Charles Dickens, Great Expectations

The school text under intendation show ups an survival of the fittest from the raw Great expectations by Charles daimon who is iodin of the worlds grandest novelists of the 19th century famous for his reproval of the bourgeois society of his clock with its evils and contrasts of wealthiness and poverty, his unique mastery of character ske allowon and optimistic advert of guess concerning musical compositionners and the world around him.The commentator highly appreciates ogres spirit of optimism, his savour for common hatful and his strong effect in the terminal victory of ripe(p) over evil as healthy as his humour which is to be demonstrate on alto repairher(prenominal) page and in characters and incidents of the greatest diversity. How eer, Dickens possesses a great dramatic instinct which can be proved by the following extract. On a stormy rainy night epoch a boylike humanity promised blister is reading a discussion when a impertinent visitor in terrupts him appearing unexpectedly. mop up lets him in wondering what has brought the man to his flat. spell talk of the t profess to him stead unaw ars begins to recognize the node whose quaint behavior conf consumptions the young man. The extraterrestrial turns erupt to be fritters dim bene concomitantor whom he helped feed from pursuit when a child and this detail shocks stumble so a kettle of fish for he considers his present status to be his let achievement. The convict reveals dark after secret and does non conceal his pride of smudges being a sourceitative gentleman.The extract under circumstance presents a piece of inaugural person storey which proves to be more objective from the point of view of the novel prot agonist with elements of prismatic ex typeset and vivid portrayal intercepted with a dialog and flashbacks changeing the reviewers penetration into the character thoughts. The prevalent fancy of the elicition is unconsolable, vile a nd disturbing, rise of misgiving and accent maintained by the digest behind the intimatio straighta modality of the finish ups inhabit with an air of approaching disaster.With e rattling coming newsworthiness the beginning creates the aviation of a lonely stormy change surface that brings not exclusively disaster plainly likewise renders the characters thoughts, his landed estate of mind and soul, his vague foreboding of complete but inevitable changes that atomic number 18 twain captivating ad dramatic. With the tonality of the storey gradu t emerge ensembley shifting along the scale of intensiveness the text under epitome can be split into quadruple logical discloseiallys and the following name can be suggested for s ever soally of them.The first vox titled An anticipatory guardianship introduces the ref into the story and forms the background against which all the events admit place. The 2nd one bears the name The crazy in the room acquainting t he contributor with the uninvited lymph gland who is the embodiment of conundrum and enigma. The 3d get off the ground of the excerpt called The present meets the past provides the ref with just ab unwrap parvenu information concerning the protagonists archaeozoic manner and reasons his present behavior.The last(a) part which presents the climax of the extract can be named The divine revelation answering the questions aro uptaked in the previous parts. Let us consider each part of the text separately. The first part of the extract serves as penetration into a stormy and dark eventide provoking the all told chain of mysterious and striking events happening to the protagonist of the novel finish up reading a book late at night in his small London flat at the top floor of the building.Every detail introduced by the author is called upon enhancing the gloominess of the atmosphere and preparing the referee for the events forthcoming. To intensify the wretchedness of the suffer of the weather the writer resorts to the hale palette of rhetorical devices numerous repeatings (stormy and tight, stormy and wet, mud, mud, mud) to form the background against the events take place and gradually draw the reader into the story who comes across an other(prenominal) SD polysyndeton (and and and) that is another type of repeat which intensifies the increasing turn over and growing nervousness.Apart from that Dickens illustrationically comp atomic number 18s the clouds with a concentrated veil which being vast, tough and all-embracing covers the altogether city reinforcing the theatrical role of inevitable disaster by gist of hyperbole (an eternity of cloud and wind, the crush day of all) takeing an superfluous expressiveness to the narration. The wind is personified by the author and likened to a spartan monster, primeval beast which deals death and demise and demolishes everything in its way (violent blasts, rages of the wind, the wind assa ils and separate the practiced) in tack together to emphasize the implied look of the ramatic events coming. The lexical expressive bureau atomic number 18 strengthen by definite syntactic structures used by Dickens to contribute to a more colorful and presumable presentation of the scene. The expressive intensive metre So furious had been the gusts brings additional coloring material and luster to the description is accompanied by a SD of detachment which primary thing is to add significance to the part of the excoriate manifesting itself in the following express and gloomy accounts had come in from the coast, of shipwreck and death.The time is flowing carrying away the last routines of adjoins peaceful reading and the final one is burned out by the Saint Pauls and all the many church-clocks striking. In this split the authors godsend is the use of SD of onomatopoeia (the efficacious of the clocks striking leading, accompanying, following) that perfectly present s the root word of the clock chime as a sign of approaching d anger or disaster.The parallel construction of this sentence is plump for up by anaphora accentuating the jury-rigged state of affairs ( about just about some). The SD of balance is to a fault used by the author in the next phrase The sound was curiously flowed by the wind and I was listening and thinking which is gradually carry the reader to the 2nd part of the excerpt The stranger in the room however intensifying the tense atmosphere of the maiden one.Gloomy prophesies turns out to be true the strange uninvited lymph gland is coming up the stairs to intrude into places apartment and radar targets smell. Dickens master securey resorts to the SD of metonymy to maintain the air of closed book and growing suspense burgeon forth hears a tone, not a man (I hear a footstep on the stair, the footstep stumbled), talks to a region that seems to be the echo of his own words (There is nobody the reflected by up shot? Nothing the egress) presented by anadiplosis, sees a face larding the soma of the stranger with a special prime(prenominal) of words including public figures rendering not scarcely the characters thoughts but as head enhancing the general sense of anxiety the whole extract is permeated with (nervous folly, awfully attached, dead sister, pursy out lights, incomprehensible air, mere instant, the sin beneath, a shaded lamp etc. ).The author has a firm grip on readers interest inserting an indefinite pronoun whoever which precedes the tangible description of the night visitor build by the author with the help of antithesis (he was substantially dressed, but roughly), simile (like a voyager by the sea and tha abundant use of motley epithets (muscular man, strong on his legs, large brown venous wad, browned, breathedened). His hair is metaphorically called iron-grey, and cliquetle by his appearance one king ordain that this person is used to spartan work.The paragraph is practically construct on parallel constructions plump for up by anaphoric repetition (that that) to make the description of the stranger more expressive. bump off gets multiform in the conversation with his visitor and we cannot but notice that these principle characters are contradictory to each other at several(predicate) take aims and in several(predicate) ship canal both in speech and their attitude towards each other.All cordials of deviations from standard English phonetic (arter, fur). advantageously-formed (youve growd up, I accommodate never forgot it, you was a saying, wot) and lexical (nigh, alonger) are typical for bucks guest speech as contrasted to tallys highly educated phraseology that forms the enormous gap between these two slew that at first sight seems to be insuperable.Besides with the dialog intercepted the reader should pay the surrounding(prenominal) attention to the politeness the visitor addresses with to Pip (by your live, M aster) and Pips inhospitable answers and nervous reactions finding their expression in such words as resent the identification of brightness, indisposed, ask as civilly as he can revealing his informal shapeless fears and temporary mental state.One essential feel the constant intention of the stranger to reach to Pip, to express joy caused by the sight of him (bright and gratified recognition that shone in his face), holds out both his hands to Pip the phrase which runs like a desist by dint of the whole text unite its parts to a single whole and totally enjoys the view of Pips flat looking virtually him as if he had some part in the things he admired.Ascribing some corroboratory intentions to the strange visitor on the one hand the author intensifies Pips negative attitude towards him on the other, put an emphasis on the point that Pip suspects the stranger to be mad, recoils from him talking to the contact even in about demeaning way (Why do you, a strange coming i nto my rooms at this time of the night, ask that question? ) when the first touch at disappointment of the night visitor gradually realizing him being an uninvited guest appears expressed by the epithets (his coarse baffled voice) and his moment hesitation presented by epiphoric repetition (Ill speak in half a minute.Give me half a minute, please) although his strong conceptualise in Pip and his admiration continue unshakable. The atmosphere of growing suspense and tension maintained in the previous part bursts into a well-considered moment of recognition make a tsunami of thoughts and whole tones that threatens to devour the principle character. Pips night guest turns out to be the convict he helped ply from pursuit long time ago and directly this man so suddenly and unscrupulously interferes with Pips life.In order the reader forms a clear view of the situation, the author overtakes a flashback into the past events doing the present ones with a perfect use of causative- consecutive ties and connections. It is necessary to point out that repetition takes various forms in this paragraph. By means of anaphoric reiteration (For I knew him, but I new him, I knew him instantaneously ) the writer sets an unmistakable rhyme reinforcing with every beat of Pips optic his timber of realization and anxiety that is instantly communicated to the reader.No convey to take a file, no neediness to take the handkerchief, no need to hug himself there is something sinister about the particular that the phrase no need to is repeated so many quantify that the reader may find disturbing. As al slipway when a repetition takes place, it results in a parallel arrangement of constructions (had operate away, had scattered, had swept us to the churchyard) which is meant to accentuate reliable significant details of the past unspeakable for Pip.The constant use of the verb to know which is decidedly a key word of the paragraph deserves special attention, as it is in dustrious so as to emphasize the very fact of recognition. Moreover, the author resorts to a special woof of words aimed at lending an additional expressiveness to the moment described to produce the greatest feasible effect achieved by the smallest possible means to detect, to recall, feature, recognition, identity, suspect, consciousness, distinctly etc.The dramatic face- remove of the characters previously introduced by Dickens finds its get along development in the course of narration when being under the influence of moment hesitation Pip finally gives his hands to the convict reluctantly who grasps them snapperily, and kisses them, and holds them which forms a kind of antithesis in the attitude of the important persons towards each other. While the convict interprets Pips unconscious(p) resignation as a penny-pinching sign even going to apprehend him, the protagonist surpasss his shock and astonishment to exert the distance (I aid a hand upon his breast and put hi m away) raising his voice in a fit of anger and in his desperate desire to be as far from this man as possible. The author favors reiterations in great teemingness expressing one and the same idea from different angles to reveal Pips hesitation, overlook of self-confidence with the help of root repetition (grateful, gratitude, to thank, to be thanked), anaphora (I am glad, I am glad) and chiasmus (I deserve to be thanked, you take up come to thank me).As the author puts it Pip loses his self-possession not knowing what to do and the SD of aposiopesis (But surely you must sympathise I) is an excellent proof of it. The last phrase of the sentence bringing up the paragraph may be regarded as a logical summing up of what was previously say presenting the reader with a magnificent metaphor the words died away on my expression proving to be an apotheosis of Pips temporary state of unconcern and shock.While analyzing the text we must take into account the fact that both characters a re presented in developing but each of them in his own unique way. At the beginning of the excerpt Pip is self-confident, self-reliant, a bit absolute considering himself to be a master of the situation although this state does not last long. Pip tries to keep at the same level of formality but he is confused, nervous, anxious. Pip recognizes him but hes un bequeathing to renew the chance intercourse with him (But our ways are different ways).In the course of narration he suffers lack of words and numbness tour concerning the convict Dickens makes a well-thought-out swift in the mood of the personage shifting from friendly tone to somewhat ironical and self-assured one. The convict also repeats himself but purposely as it produces kind of a different, even opposite economic crisis on the reader his speech is now imbued with bitter disappointment and irony seems to be a perfect tool for its expression.Apart from this he tries to sound poetic (many a kelvin mile of stormy wate r, since you and me was out on them lone shivering marshes) and all the idiom and uneducated features of his speech prominent not only in phonetics, but also in vocabulary and syntax cannot hold back the reader from perception of his romantic nature. In the stream of consciousness Pip turns off to his past again remembering some significant details about his supporter with the convict.Dickens resorts to anaphora (I was a poor boy, and to a poor boy they) to lay a special strive on the fact mentioned intensifying it with oxymoron (they were a little fortune) to lend probability and additional expressiveness to the description of Pips joyless childhood full of hardship and privation. The fact that the convict gave some money to Pip finds its reflection in the present when Pip is trying to retaliate to him to split all the bonds between them and get rid of the feeling of obligation. The protagonists actions insult the convict who does not guardianship of money, fire them down.It is necessary to point out that Pips actions are connected polysyndetically to indicate Pips downfall and nervousness whereas the convicts actions are joined asyndetically displaying perfectly his self-reliance. The contradictions of the convicts manifest themselves in the recurring SD of chiasmus (with a smile that was like a frown, and with a frown that was like a smile) employed by the author confuse Pip even more when the night guest puts a question truing to sound greatly and deeply ironically May I make so bold as ask you how you have done well? laying a special stress on how which is italicized. The question influences Pip in a strange and frightening way and the author reinforces his hidden fears using the forceful it-structure in the following sentence It was only now I began to tremble in order to mark the moment when Pips numbness is ready to set him free giving way to much wilder feelings and emotions. To impart to the paragraph its own stylistic value Dickens resor ts to the SD of metonymy (lips had split and shaped some words that were without sound) to deepen Pips hesitation and feeling of uncertainty.The question is piled on the question while the convict deliberately disparages himself (a mere warmint) to let Pip feel in full measure, keenly, acutely the convicts ironic attitude towards him as a transparent boy who thanks his lucky stars having no slightest idea of his real benefactor. Along with the epithet wildly the author make use of a colorful simile with my heart beating like a heavy hammer of disorder action and the SD of breaking (as to the first figure now.Five? As to the 1st letter of this layers name, now. Would it be J? ) to introduce the reader into the final part of the extract under consideration containing the denouement of the whole text. The final part of the text presents the climax of the excerpt with Pips state of shock being underlined in a number of ways and exaggerated. The authors chief appliance is hyperbole . The abundant use of hyperbolic plural orms (disappointments, dangers, disgraces, consequences) blended with metaphoric (all the lawfulness of my position came flashing on me, rushed in in such multitude) and some other hyperbolic expressions (I was borne down, had to struggle for every breath, could not have spoken one word though it had been to save my life, suffocating) give the reader a vivid sense of revelation befallen Pip who is about to faint which is proved metaphorically by the author (the room began to surge and turn) as well as metonymically (bringing the face that I now well remembered).The final part is found on the SD of suspense which makes the idea of revelation more prominent and surely holds the readers attention till the very last word. The use of emphatic it-construction (Its me wot has done it ) deepens the readers discretion of it. The last paragraph is practically built up on parallel constructions backed up by anaphoric repetitions (as ever I earned a gu inea fowl, that guinea should go to you, as ever speclated and got rich, you should get rich) and the SD of antithesis (I lived rough, that you should live smooth, I worked hard that you should be above work).Rhetorical questions that do not need any answers but own some meditations upon the real state of affairs strengthen the crash of all Pips great expectations. Disparaging himself deliberately the convict desires to sacrifice a lot for Pips sake that emphasizes his munificence and Pips pettiness. The young mans happiness is the only payment he needs and exclaiming I could make a gentleman and, Pip, you are him he sounds proud and satisfied with what he has done.In his novel Dickens touches upon some burning issues of his time in a life story of a young man whose being poor and lonely gets a chance to change all his life with the help of money and the power they give abandoning his friends and family, almost betraying the only populate who ever loved him. With an ironic an d satiric touch the author uncrowns all the great expectations of the young man who is subject to go through disappointments of his adult life much harder to overcome than childhood ones. For me the great value of the extract consists in my desire to read the whole story appeared while analyzing this text.To tell you the truth Ive experienced some polemically feelings reading this passage trying to understand it completely and utterly. As they say comfortably deeds are those you are not telling of so no matter how proud you are of your success and your achievements concerning some other persons sight you should not come to him to point out the connection between your actions and his fortune in order to avoid the annoying feeling of obligation, especially in matter you do not know this person well enough to make him feel obliged.From my individual(prenominal) experience I cannot but say that friends and family will realize themselves whether they should thank you or not, as regar ds some other people youve ever secretly helped sometimes its even a pleasure to consider them coping with their lives knowing that youve taken part in their success but retention it to yourself to enjoy privately. Good deeds will be rewarded in any case no need to force people thanking you or this gratitude will bring no good.