Every person in history has unalienable roots which are ever-existent regardless of changes occurring in the meandering journey of life. Such is the case of main protagonist Pip of “Great Expectations”, by Charles Dickens. Pip is introduced to the concoction of Victorian English life that is the combination of extravagance, chance, instinct, experience, and peculiarity. His origins are humble; he is brought up an orphan under a vicious sister in the bottom working class, until one fateful day receiving a large sum of money from a benefactor. However, even after acquiring more status than he even dreamed of, it is no doubt that Ms.Joe and Joe Gargery are Pip’s sole source of authenticity throughout Pip’s search for identity. No matter
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Dickens shapes both their stories intricately. Miss Havisham eternally embodies her husband’s betrayal on their wedding day, “[d]ressing in rich materials - satins, and lace, and silks - all of white. Her shoes [a]re white. And she [h]as a long white veil dependent from her hair, and she had bridal flowers in her hair” (Dickens 53). Miss Havisham consumes herself by preserving every aspect of the wedding preparations. In addition to her yellowing dress, she preserves the rotting “bride-cake” (Dickens 79), teeming with spiders and insects. The memory of eight forty in the morning of that fateful day is forever engraved in Miss Havisham’s conscience, spawning her sheer hatred of all men, and later becoming an integral part of Estella. The orphaned girl with an equally dark past is raised to be a detached heartbreaker, ruthlessly spurning hopeful courters whom she has quite literally in the palm of her hand. Estella’s persona further accentuates loss of authenticity and personal vision that Dickens criticizes the upper class for. She loses the entirety of her identity at once, further contributing to Dickens validates the parent’s profound impact on children with the effects of Miss Havisham’s negative parenting. An adult figure’s every ideation is transferred to his or her child; children are inherently unbiased and free of ignorance, hatred, and biased until they are either corrupted or enlightened by someone wiser. Miss Havisham fixes the ultimate charmer with a deadly demeanor most men have not encountered in women. Dicken’s creation of eccentrically savage young Estella is an exception in Victorian upper society. She is at all an extreme case, personifying a ghastly creation sapped of empathy, pity, and sensitivity. However, the pupeetering act backfires later on during Miss Havisham’s horrifying mental breakdown. She cries
Dickens shapes both their stories intricately. Miss Havisham eternally embodies her husband’s betrayal on their wedding day, “[d]ressing in rich materials - satins, and lace, and silks - all of white. Her shoes [a]re white. And she [h]as a long white veil dependent from her hair, and she had bridal flowers in her hair” (Dickens 53). Miss Havisham consumes herself by preserving every aspect of the wedding preparations. In addition to her yellowing dress, she preserves the rotting “bride-cake” (Dickens 79), teeming with spiders and insects. The memory of eight forty in the morning of that fateful day is forever engraved in Miss Havisham’s conscience, spawning her sheer hatred of all men, and later becoming an integral part of Estella. The orphaned girl with an equally dark past is raised to be a detached heartbreaker, ruthlessly spurning hopeful courters whom she has quite literally in the palm of her hand. Estella’s persona further accentuates loss of authenticity and personal vision that Dickens criticizes the upper class for. She loses the entirety of her identity at once, further contributing to Dickens validates the parent’s profound impact on children with the effects of Miss Havisham’s negative parenting. An adult figure’s every ideation is transferred to his or her child; children are inherently unbiased and free of ignorance, hatred, and biased until they are either corrupted or enlightened by someone wiser. Miss Havisham fixes the ultimate charmer with a deadly demeanor most men have not encountered in women. Dicken’s creation of eccentrically savage young Estella is an exception in Victorian upper society. She is at all an extreme case, personifying a ghastly creation sapped of empathy, pity, and sensitivity. However, the pupeetering act backfires later on during Miss Havisham’s horrifying mental breakdown. She cries