“Showing convincingly how characters develop and so achieve
a sense of identity is an essential way in which novelists and poets engage
fully with their readers.”
In ‘Great Expectations’ we are led through the life of Pip, a
fictitious character that is an accurately and annoying portrayal of humanity.
We see his mistakes, his regrets, his impulses and yet his genuine love for his
much abused family. Pip’s character changes many times throughout the novel and
holds an important moral with it about the corruption of wealth. In this essay
I will be evaluating how central development to the story is when considering
identity.
When considering the use of identity in ‘Great Expectations’
the question evokes an immediate response that argues the importance of
characters that do not develop. Characters that remain solid in their identity
engage our emotions with the strength of their convictions (whether for good or
for bad). The character, Joe is a pivotal example of this as his simple and
stereotypical traits have the potential to both annoy us and provoke our
sympathy. Written with the same distinct dialect and ignorance that was present
at the start. “if I have anythink to forgive.” Is a direct example that
epitomises Joe’s character as from his dismissal of Pip’s apology we see he is
written to be both ignorant and lovable as he seems unable to see any wrong in
Pip or his behaviour. This allows the reader to fully engage with the characters
through their stability and strength in their own identities.
Joe’s dialect and illiteracy is used as a constant here, not
as a device of degradation but instead honour and permanence. In turn, Joe’s
consistency rewards Pip’s return as we are left with the message ‘always remain
true to those who have been true to us’.
Dickens was well known for attaching firm stereotypes to characters in
his novels. As Joe was such a stereotypical working class Victorian character
and Pip’s path is of a cyclical nature (starting working class and ending so)
it is possible for us to assume that Dickens is encouraging social class
reproduction and discouraging social mobility. During the early-mid-1800s a
middle class was emerging as a result of industrialisation. Pip’s experiences
with corruption in his drive for wealth may very well be Dickens’ own personal
warning against social class aspirations and the betrayal and exploitation of
working class culture.
However, in order for Great Expectations to truly connect to
and hold the attention of its reader, it was vital for Dickens to create a
moral message through learning and change. Without Pip’s mistakes and struggles
to form his identity, the novel would be void of a direction and the characters,
so defined by their sole traits would be rendered useless when not tried by the
challenges and changes of those in their surroundings. When Pip returns to Joe
and Biddy after he loses his wealth he asks them to “receive my humble thanks
for all you have done for me,” and repents for all “I have so ill repaid!” Joe
then replies to Pip’s plea for forgiveness with “God knows as I forgive you, if
I have anythink to forgive.” As ever here Joe remains a constant symbol of
solidarity and goodness. Even though Joe is the character who encourages the
reader’s empathy, the situation would not arise without the development of
Pip’s character that allowed Dickens to confirm Joe’s consistency. Language is
also used here to emphasise the goodness of Joe and Biddy as religious
references are used repeatedly in this passage. Pip refers to them as “good church
going” people and Joe says “God knows” in the above quote. This ultimately
emphasises the role of learning as implications of the couple’s divine
righteousness would heavily confirm the idea that Pip was making the right
decision and was truly forgiven in a catholic country (as was England when ‘Great
Expectations’ was published). This conveys the sense of completion and would be
a heartfelt reunion for Dickens’ Victorian readers. Even though religious
references are less relevant in today’s secular society we can still appreciate
the sentiment of religious goodness and innocence as modern readers.
Evidence can be found
to support the importance of learning and change in the novel as without Pip’s
lies about the convict (which can be perceived as an act of kindness or self-preservation),
there would be no momentum for Pip’s becoming a gentleman, hence removing the
potential for action in the plot. Similarly Pip’s continuous indecision about
his visits to Joe and Biddy deceive the reader and stimulate hope that he will
visit. As it is a subject of much torment to Pip, Dickens plays with the reader
encouraging our attention as Pip has intention to visit, leading us to wait for
this event, doubt it and criticise Pip. Even though we are engaged in frustration
we are still engaged as chapter 28 begins with Pip’s determination saying he “must
stay at Joe’s.” However three lines and three reported movements afterwards it
was apparent that no such thing would happen imminently. Though annoyed here we
are also held in suspense which was especially imperative in the initial
publishing of the novel as a serialised story in a magazine.
Furthermore the use of character development enhances the reader’s
ability to relate to the story as multifaceted characters that have the ability
to change are far more realistic than simple stereotypes. This is essential to
maintain the attention of the reader because the nature of these characters
engage the reader and stimulate social changes that drive the novel forwards.
The use of predictable characters includes Joe, Miss Havisham and Mr Jaggers.
Each of these characters are stable and relatively unmoving throughout the
novel. Though both Joe and Mr Jaggers move between rural and urban environments
neither are comfortable, nor appear to fit socially outside their own
environment. Because of this these characters are limited and we do not follow
them throughout the novel but instead visit them. Such characters cannot lead
central roles as they are not adaptable to the changes in the plot. Joe, for
example is simply “wrong out of the forge, the kitchen, or off th’ meshes.” We
therefore cannot see the full lives of these characters as Dickens expresses a
realistic plot with changes driven by developing and adapting characters.
Dickens uses Joe’s straightforward, simple character to deliver this truth that
characters like himself cannot possibly be expressed fully without losing
realism and halting movement. We can only be allowed to see such limited
characters to this extent under the subjective narration of Pip.
In conclusion there are many factors to consider when
deciding whether the development of identity is essential to the novel and the
resounding success with its readers’ attentions. There are many factors other
than identity battles that capture our emotions and interests. However, when
truly questioning the ability for the plot to move forwards without unstable,
changing characters we must question the same in society and how that
transgresses into all situations. Characters that remain eternally certain of
their place, position and intentions are impossible as we must be conditioned
into the workings of society and have our own free will to inspire change both
inside us and in our surroundings. Being one of the rare novels before 1850s to
captivate the attention of the public with a child’s story, Dickens has taught
his readers to assess their own naivety and how we must all grow and develop
our ever adapting perception of the self.
No comments:
Post a Comment