The fact that the narrative is solely by the character of Pip, means that the reader has no other option than to hear the story via his eyes and therefore has one definitive reading position and perspective thus setting them up for the whole story. Dickens uses direct, incomplete sentences to convey the panic of Pip
‘A terrible voice cries’ is how Magwitch is first made reference to in this opening and so our initial responses to Magwitch are almost instantaneously directed. There can be no mistaking the unwaveringly negative description of Magwitch who is depicted as ‘fearful’ with ‘broken shoes and no hat’. This metaphorical imagery immediately establishes Magwitch’s lack of social status and therefore he complete lack of social boundaries and this is emphasised when he threatens the boy with violence(even though the reader realises them to be idle. This is juxtaposed with the dignified, polite manner of Pip; even when terrified, showing he has a social education that will become so important in his later life. Pip’s innocence is also communicated by his inability to recognise a convict, even in irons, and this adds to the reader’s sympathetic outlook to Pip. Dickens therefore creates ambivalence regarding the convict, for Pip both fears and pities him at the same time.
An example of the author’s analysis of the mannerisms of people is the speech of Magwitch. He is characterised by his speech patterns and dialect which give a definitive starting character summary: he is uncouth, aggressive and most frighteningly, has no need or sense of the self-control expected in an average individual.
Amidst these negative descriptions, however, there are subtle references to the desperation and vulnerability of Magwitch. ‘Shivering and limping’ is juxtaposed with ‘growled and glared’ and the depiction of his eating the bread ‘ravenously’ give subtle credence to his actions, and pave the way for a reformation later on. Another contribution to these references is the almost comical mention of Pip having fat cheeks and therefore edible, although the reader knows that if Magwitch’s intent was to harm Pip then he would have done so. It is at this point that the reader is enabled to become detached from the narrator and experience the events as an observer rather than as a participant. The reference to religion in the setting and in Magwitch’s wish for Pip to be ‘strook dead by the lord’ is betrayed, explores this universal boundary of society, despite social class.
Later in the book, when Joe and Pip pursue the convict with the soldiers, they both pity him, and secretly hope he will not be caught. Joe sees the convict, not as a bad person, but ‘a poor, fellow human creature’, something Dickens wishes the reader to see too. Despite his pity for the convict here, when the convict reveals himself as the benefactor on his doorstep, has to hide his revulsion. Dickens, here, illustrates how despite money and status, these traits cannot compare to the simple goodness of a person. Integrity can only be achieved by humility and, ultimately, the realisation that aspirations of greatness as a result of lack of fulfillment in one’s own life only lead to disappointment.
When Magwitch is re-introduced, Pip is twenty-three and living the idle life of a gentleman. From the outset of meeting this unknown character, Magwitch is described in a dramatically opposite way to how previously portrayed, for example ‘shaking his head in deliberate affection’ and ‘he came faithfully’. However, ironically, it is the good fortune that Magwitch has bestowed upon him that determines Pip’s aversion to him, as it would not be in the nature of a gentleman to socialise with a convict and even less to have one’s whole fortune earned by someone so lowly. When meeting initially, Pip has no desire to renew their acquaintance until he realises the truth of his benefactor, and even then, all he feels is obligation; a burden. The fact that a man, who has devoted his life to the happiness of another, is treated like this by a man whom we now perceive as nothing but a snob (particularly considering his behaviour to his long-suffering friend; Joe) angers the reader into identifying with Magwitch. This is a complete role-reversal to how the reader perceives the characters and their interactions in the introduction to the story.
In Chapter Forty-Two, Magwitch recounts how he was tried in court and the injustice behind his conviction. The inclusion of this in the story is integral to our overview of how Dickens portrays Magwitch, in this new stage of his character. By criticising the justice system and attributing the blame onto it, this dissipates the only qualm that the reader now has with Magwitch; how he behaved in the beginning. This means that the reaction of the reader towards the ‘convict’ is now untimately positive, for there all of his wrongdoings have now been explained and justified. The reader is directed to an emotional response here, due to the fact that Magwitch was condemned because of appearance but there are more poignant tactics employed by Dickens here. He is subtly criticising the justice system in Victorian England by focusing on this one character who was betrayed by it.
In the last chapter that includes Magwitch, his death only adds to the reader’s sense of empathy and guilt of presumption. His pain is emotively described and his dying knowledge that Estella is his daughter and is loved by Pip pleases the reader, as the character is now content. The reader is also satisfied with the conduct of Pip, as his willingness to risk everything (despite without the best initial intentions) means that he has learnt his lesson of what is truly important in life, and how his life is now essentially futile.
A prevalent theme in the story is the sharp juxtaposition of what appears and of reality and this idea sets up the characters in the story to appear differently to the reader, and ultimately; to change as people. Supplementary to this, even despite the several endings that were written for the book, the ending is irrelevant in communicating the theme idea that ultimately, good supplants evil. The characters in the book, particularly Magwitch, Miss Havisham, Estella and Pip are enabled by Dickens to appear inherently good despite their wrongdoings.
Ultimately, Magwitch redeems himself to the reader when it is revealed that he is Pip’s benefactor, however the reason behind this is ambiguous. Although it is a gesture of thanks, as Magwitch claims, it is also an indication to society that even someone considered as the lowest of the low can create a gentleman.
