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Compare the presentation of Pip and the Convict in Chapters 1 and 39 from 'Great Expectations' (when they first meet and when they are re-united) looking at; the settings; the atmosphere; the socio-historical interest and the characters themselves.

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Introduction

Compare the presentation of Pip and the Convict in Chapters 1 and 39 from 'Great Expectations' (when they first meet and when they are re-united) looking at; the settings; the atmosphere; the socio-historical interest and the characters themselves. The novel 'Great Expectations' by Charles Dickens is a story of moral redemption. The hero, an orphan called Phillip Pirrip (Pip) who was raised in plain surroundings in the early years of the 1860s, comes into a small fortune via a secret benefactor who he presumes to be a rich but bitter woman called Miss. Havisham who was forsaken at her wedding ceremony. Through the course of the book Pip also meets a beautiful young girl, called Estella, who has been reared by Miss. Havisham to scorn all men. Charles Dickens has used 'Pathetic fallacy' in his writing to create an atmosphere. In chapter 1 the 'weather was raw,' this means that it was cold and bitter. This is a reflection of Pip's mood as he is stood in a graveyard looking at his parents' tombstones and his five brothers' lozenges. 'Were dead and buried ... were also dead and buried.' This quote tells the reader that Pip was in a 'cold' mood with the abruptness of the way it states that his family are deceased. ...read more.

Middle

Furthermore the presentation of the Convicts' dialogue could alert the reader to a difference in his social background. In 1860 (the era the book is set in) if a man was a proper gentleman- or even polite no matter their social background- then he would speak the 'Queens' English pronouncing words properly and speaking in full sentences. Abel Magwitch however does not; 'Now lookee here... the question being whether you be let live. You know what a file is?' This quote shows us the way that the Convict speaks- in broken and not properly structured sentences. This would indicate to the reader that he is a rough and impolite person alerting us to his apparent lack of social class. We can also learn from the way that Magwitch speaks that he is very 'imposing,' 'imperative' and at times threatening. 'Keep still, you little devil, or I'll cut your throat!' This extract shows the lengths that the Convict is willing to go too just to try and secure his freedom. When we realise that Magwitch is willing to kill an innocent young boy just to stay free, we immediately think very little of him and take a disliking to him. This may have been Charles Dickens aim, as it will add to the atmosphere later in the story when Pip and Magwitch are reunited. ...read more.

Conclusion

But once again Pips' good nature comes through and he does not tell the 'authorities' about the presence of the Convict. This means that the roles of Pip and the Convict have been reversed, from Pip relying on the Convict for safety, to the Convict relying on Pip for safety. This increases the dramatical atmosphere of the book and encourages the reader to read on further. In conclusion, I feel that Charles Dickens has used many similarities between the two chapters (one and thirty-nine) to make it easier for the reader to cotton on that the characters are the same people in both chapters, but also to make the differences between the chapters more distinguishable. For example he makes the weather similar to make the 'settings' contrast with one-an-other - marshes to city. He also has an absence of 'light' in both chapters so that the reader can notice the difference between the characters- convict with no hat to a convict with a hat, marking that he has progressed in the world and has some sort of social class. Finally I believe that Charles Dickens has made the presentation of the characters Pip and Abel Magwitch in Chapters 1 and 39 both different and similar to increase the atmospheric tension, and uses the socio-historical context of the 1860s era; the settings; and descriptions of the characters themselves to do so. By Adam Taylor ...read more.

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