Apart from physical abuse and torment, Pip’s first interactions with the wealthy class also cause him to suffer emotionally. The general magnificence and grandeur of Satis House exists not only as a symbol of the lives of the upper class, but as a symbol of Pip’s romantic perception of the upper class as well. In this aspect, it is also a source of misery for Pip and he realizes, “daylight never entered [Satis House]...and under its influence I continued at heart to hate my trade and to be ashamed of home” (125). The ornate grandeur of Satis House has raised in Pip a new consciousness of his own low birth and common bearings. After his first visit, he even lies about his experience there, unwilling to sully his thoughts of it with the contrasting plainness of his every day world, for it must remain “far above the level of common doings” (72). Pip’s first visit to Satis House is a momentous event in his life. It raises in Pip an awareness of social contrast, robs him of his youthful innocence and sense of fulfillment and thus, further exemplifies the misery that is inherently linked with representations of the upper class.
With the introduction of Miss Havisham and Satis House, the character Estella moves to the forefront of the novel as the ultimate symbol of Pip’s unattainable dream in Great Expectations, and the greatest cause of his sufferings. Ironically, Estella’s condescension and spite matches Pip’s feelings about himself in the world of Satis House. He accepts her condescension, “Why, he is a nothing but a common laboring-boy!” (60), without defending himself because he idealizes Estella and sorrowfully believes her to be right. This is particularly evident during times when the difference between their social classes manifest itself in the smallest things, “I had never thought of being ashamed of my hands before...her contempt was so strong, that it became infectious, and I caught it” (60). Moreover, Estella consistently refers to Pip as “Mr. Pumblechook’s boy” (58), “silly boy” (266), or simply “boy”, using any word but his real name. This is a form of verbal abuse because it ultimately degrades Pip to a gender with no unique identity. Estella practices a deliberate cruelty on Pip that wins his deepest love and causes him to develop a passionate but unrequited devotion for her. This is one of the harshest examples of the pain and torment Pip must endure as he interacts with the upper class. Through these accounts, it becomes evident that social standing and wealth does not always determine well being. In fact, it may accomplish just the opposite—physical pain, emotional disturbance, and misery from the knowledge of one’s common bearings.
Even when Pip becomes a gentleman and is received by society, there is a sharp decline in his confidence and happiness that accompanies this rise in social status. Pip’s unofficial entrance into the world of a wealthy gentleman can be marked as the event where he put on a real gentleman suit. Interestingly, Pip describes, “after this memorable event... I felt rather like Mother Hubbard’s dog” (152). While a notable occasion such as this would have naturally allowed for happiness and celebration, Pip instead compares his elevated social standing to a common animal of a children’s poem. The demeaning effect of the suit, versus it’s intended dignifying effect, not only foreshadows the unsatisfactory life Pip will lead as a gentleman, but poses further doubt on the hopes and ideals Pip holds of the wealthy class.
These doubts are realized and the hopes painfully crushed when the truth behind Pip’s rise in social class is revealed. Magwitch, the coarse but fearsome convict from Pip’s past is a symbol of the lowest level of society. Though Pip believed that the convict’s appearance in his childhood was an isolated incident, he soon learns that Magwitch has in fact, been the most influential character in his life—the chief architect of his great expectations. Although Magwitch “ain’t a gentleman, nor yet ain’t got no learning, [he’s] the owner of such” (321). Terrified by his connection with a person of such low standing, Pip experiences intense physical pain, “All the truth of my position came flashing on me; and its disappointments, dangers, disgraces, consequences of all kinds, rushed in in such a multitude that I was borne down by them and had to struggle for every breath I drew…I seemed to be suffocating” (319). Once again, Pip’s fixation with social class creates painful consequences. As the magic of his wealth and social standing slowly evaporate with each revealing word of Magwitch’s story, a bombardment of painful truths “rush in” to take its place, bearing down their cruel weight on Pip. Nevertheless, Pip’s hopeless cry, “O Estella, Estella!” amidst this scene conveys the greater pain Pip experiences due to his deflated hopes that he was meant for Estella. He exclaims, “How wrecked I was, and how the ship in which I had sailed was gone to pieces” (323). Ultimately, this revelation completely breaks down the social divisions that have defined Pip in the novel (from poor laborer to wealthy gentleman) and consequently, destroys the idealism that has directed Pip to this point of the novel. Unlike previous examples, this incident did not require a helping hand from the upper class for Pip to suffer pain and misery. This time, it is Pip’s own rise in social standing and the unalterable reality behind it that proves social class does not shape well being.
Finally, the different manner in which certain character’s lives end in Great Expectations is linked with their social class—the victorious death attributed to the one of lower standing signifies a redemption of Pip’s lifelong torment by the upper class. As time progresses in the world of Great Expectations, Pip’s fear of Magwitch turns into a fear for Magwitch and his safety. The original dynamic between the two, with Magwitch as the providing benefactor and “owner,” and Pip as the dependent child, is completely reversed. Pip now takes charge of Magwitch’s life and the responsibility of safely shepherding him to freedom. Nevertheless, while the “crisp air, the sunlight, and the movement on the river” did not forecast a smooth or successful ending for Magwtich’s escape attempt, it does foretell a redemption in death. Pip observes by Magwitch’s death bed, “...a smile crossed his face...confident that I had seen some small redeeming touch in him” (456). While Compeyson, the man who was “set up fur a gentleman” (347) dies with an act of betrayal, violent and alone in the waters, the inner nobility and love for Pip renders Magwitch’s death a victory. The striking contrast in manners of death between the gentleman and convict further illustrate the irrelevant relationship between an individual’s social class and his well being in life or in death.
Pip’s newfound love for Magwitch and the role he plays in Magwitch’s redeeming death represents a redemption for Pip as well—a deliverance from the cruel and binding world of the upper class. After the boat incident it becomes clear that Pip has completely accepted Magwitch, “for now my repugnance to him had all melted away...I only saw a man who had felt affectionately, gratefully, and generously toward me” (446). Near the end of his journey, Pip has finally discovered Magwitch’s inner nobility. His ability to disregard Magwitch’s external status as a criminal is Pip’s redeeming force from the miserable idealism that had previously consumed his life. His admiration for Magwitch helps Pip finally understand that one’s social position is not the most important quality and is irrelevant in defining one’s real worth; instead, improving one’s inner character is the ideal worth striving for.
Great Expectations is a complicated but ingeniously fabricated tale of an individual’s struggle through his changing positions in society’s class system. Through Pip’s long and arduous journey, misery and torment pervade each step he takes concerning social advancement. While Pip’s continuous suffering demonstrates that a high social position does not determine one’s well being, it remains uncertain whether or not he would have been substantially better off had he remained a commoner. Pip’s journey is an example of the painful growth involved in any coming of age narrative; but more importantly, it exemplifies how these events shape and form an individual’s character. In the end, Pip is able to discard his immature fantasies about wealth and class, see the inner worth of characters, and ultimately fulfill his great expectations.
