ENG4U Notes on Great Expectations by WV05FP


									                              Notes on Great Expectations

    1. Plot and Great Expectations

Great Expectations an example of how narrative plot works in the novel. The word "plot"
has multiple meanings in English, including:

i. A hole in the ground in which one is buried
ii. A strategy for accomplishing something.
iii. A series of points that describes the shape of a curve.
iv. The line of a story - "what happens."
v. All of these ideas are encoded in the opening scene of the novel, suggesting that
Dickens plans to play with the idea of plot in this novel.

Aristotle described the plot of a tragedy:

i. duration - unities of time (one day) and place (one location)
ii. shape - must have a beginning (rising action/exposition and complication),
middle (climax/moment of discovery), and end (falling
iii. magnitude - the story must have significance, importance.

"What happens" always has an archetypal shape.

i. "What happens" is always what is deviant; readers view "normal" or "happy" lives as
eventless. (Peter Brooks: "the true plot will be the most deviant.")
ii. Plot is the equivalent of Freud's two drives, eros and thanatos, warring against
each other: the desire for life ("what is going to happen") warring against the
quiescence of death ("nothing more can happen").

Great Expectations contains two conflicting deviant plots - to which he purposely adds a
second level of deviation.

i. The deviant plots being invoked here are two: (1) the child's desire to discover its
origins (Oedipus) and (2) the child's attempt to rise above an abusive and/or
humiliating domestic situation ("Cinderella," Dick Whittington).
ii. These two plots have conflicting shapes: tragic (Oedipus - one's parents are one's
nightmare) and comic (Cinderella/Whittington - triumph over abusive
circumstances, ultimate prosperity).
iii. Thus Great Expectations has a complex, often conflicting shape, with the tragic
and comic warring against each other - comedy within tragedy, a mediated
iv. The two plots cancel each other's action out, as Pip gradually discovers that
because of his origins and thus finds that his hoped-for advancement cannot take
v. Dickens's twist on the traditional plots makes the plots doubly deviant: the
expected plot never takes the shape we expect; we cannot see Pip as a tragic
Oedipal figure, or as a triumphant Cinderella. At the end of the novel, we're as
confused about his identity as he was at the beginning of it.

    2. Plot & Relationships

Great Expectations, like most highly plotted works, encourages us to examine
connections between people, events, and things.The plots of Great Expectations force
us to recognize connections:

i. between people
ii. between places (locations)
iii. between events
iv. everyone is related to everyone else; everything is related to everything else

Yet, at the same time, Great Expectations forces us to see the improbability of
connection between people. While there are a few relationships that seem health (like
Joe and Biddy at theend), most are harmful - death-oriented.

Dickens's worldview influenced by the 1858-1860 breakup of his own marriage to
Katherine and his secret relationship with the 18-year-old actress Ellen Ternan.
Traditionally the "plot" of parent/child and marital relationships is a comic one: love
flourishes between people held naturally to "love" one another and is a force that resists
death. But in the deviant plots of Great Expectations, none of these relationships
happens normally; hence the novel teems with plots. Marriages and courtships are
brutal and brutalizing, emblematized by abuse and sadism. Parents are rarely around to
raise the children of these unions.

(1) Joe and Mrs. Joe
(2) The Pockets
(3) Miss Havisham and Compeyson
(4) Jaggers and Molly/Magwitch and Molly
(5) Estella and Pip/Estella and Drummle
(6)Parent/child relationships are either sadistic or nonexistent.
(7) Parents brutalize and take advantage of their children (Miss H; Mrs. Joe;
Mrs. Pocket; Gruffandgrim (Clara's father); Magwitch and Molly with Estella;
(8) Or parents are absent or useless; a surrogate is raising the child. Family love exists
primarily in inverted or surrogate relationships where either (a) the child is parenting the
adult (Jane/Mrs. Pocket; Wemmick/Aged P; to some degree, Joe Gargery); (b) a non-
relative surrogate is raising a child (Joe or Magwitch raising Pip; Wemmick and Herbert
assisting Pip); (c) Nonsexual friendships are the only reliable ones: Pip's relationships
with Herbert Pocket, John Wemmick, Magwitch; Estella in the original ending - "we shall
continue friends apart" Though even in these relationships, the gifts that the principals
give one another must be kept secret from others - hence the secret names, notes, and
plots that are hatched by the characters. If one has a happy emotional life, like
Wemmick's home life, it must be kept secret from the rest of one's world - "Walworth
sentiments and Little Britain sentiments."

    3. The Orphan as Emblem of Lack of Connection

"He's a likely young parcel of bones that. What is it you call him?". . . . "What in the blue
blazes is he?" asked the stranger. Which appeared to me to be an inquiry of
unnecessary length (Chapter 10).

19thC novels, like children's fairy tales, are full of orphaned protagonists. Their lack
ofparents (a "deviant" plot as family stories are concerned) is - surprisingly - more
positive than negative.

Our first impulse is pity - we see orphanhood as negative. Lack of parents may mean
lack of resources and love as well as exposure to danger But lack of parents can be
positive - a kind of freedom:

i. exposure to adventure
ii. fluid social class standing - orphans define their own identity
iii. no pressure from parental expectations
iv. freedom to define the self against foster-parents, who typically represent the
worst aspects of socialization
v. orphans may "choose" and define their own family

Thus a "deviant" plot may not be as negative as semantics and our prejudices about
"happy ending" storylines encourage us to assume.
i. the orphan plot tells us something about individuals and the family, and about
how people become adults;
ii. the orphan plot implicitly criticizes tight-knit families as "plotless."

Pip's orphan status confuses him - calls into question our ideas about how children
should be treated. In the graveyard, Pip searches for a definition of "family" that he will
never be able to"read" properly, even once he manages to decode symbolic discourses
like language.

i. How can we describe parents who managed to raise both Mrs. Joe and Pip? How
can Mrs. Joe and Pip be related? What was this family like?
ii. At home at the forge, Pip gets no better idea who his family is: Joe? Mrs. Joe?
Pumblechook? Wopsle? Because they alternate between sadism and kindness, he
remains permanently confused.
iii. Pip has the traditional ideology that "family" means "unconditional love," or giving
without thought of return. As a child, he also fantasizes that he is a savior and
should be celebrated, like the baby Jesus whose birth the family celebrates at
iv. He sometimes receives this - as from Joe - but he views Joe as "another species of
child," not as a parent who has the power to protect him. Pip is more vulnerable
to adults who treat him as a pestilence or as a source of food (the opposite of
unconditional adoration) as when his sister complains about having to raise him
"by hand" or Pumblechook refers to him as a "porker."

Pip, failing to recognize any true parents in his own household, then becomes
vulnerable to two adults: the convict and Miss Havisham, and his relationship
with these adults seems to produce magical results.

Magwitch asks from Pip what a child should ask from an adult: food and tools to
become free - provisions. Later Magwitch will provide for Pip, and take the name
"Provis," but at the beginning of the novel the child-adult relationships are reversed.

i. Pip's early sense of guilt arises from the guilt he feels at stealing food for the
convict, and from his identification with the lost and needy one weeping in the
graveyard, searching for his freedom.
ii. Joe's compassionate evaluation of the convict echoes his compassionate
treatment of Pip, completing the circle.

Miss Havisham asks Pip to behave like a child - only children "play" - but under
extraordinary circumstances. She represents the impossibility, even destructiveness, of
marriage and children.
(1) Satis House not enough after all: stopped clocks, dead celebration, no
lights, no food, nothing.
(2) THe defunct brewery.
(3) The parasitic relatives.
(4) Estella, her "ward," seems to have been begotten magically and is a tool
rather than a person.
(5)Her demands of Pip are magical and nonsensical, compelling him to accept a
frightening situation as normal (something he's used to, unfortunately; he cannot
"play" at his own house, either).

Later Pip's connections to these two adults appear to culminate in magical, unexplained

i. The convict at the Blue Boar gives him two pound-notes, stirring his drink with the
file stolen from the forge; this leads Pip to believe he is being "paid off" for his
ii. Miss H pays for his apprenticeship, and then his "expectations" appear; Pip
assumes, in the absence of any more convincing explanation, that Miss Havisham
is the funder of his expectations. Miss H does nothing to discourage the notion
that she is the author of his expectations and that she intends Estella to marry
iii. The file is found to have been the weapon used to subdue Mrs. Joe, an action that
eases life for Pip and Joe and that each may subconsciously have wished to
                Great Expectations: Resolving the Plot(s) Against Pip

   1. GE as a Bildungsroman (novel of education) designed around Cinderella

a. GE embodies typical childhood fantasy: of sudden transformation into a realm in
which yearnings are magically fulfilled without effort, because of the intrinsic and
mysterious virtue of the fantasizer.
i. It is an appropriate fantasy for Pip because he is orphaned, has been "brought up
by hand," with a strong sense of being unwanted.
ii. He feels himself to be different: he reacts more intelligently and with greater
sensitivity, than others around him.
iii. The "normal course" of life, of apprenticeship, mastery of the trade of
blacksmithing, marriage, children, and death, doesn't seem enough for Pip.
iv. Persecution has left him with a fluid identity; he doesn't know whether he really is
"wicked" and a suckling pig, or whether he's a good boy; he doesn't know what
normal is.
v. He is "fatherless" and thus vulnerable to taking adult men as father-substitutes -
and to identifying with them perhaps more than he should: Joe, Jaggers,

   2. Two powerful fantastic characters typical of fairy tales enter his life and
      change his view of himself: the witch, Miss Havisham, and the bogeyman,

a. Magwitch represents the bogeyman, the stranger, the inevitable threat of the outside
adult world every parent tries to protect a child from - but cannot always do so.

i. He "erupts" into the first chapter, representing everything a weak and passive
child fears in the adult world: the capacity for wickedness, the brutality of the
animal need to survive (shown in the way Magwitch eats), implicit violence, and
the possibility of being outcast and utterly alone.
ii. Pip already suspects himself of having these characteristics; contact with
Magwitch intensifies his sense of identification and fear. (Later this is affirmed by
Pumblechook, who relates with great relish "Let this be a lesson to you" the story
of George Barnwell, the wicked apprentice who kills his master.)
iii. Magwitch represents the possibility of what Pip may become - the guilty, evil,
lower-class villain who had no right even to be born.

b. Miss Havisham ("have-a-sham" and "having shame") is a witchlike figure with a dual
meaning: horrible decay and shining promise (as in "fairy godmother.")

i. She has sacrificed her life to memorialize dead hopes and betrayal; the wedding
dress, shoes, feast all represent possibility and fertility; her preservation of them
represents its loss. She is the monster side of the female.
ii. Pip realizes early, when he plays "beggar your neighbor" with Estella, that Miss H
has trained her to destroy men, but he is so smitten with Estella that he ignores
the problem.
iii. Miss Havisham also represents the promise of adulthood, because she is rich and
because she has adopted Estella (as Pip wishes to be adopted), whose very name
encodes the "Cinderella" fantasy Pip has been wishing for himself.
iv. Pip does not speak truthfully of Magwitch or of Miss Havisham to anyone because
they remind him intently of his own inadequacy: Magwitch of his criminal side,
Miss Havisham and Estella of his working-class background.

   3. Mythic significance of the fairy-wishing story

a. It is the old story of male desire to rise in the world: of Vulcan desiring Venus; of boys
who want to compete and win (consume) beautiful and status-rich women who make
objects of themselves; of wanting to be something more, of your parents to be
something more, than you and they actually are.

b. But the fairy world is interrupted by the moral universe of give-and-take. Miss
Havisham and Magwitch vanish (to emerge again later) when Pip's expectations "come
through" and he readies to go to London.

   4. The Fathers

   a. The characters are divided into two groups, headed by two opposite surrogate
      fathers:Joe Gargery and Jaggers.

i. Both names begin with "J," interchangeable with "I" in the ancient Roman alphabet.
Dickens uses these two characters to embody two different attitude towards the
moral universe - a universe Pip must negotiate as he anticipates his expectations.
ii. Both men’s power lies more in potential than in use: Joe, in his physical strength,
never used, and Jaggers, in his knowledge of the shameful secrets of others, which
he holds over them and uses to keep them in bondage.

i. Lives by feeling. The true “harmonious blacksmith” of the text.
ii. He looks at every situation as a whole and relates himself to it as his heart tells him
to do. He doesn't judge people by their appearances (his reaction to Magwitch; his
response to Mrs. Joe; his acceptance of Pumblechook).
iii. Joe holds a poetic, romantic view of the world. He thinks metaphorically and
emotionally; generally not "successes" in the material sense, but rich emotional
life. Sees himself in connection to others.
iv. Others like him: Biddy. Herbert Pocket. Mr. Pocket. Later, Magwitch. Wemmick
at Walworth.
v. Strength: body, heart.

i. Lives by the letter: literally, he respects the letter of the law. He breaks each
situation down into evidence; does nothing more or less than is required of him.
He requires others to “spell things out,” as when Pip hesitates about how much
money to request.
ii. His life is compartmentalized and most of his power comes from implicit threats -
what he knows about people that can hurt them. Power of secrets he holds over
iii. Others in the novel who are like him: Estella. Molly. Miss Havisham. Magwitch.
Drummle (to a lesser extent). Denizens of Little Britain, who are afraid to invade
his unlocked house.
iv. In Jaggers’s materialistic and analytical view of the moral universe, the factual
world is the only world that can be trusted. Literal. He is a material success.
Jaggers does not connect with other people but sees how people can be useful.
See his reaction to Wemmick’s hidden life at Walworth.

   5. Comparing Joe and Jaggers in action.

a. Before the novel's action begins, each of them has come across a mother and baby,
and each has responded differently.
i. When Joe comes across Mrs. Joe and her infant brother, he adopts them even
though the circumstances of his marriage to Mrs. Joe are less than ideal and the
child is not his own.
ii. Jaggers, in contrast, separates the mother from the child. He puts the child up for
adoption to the highest bidder (who turns out to be the nutty Miss Havisham) and
the mother becomes his personal servant, whom he keeps in her place by
blackmailing her with the threat of revelation.

b. In their relationships with Pip.
i. Joe's relationship to Pip is based on feeling - he allows nothing to cloud it; he
remembers shared experiences with phrases like "What larks!," phrases which
become metaphors for what has passed between them. This comes out in the
scene where Miss Havisham pays for Pip's apprenticeship; Joe, who will not let
anything come between them, talks only to Pip, refusing to make the deal an
economic one.
ii. Jaggers, in contrast, bases his relationships on economic necessity and has a
pessimistic outlook in the phrases he repeats to Pip. He never tires of telling Pip
that in their relationship is is acting only as a businessman. He simply carries out
his instructions. He sees life as a dung-heap onto which he sometimes ventures to
pick out a jewel, but which contaminates him so badly when he goes near it that he
has to constantly wash his hands.

    6. Alternatives to the extremes of Joe and Jaggers: Wemmick and Magwitch.
Both have knowledge of both good and evil ways of life.

a. Wemmick - In London, the person who bridges the gap between material and poetic
views of life is Wemmick, the clerk whose personal and professional lives are so
compartmentalized that his face literally changes shape as he commutes between
Walworth and Little Britain.
i. At Walworth, Wemmick is the gentle, dutiful son of the Aged P and the lover of
Miss Skiffins. At Walworth, Wemmick's property (castle, pig, moat, cannon) is
feudalized and anything but "portable." Seems to represent an old, nostalgic world
in which connection to other people is more important than money.
ii. At Jaggers's office he is the cut-and-dried, post-box-mouthed clerk who advises
Pip to get and keep "portable property." When Pip asks him for advice, he says "Do
you want my Little Britain advice or Walworth advice?" At the office, Wemmick
represents the new bourgeois man, always thinking of money and advantage, and
never willing to allow his emotions to influence his business decisions.
iii. Wemmick represents the comic costs and advantages of schizoid adaptation to a
world that cannot be reconciled to itself. Pip also crosses from side to side,
attracted and repulsed by each, but he views Wemmick as mechanized and
somehow odd, though a good friend.

b. Magwitch
i. Magwitch is Pip, potentially, under worse circumstances: note the similarities
between the way we confront Pip in Chapter 1 and the way Magwitch describes his
own childhood in the opening of Chapter 42:

“I've no more notion where I was born, than you have - if so much. I first become
aware of myself, down in Essex, a thieving turnips for my living. Summun had run
away from me - a man - a tinker - and he'd took the fire with him, and left me wery

"I know'd my name to be Magwitch, chrisen'd Abel. How did I know
it? Much as I know'd the birds' names in the hedges to be chaffinch,
sparrer, thrush. I might have thought it was all lies together, only as
the birds' names come out true, I supposed mine did.”

ii. But Magwitch, like Wemmick, has a double or split life: the evil life of his childhood
and youth, and the good life he begins to live “arter Pip stood my friend” (ch. 42).
The doubleness or turn of his life encourages Pip to see that and evil life can be
turned around.

   7. GE resolves - and Pip achieves his understanding - by confronting the bad-
      in good.

a. Pip begins the process with three horrible revelations:
i. Miss Havisham is not his fairy godmother, and Pip is not the son of a metaphorical
dynasty whose motto is “enough.”
ii. Estella is not "intended" for Pip, but that he was merely part of her training process
in destroying men, something he has suspected all along; moreover, she is not a
pure and beautiful spirit, but the daughter of a murderess and a criminal whose
origins are even more ignoble than his own.
iii. Magwitch the convict has in fact "authored" Pip's expectations; he is a common
criminal who eats like a dog, and he has been rewarded for thievery.
iv. Pip learns that psychological energy is never lost or created, but merely recycled:
karma prevails in the universe. Pip was secretly glad when Orlick attacked Mrs.
Joe, because he saw her as evil; later, when Orlick attacks him, he is forced to see
himself in the same role.

b. The implication of Pip's discoveries is that life is not, as Jaggers thinks, a dung heap
from which jewels can be retrieved and polished up, but a dung heap that fertilizes
everything in the same way - where a beautiful flower grows literally out of shit. In the
words of Yeats's Crazy Jane, "God has pitched his tent/In the place of excrement."

c. Joe has essentially already accepted this moral compromise. Although Joe is not an
intellectual, he sees that the moral universe is a complicated place in which people are
always changing roles and cannot be taken at face value (as money is tendered and
exchanged for its face value in the world of Little Britain). Like King Lear, he has "taken
upon himself the mystery of things."

   8. Pip’s recognition is facilitated through Pip's changing attitudes towards
      Jaggers and Joe, who provide two moral points of reference for him.

a. Pip represents an impure mixture of the qualities of both of his metaphorical fathers:
i. the acquisitiveness and pragmatism of Jaggers (represented in his gift to Herbert
of money to start a business)
ii. and the emotional idealism of Joe (his love for the abusive Estella in spite of her
cruelty to him).

b. But he differs from his guardians in that he is a fantasist, not a realist.
i. They are ready to accept the consequences of their actions (Joe marries Mrs. Joe;
Magwitch remains isolated).
ii. Pip wants the benefits but not the detriments of his life. He responds to the
difficulties of his situation by selectively cutting himself off from his own past and
separating himself from those who care about him, devoting himself to the woman
who keeps herself separate from him at all costs. He becomes a snob because he is
unable to commit himself to an idea of who he is.
iii. Pip conveys his impurity - essentially his fluidity - to us by representing his own
baseness without flinching: by describing his bad attitude towards Joe, his
humiliations by Jaggers and Trabb's boy, his difficulties with Estella.
iv. Thus, autobiography serves as confession for him - a reckoning at middle-age with
the problems of his youth, however painful those have been. He reminds himself
of his own history so that he will not repeat it; he paints himself so that he will
know what he truly looks like.
v. By the time the novel ends, then, it doesn't really matter whether Pip gets or
doesn't get to marry Estella. By this time, Estella has been so discredited as a
fantasy, and Pip so disillusioned as a fantasist, that they are not the same people
they once were; at most, they are a middle-aged couple who have failed.
c. The forge provides the central moral point of reference. When Pip returns to the forge
at the end of the novel, Joe has married Biddy and they have produced a child named
Pip,a new "seed," a generation untainted by the cruel loves of the past. Things have
righted themselves - though, in keeping with the novel's deep sense of compromise, Pip
himself is to be only a peripheral member of the new family.

d. One way to view the novel is as a reflection of Dickens's own attitudes towards its
narrative: part Joe and part Jaggers, one half sentimental and emotional and the other
part deeply controlled and materialistic.

To top