thames
(although two hours walking might enable the party to cross to the Medway shore); in reality
the Hulks were kept on the Medway at Upnor.
The places in London can mostly be found on a good map.
Little Britain runs past St. Bart's Hospital, between Smithfield Market and the
Barbican; from here Jaggers would ride (or walk) less than two miles home to Gerrard
St., Soho (between Wardour St. and Cambridge Circus).
Barnard's Inn, an ancient Inn of Chancery once attached to Gray's Inn, had ceased to
have any legal character by the time of the novel; in 1892 it became a school. It is a
short walk from Little Britain, as we read in Ch. 20.
Later (between Chapters. 38 and 39) Pip and Herbert move to Garden Court, in the
Temple, by the Thames.
The Pockets live in Hammersmith, several miles west of London; their house also
overlooks the river.
Walworth is south of the river, about two miles from the City.
Mill Pond Bank appears to be in what is now Docklands, perhaps on the Isle of Dogs.
Richmond (Mrs. Brandley's) is in Surrey, several miles upstream and south-west of
Hammersmith (through which Estella's coach passes in Ch. 33).
The Hummums was in Covent Garden, on the corner of Russell St.; it stood on the
site of a Turkish-bath-house, from which it took its name.
Many of the London locations are in the area of the law courts, close to Newgate prison: this
is plausible, given the occupation of Pip's guardian, who has been chosen because he is the
only lawyer Magwitch knows in England; but it enables Dickens to confront Pip with
frequent reminders of his convict and of the process of law. Similarly, there are many river
locations: partly this is made necessary by the plot; that Pip, a good waterman, should try to
smuggle Magwitch aboard a steamer is most likely. But again it allows the river as a symbol
or metaphor for experience to figure prominently. The same river links Estella at Richmond,
the Pockets at Hammersmith, Pip at the Temple and the village in the marsh country.
Satis House is a perfect reflection of Miss Havisham's living death: the once-luxurious house
has been allowed to decay around her. The brewery is disused and the wind seems to blow
colder there; the barrels are rotting and Pip thinks he sees Miss Havisham hanging from a
beam. Inside, all daylight is excluded (Pip imagines it would have struck Miss Havisham
to dust) and candles are lit. It is a place of darkness, of decay, of fungus and of spiders. Pip
likens Miss Havisham's wedding-dress to grave-clothes and her veil to a shroud. This decay
continues throughout her last years; on her death, the house is pulled down. The site, for
years, is not built on again, because Estella has resisted this; she revisits it in the final chapter
because she has at last allowed the site to be developed.
29

Joe's forge and little cottage contrast strongly with the faded grandeur of Satis; we do not
have a very detailed description, but know the cottage is made of wood (usual in this area at
the time) and adjoins the forge; we know of the chimney-corner, where Pip has his stool; of
the little state parlour across the passage, and that the kitchen can accommodate a file of
soldiers. We are told that Mrs. Joe is a very clean housekeeper, but that her cleanliness is
more uncomfortable than dirt. There seem to be rooms enough for Joe and Mrs. Joe, for Pip
and for Biddy, later; we know the house has stairs and a pantry, even that the kitchen table is
made of deal, and twice we are told of a dog. Despite Mrs. Joe, the cottage is naturally
homely; when Biddy moves in, it becomes much more so: the idyllic picture of the simple
country cottage is completed by Biddy's and Joe's child in the chimney corner.
Barnard's Inn, despite its historic standing, is an unwholesome place. It is described as a
collection of dingy buildings, in one of which Pip and Herbert lodge: it is repeatedly
described as dismal, and likened to a club for Tom-cats. The air is stale, wet rot and dry
rot abound, and Pip is almost decapitated by a sash window, from which the lines have rotted
away. The reality of Barnard's Inn is a shock to Pip, who expects a grander hotel than the
Blue Boar; it helps put his expectations in perspective, and is memorably described by Joe,
when he first comes to London. The Pockets' house and Jaggers' establishment are very
sketchily described, but Wemmick's wooden Gothic castle is depicted in great detail: we
know of the drawbridge, the fountain, the cannon, the mechanism for giving messages, the
flagpole and flag, and so on. This place typifies the charm and ingenuity of the human
Wemmick of Walworth.
Other places Pip visits are the humble village pub, the Three Jolly Bargemen, with its
common room, settle and kitchen fire, and the Blue Boar, an elegant hotel, in the coffee room
of which Pip contests with Drummle the warmth of the fire. But the most memorable and
atmospheric place in the novel appears in the first chapters, and we return there much later:
the marsh country.
This is a harsh, bleak place for Magwitch to lie at night; and in the early chapters the contrast
is obvious between the hunted convict, shivering on the marshes and the smug party at Joe's
cottage, eating their Christmas fare. From the bleak churchyard, to the old battery and
beyond, to the landing stage for the Hulks, this place becomes another character in the novel.
The Hulk Pip sees he imagines as a wicked Noah's ark - an image that might occur as much
to the child, as to the adult narrator. If Pip's experiences here are full of terror, his later visit to
the marshes, at Orlick's invitation, holds more fear for the reader and real danger for Pip. As
before, the place makes Pip uneasy even before his danger appears: the wind is
melancholy, the marshes dismal; insupportable to a stranger, they are oppressive
even to Pip, who has come there and gone on against his inclination. The marshes form a
fitting backdrop for acts of terror and violence.
The copyright in this guide belongs to Andrew Moore. You are free to use it for any educational purpose,
including making multiple copies electronically or by printing. You may not distribute it in any form other than
the original, without the express permission of the author.
[email protected]
http://www.bigfoot.com/~armoore1955
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Studying Great Expectations

Studying Great Expectations

Copyright: Andrew Moore, 2001

Studying Great Expectations

the plot and structure;

Copyright: Andrew Moore, 2001

Studying Great Expectations

Copyright: Andrew Moore, 2001

Studying Great Expectations

Copyright: Andrew Moore, 2001

Studying Great Expectations

Copyright: Andrew Moore, 2001

Studying Great Expectations

Copyright: Andrew Moore, 2001

Studying Great Expectations

Studying Great Expectations

Studying Great Expectations

Studying Great Expectations

Studying Great Expectations

Copyright: Andrew Moore, 2001

Studying Great Expectations

Copyright: Andrew Moore, 2001

Studying Great Expectations

Copyright: Andrew Moore, 2001

Studying Great Expectations

Copyright: Andrew Moore, 2001

Studying Great Expectations

Copyright: Andrew Moore, 2001

Studying Great Expectations

Copyright: Andrew Moore, 2001

Studying Great Expectations

Copyright: Andrew Moore, 2001

Studying Great Expectations

Copyright: Andrew Moore, 2001

Studying Great Expectations

Copyright: Andrew Moore, 2001

Studying Great Expectations

Studying Great Expectations

Copyright: Andrew Moore, 2001

Studying Great Expectations

Copyright: Andrew Moore, 2001

Studying Great Expectations

Copyright: Andrew Moore, 2001

Studying Great Expectations

Copyright: Andrew Moore, 2001

Studying Great Expectations

Studying Great Expectations

Copyright: Andrew Moore, 2001

Studying Great Expectations

Copyright: Andrew Moore, 2001

Studying Great Expectations

Studying Great Expectations

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