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
Hands
Dickens uses hands in a number of significant contexts in the novel. Here are some examples, which suggest the principal ways in which Dickens employs them for symbolic purposes:
- when Magwitch is recaptured and he and the other convict counter-accuse each other, Compeyson taunts Magwitch ‘with the words, ‘You are not much to look at,' and with a half-taunting glance at the bound hands.' (Ch. 5; Vol. 1, Ch. 5):
- the idea of being bound is central to the book: it is the outward sign of the convicts' status'
- Pip is bound apprentice, which suggests that he, too, is captured for the rest of his life (see also Imagery and symbolism: Chains, files and prisons)
- at Satis House, Estella remarks of Pip, ‘‘what coarse hands he has'' (Ch. 8; Vol. 1, Ch. 8):
- here, Pip discovers that hands can be a sign of social class and can inspire contempt in someone of a different class (see also Themes and significant ideas: Class and social attitudes);
- when Magwitch reappears Pip notes ‘with a stupid kind of amazement, that he was holding out both his hands to me.' (Ch. 39; Vol. 1, Ch. 20):
- in this example hands represent a sign of affection, a gesture that at this stage Pip does not understand
- later in the scene, Magwitch twice seizes Pip's hands and kisses them and on the second occasion he does so, Pip remarks ‘my blood ran cold within me', for he finds it impossible to accept the relationship between them that this gesture indicates
- Pip is also reacting in a manner relating to his new class status: he is judging Magwitch as Estella first judged him
- in the boat after Magwitch is recaptured, Pip holds his hand as he promises to remain faithful to him from now on (Ch. 54; Vol. 3, Ch. 15)
- at Magwitch's trial: ‘No objection was made to my getting close to the dock, on the outside of it, and holding the hand that he stretched forth to me' (Ch. 56; Vol. 3, Ch. 18), and Magwitch dies holding Pip's hands:
- in these two scenes towards the end of the book, the holding of hands has come to represent love, fidelity, acceptance and gratitude.
Investigate!
- Note other scenes in the novel where hands seem to be significant
- Are they similar to the four examples given above, or do they suggest other uses of hands for symbolic purposes?
Something which represents something else through an association of ideas.
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