'Hartwick College Essay\r'

'In this extract, we argon shown insight into what burgeon forths use has become, by reacquainting him with the blame Magwitch. In this second visit, we can read the contrast betwixt positions original encounter, and this to a greater extent shocking scene †how t eachys image has changed from an guiltless youth, to a selfish, egocentric ‘gentleman. ‘ Also, we atomic number 18 given over the startling revelation of dispatch’s uncoiled benefactor, in a cumulative peak of warmth enriched with devil unique writing style. Throughout the school text, Pip’s manner towards others, his bearing of thinking and stock-still his narrative voice transform to create two reasonably different qualitys.\r\nThe extract pictures him as a selfish, pompous unripened man who shows neat unappreciatedness towards Magwitch †asking â€Å"inhospitably enough” whether he would manage to come in and pushing a port a plea for affection, from one w ho has worked hard all his manner merely to provide Pip with a great wealth, and an undemanding lifestyle. When Magwitch returns to greet his beneficiary, he is treated with little than minor courtesy. Pip’s jr. fount however appears far more than(prenominal) innocent, showing reckon and even compassion towards a convict, who threatens and oppresses him, glad that his stolen aliment is â€Å"enjoyed” by a fulfil stranger.\r\nThis highlights a utter(a) contrast between the Pip displayed in the extract, and Pips younger self. Indeed Dickens upliftms to prove out the ridicule of such a title †at the point in time when society considers him ‘gentleman’ he is anything but gentle †instead he appears venomed and critical of his former friend Joe whose visit he awaits with â€Å"mortification. ” The cockeyed gentleman is now a incorrupt shadow of the impoverished yet guiltless Pip we atomic number 18 introduced to at the beginning of the story.\r\nHis simultaneous procession to aristocracy and fall into selfish spendthrift, leading to his concomitant redemption, are reminiscent of the ‘education’ novel touristed at the time. These tales of ‘apprenticeship’ were often of mistreated orphans who managed to become wealthy and prosperous. The stories featured the many an(prenominal) obstacles that the hero/heroine would bemuse to overcome, and their popularity ailing around Dickens time. Typically, they explore â€Å"the youth and young adulthood of a sensitive protagonist” who is â€Å"in search of the meaning of life and the nature of the valet” (David Cody, Associate Professor of English, Hartwick College.)\r\nThey tended to contain autobiographical elements, and were sometimes influenced by contemporary social and industrial transformations. in that respect are also some other genres on which the story touches upon, namely the ‘sensation novel’ â⠂¬ the denumerable plot of ground twists and shocking revelations form a great part of the structure †in this extract we see the startling disclosure of Pips true benefactor, which intimately modern-day lecturers would perhaps not have guessed. Indeed, these climatic scenes are pivotal to the books success as a serialisation, as well as a novel.\r\nTo maintain pursuit in a book that is staged in weekly instalments, Dickens uses a variety of sub-plots to life the proofreader engrossed. This eccentric writing style gives the text a unique quality, and the overall effect on the reader is one of shock and intrigue. The rendezvous with the convict in the graveyard, and his death, Miss Havisham’s fire, and the showdown with Orlick are among the most memorable climax’s we have it away †as well as Pips second concourse with Magwitch. In this passage, we can see how the writer cultivates tensity and makes the most of Magwitch’s secret.\r\nWhen extra ct reaches a vizor of kindling, many curses become long and drawn out, and sentence complexity increases, leaving the shorter, snappier â€Å"why, Wemmick” and â€Å"would it be J? ” to solely promote interest in the plot, and give a tense, nervous atmosphere. As the scene draws to its zenith, as Pip’s â€Å"heart (beats) kindred a dour hammer of disordered action,” we see powerful metaphors, and repeat of prominent, emotive language (â€Å"dangers, disgraces, consequences”) to give a superstar of anxiety and intensify the scene. Language is also use here to alienate the convict from Pip himself.\r\nThe rich, low slang of Magwitch’s â€Å"arterwards,” â€Å"spec’lated” and â€Å"warmint” contrasts once morest Pip’s more noble speeches of how he â€Å"cannot wish to regenerate that chance intercourse” and inquires of the messenger â€Å" depravityce he under alsok that trust. ” The wa y Dickens estranges Magwitch from Pip is significant: it symbolizes the delusional legal opinion that Pip is a gentleman, and that he is superior to the convict. Pip believes himself to be changed since that first chance meeting in the graveyard, and thinks that he is now above Magwitch, who is after all a criminal.\r\nThe irony experienced by the reader is that Pip’s great wealth and focal ratio class lifestyle is solely attributable to Magwitch himself, and this too is the source of the shock Pip describes. The way Dickens depicts Pips smellingings is extremely powerful, as we see Pip â€Å"suffocating” merely from the shock of this currents, sunrise(prenominal)s that his almost successful attempt to become a gentleman was funded by the dark relic of his youth, who’s felonious other(prenominal) appears further from gentry as is possible.\r\nThis is of course, not the first time we see Pip’s character interrupted by members of his childhood †there was his meeting with Mr Pocket on his arrival to London, and more important, Joe’s visit to Pip in his London flat. This meeting, like the one with Magwitch we see in the extract, stresses the change we have seen in Pip’s character by comparing his manner towards someone he knew as a boy, and how he acts towards them now.\r\nUpon his visit, Joe is not treated with aggressiveness as such, but Pip denotes that he â€Å" surely would have paid money” to keep him from coming. As a boy, Pip always stayed friends with Joe despite his axiomatic stupidity and clumsiness, yet now he wishes more than anything to avoid him. Pips dismissal of Joe in this way turns the reader against him slightly †up until now we have support Pip as the ‘good guy. ‘ Pips rot from an innocent youngster to a snide gentleman, and whence substantiate into a more honourable businessman.\r\nThis cycle of purity, corruption and redemption is an ongoing pedestal in grea t(p) Expectations, and makes subtle references to Christian beliefs of how the life of greed and sin that Pip lived in London, on the wealth of a convict, lead to a corroded innocence that was only liberated through his consequent illness and then his new beginning with Estella. The other theme that appears in the novel, is that of justice and the just punishment of crime.\r\nWe first see this in the appearance of a convict (though this method of punishment was stopped in 1868 several historic period after the novel was written) and Dickens portrayal of him as an honest man, who admits to the theft of â€Å"some broken wittles” and â€Å"a dram of liquor” to save Pip from his sister, Mrs Joe. And again, Mrs Joe herself ties in to the punishment theme, her harsh disciplining of her husband and brother again lets us sympathise with those who are chastised, and not the chastisers.\r\n later on in the book, we see another example of this when Magwitch is caught. And more subtle instances of punishment such as Mrs Havisham burning at the stake for her corruption of Estella (corruption almost being a theme in itself) are also present in the text, giving us a thorough opinion of how those who commit crime will always be brought to justice. The time setting of the novel allows Dickens to allow these ideas of corporal punishment, convicts and public hangings. To a modern reader, these archaic, stern methods of upholding the law appear old-fashioned.\r\nHowever, readers of the time would most in all likelihood have experienced these events fist-hand, in one way or another. Moral preaching’s of more passive action towards prisoners and criminals would be relatively new to them, whereas nowadays such views are accepted as standard. The feelings created by the views Dickens has on delinquency, and its retribution, are because significantly different between readers of-the-time and present day students. As a modern audience, we also feel compell ed, excited, and fascinated by the books intricate plotlines, particularly in this extract.\r\nTo inspire such strong emotions, Dickens uses many lingual and structural functions, the aforementioned effectiveness of metaphors and mental imagery to name one. He also writes in the first person, which is pivotal to the feelings the book creates: the story is far more personal and involving. Dickens also entwines his plots and subplots very carefully to create a prominent air of tension. As he builds up to the climax of one plot twist, he continues to insert little mini-dramas that leave us waiting for the main storyline to continue. He does this quite often in the novel, and it makes the reading most tense and far less predictable.\r\nTo a less law-abiding reader, Magwitch’s return would be a complete surprise †this is where the majority of this extract’s magnet lies. Overall, this extract is in fact one of the most outstanding scenes in the book. The build up o f excitement before the final revelation of â€Å"Pip †your him! ” is do with a variety of complex, literary devices, and the twist in the plot and return of a familiar character add to its success. It calls attention to Pip’s new assumed role, as a self-centred ungrateful gentleman, and is characteristic of Dickens writing style.\r\n'