Great Expectations Contents
- Social / political context
- Religious / philosophical context
- Literary context
- Note on chapter numbering
- Chapters 1-9
- Chapter 1 (Volume 1, Chapter 1) (Instalment 1):
- Chapter 2 (Volume 1, Chapter 2) (Instalment 1):
- Chapter 3 (Volume 1, Chapter 3) (Instalment 2):
- Chapter 4 (Volume 1, Chapter 4) (Instalment 2):
- Chapter 5 (Volume 1, Chapter 5) (Instalment 3):
- Chapter 6 (Volume 1, Chapter 6) (Instalment 4):
- Chapter 7 (Volume 1, Chapter 7) (Instalment 4):
- Chapter 8 (Volume 1, Chapter 8) (Instalment 5):
- Chapter 9 (Volume 1, Chapter 9) (Instalment 6):
- Chapters 10-19
- Chapter 10 (Volume 1, Chapter 10) (Instalment 6):
- Chapter 11 (Volume 1, Chapter 11) (Instalment 7):
- Chapter 12 (Volume 1, Chapter 12) (Instalment 8):
- Chapter 13 (Volume 1, Chapter 13) (Instalment 8):
- Chapter 14 (Volume 1, Chapter 14) (Instalment 9):
- Chapter 15 (Volume 1, Chapter 15) (Instalment 9):
- Chapter 16 (Volume 1, Chapter 16) (Instalment 10):
- Chapter 17 (Volume 1, Chapter 17) (Instalment 10):
- Chapter 18 (Volume 1, Chapter 18) (Instalment 11):
- Chapter 19 (Volume 1, Chapter 19) (Instalment 12):
- Chapters 20-29
- Chapter 20 (Volume 2, Chapter 1) (Instalment 13):
- Chapter 21 (Volume 2, Chapter 2) (Instalment 13):
- Chapter 22 (Volume 2, Chapter 3) (Instalment 14):
- Chapter 23 (Volume 2, Chapter 4) (Instalment 15):
- Chapter 24 (Volume 2, Chapter 5) (Instalment 15):
- Chapter 25 (Volume 2, Chapter 6) (Instalment 16):
- Chapter 26 (Volume 2, Chapter 7) (Instalment 16):
- Chapter 27 (Volume 2, Chapter 8) (Instalment 17):
- Chapter 28 (Volume 2, Chapter 9) (Instalment 17):
- Chapter 29 (Volume 2, Chapter 10) (Instalment 18):
- Chapters 30-39
- Chapter 30 (Volume 2, Chapter 11) (Instalment 19):
- Chapter 31 (Volume 2, Chapter 12) (Instalment 19):
- Chapter 32 (Volume 2, Chapter 13) (Instalment 20):
- Chapter 33 (Volume 2, Chapter 14) (Instalment 20):
- Chapter 34 (Volume 2, Chapter 15) (Instalment 21):
- Chapter 35 (Volume 2, Chapter 16) (Instalment 21):
- Chapter 36 (Volume 2, Chapter 17) (Instalment 22):
- Chapter 37 (Volume 2, Chapter 18) (Instalment 22):
- Chapter 38 (Volume 2, Chapter 19) (Instalment 23):
- Chapter 39 (Volume 2, Chapter 20) (Instalment 24):
- Chapters 40-49
- Chapter 40 (Volume 3, Chapter 1) (Instalment 25):
- Chapter 41 (Volume 3, Chapter 2) (Instalment 26):
- Chapter 42 (Volume 3, Chapter 3) (Instalment 26):
- Chapter 43 (Volume 3, Chapter 4) (Instalment 27):
- Chapter 44 (Volume 3, Chapter 5) (Instalment 27):
- Chapter 45 (Volume 3, Chapter 6) (Instalment 28):
- Chapter 46 (Volume 3, Chapter 7) (Instalment 28):
- Chapter 47 (Volume 3, Chapter 8) (Instalment 29):
- Chapter 48 (Volume 3, Chapter 9) (Instalment 29):
- Chapter 49 (Volume 3, Chapter 10) (Instalment 30):
- Chapters 50-59
- Chapter 50 (Volume 3, Chapter 11) (Instalment 30):
- Chapter 51 (Volume 3, Chapter 12) (Instalment 31):
- Chapter 52 (Volume 3, Chapter 13) (Instalment 31):
- Chapter 53 (Volume 3, Chapter 14) (Instalment 32):
- Chapter 54 (Volume 3, Chapter 15) (Instalment 33):
- Chapter 55 (Volume 3, Chapter 16) (Instalment 34):
- Chapter 56 (Volume 3, Chapter 17) (Instalment 34):
- Chapter 57 (Volume 3, Chapter 18) (Instalment 35):
- Chapter 58 (Volume 3, Chapter 19) (Instalment 36):
- Chapter 59 (Volume 3, Chapter 20) (Instalment 36):
- The ending of Great Expectations
Creation of character
Character is created in several ways:
The creation of Pip
- Pip tells the story of his life, in language that reflects his age and awareness as he matures
- Pip the adult often comments on his earlier self, criticizing and explaining his false steps
- Mrs. Joe, Mr. Pumblechook, Miss Havisham and Estella show their opinions of Pip, though this tells the reader as much about them as it does about Pip
- the reader is also aware of Biddy's gentle reproaches to Pip.
(See also Narrative: Pip as narrator)
The creation of other characters
The reader sees every character from Pip's point of view:
- it is part of the convention of the first person narrative (see Narrative: Pip as narrator) that the narrator describes other characters accurately and records their speech faithfully;
- his judgments on the characters may, however, be unreliable, and the reader of Great Expectations soon learns to be wary of accepting everything that Pip says.
Actions
Dickens had a great interest in the ways in which people use their bodies, their movements and gestures, both deliberately and involuntarily:
- he is therefore, often accused of creating caricatures - broadly drawn characters who are readily identified by a few physical and verbal gestures, but who are without psychological depth
- however, it is also possible to see this as a common way of perceiving others– especially in a large and populous city like London, where Dickens set most of his fiction
- furthermore, as social psychologists (writing since Dickens' time) have shown, physical action is vital to the understanding of character – what we now call ‘body language'
- we can therefore, learn a great deal about Mr. Jaggers from his finger-biting and hand washing; about Orlick from his slouch; or about Mr. Pumblechook from his hand-shaking.
Speech
Dickens creates very distinctive modes of speaking for his characters:
- as with physical gestures, these will have made them easily remembered and recognized by readers of the novel in serialized form
- like physical gestures, modes of speech can be very revealing of character, not just through the words spoken, but by tone, rhythm and emphasis.
Investigate!
- The best way of understanding how speech works in the novel is to look at small examples and to analyse how the characters talks and what this tells us about the person concerned: for example, the conversation between Miss Havisham and Pip when they first meet in Chapter 9:
- Miss Havisham exercises her power over Pip by questioning him and making him feel uncomfortable;
- she is also very self-dramatising and self-absorbed, in the way she puts her hand over heart and declares that it is ‘Broken!';
- her conversation with Estella is more private, deliberately excluding Pip and quietly urging the girl to ‘Beggar him'.
- now select two or three other characters, either in a single speech or in dialogue with others, and analyse the ways in which their speech is revealing of their character.
The tone of voice in which anything is to be read in: e.g. lyrical, dramatic, contemplative.
The musical effect of the repetition of stresses or beats, and the speed or tempo at which these may be read.
Recently Viewed
Scan and go
Scan on your mobile for direct link.