Great Expectations Quotes by Charles Dickens
I have never read a declaration of romantic love so strong, so desperate, and so agonizing as Pip’s love for Estella in Great Expectations. So here are some quotes from the book to put it in the picture. “The unqualified truth is, that when I loved Estella with the love of a. 8 quotes have been tagged as estella: Charles Dickens: 'The unqualified truth is, that when I loved tags: charles-dickens, estella, great-expectations, pip. Great Expectations: The strange romance of Pip and Estella - Martina Hrubes - Seminar In his essay I will describe the nature of their relationship. . Quote paper: Martina Hrubes (Author), , Great Expectations: The strange romance of.
Even after witnessing this scene, Pip continues to live in anguished and fruitless hope that Estella will return his love. Estella flirts with and pursues Bentley Drummle, a disdainful rival of Pip's, and eventually marries him for his money.
Great Expectations: The strange romance of Pip and Estella
Seeing her flirt with the brutish Drummle, Pip asks Estella rather bitterly why she never displays such affection with him. Rather than achieve the intended effect, this honest behaviour only frustrates Pip.
It is implied that Drummle abuses Estella during their relationship and that she is very unhappy. However, by the end of the book, Drummle has been killed by a horse he has allegedly abused.
The references to Drummle's marriage and death are conjectural, and no direct evidence is produced or suggested. Pip 'hears' of Drummle's poor behaviour and accepts the information as truth. The relationship between Pip and Estella worsens during their adult lives. Pip pursues her in a frenzy, often tormenting himself to the point of utter despair.
He makes writhing, pathetic attempts to awaken some flicker of emotion in Estella, but these merely perplex her; Estella sees his devotion as irrational. Varied resolutions of Estella's relationship with Pip[ edit ] Estella and Pip. Though Estella marries Drummle in the novel and several adaptations, she does not marry him in the best-known film adaptation. However, in no version does she eventually marry Pip, at least not within the timespan of the story.
The eventual resolution of Pip's pursuit of Estella at the end of the story varies among film adaptations and even in the novel itself. Dickens' original ending is deemed by many as consistent with the thread of the novel and with Estella's allegorical position as the human manifestation of Pip's longings for social status: I was in England again—in London, and walking along Piccadilly with little Pip—when a servant came running after me to ask would I step back to a lady in a carriage who wished to speak to me.
It was a little pony carriage, which the lady was driving; and the lady and I looked sadly enough on one another. Lift up that pretty child and let me kiss it! I was very glad afterwards to have had the interview; for, in her face and in her voice, and in her touch, she gave me the assurance, that suffering had been stronger than Miss Havisham's teaching, and had given her a heart to understand what my heart used to be.
As this ending was much criticized even by some famous fellow authors, Dickens wrote a second ending currently considered as the definitive one, more hopeful but also more ambiguous than the original, in which Pip and Estella have a spiritual and emotional reconciliation.
The second ending echoes strongly the theme of closure found in much of the novel; Pip and Estella's relationship at the end is marked by some sadness and some joy, and although Estella still indicates that she doesn't believe she and Pip will be together, Pip perceives that she will stay with him: Pip, who is habitually mistreated, expects to be abused and is comfortable being abused this is not the same thing as liking or wanting to be abused.
Estella's cruelty fits his expectation of abuse, his sense of powerlessness, and his low self esteem, so he is drawn to her. A variant of the expectation-of-abuse theory is that Pip's sense of guilt requires punishment, which Estella amply provides. Pip reveals the urge to punish himself when, in reaction to her treatment of him, he kicks the wall and "took a hard twist at my hair" page Michal Peled Ginsburg offers a psychologically more subtle and sophisticated explanation: It is Estella's perfection and self-sufficiency her pride that show Pip that he is lacking, and it is the fact that she makes him feel lacking that transforms her in his eyes to a perfect and totally self-sufficient creature.
Dabney puts a different spin on Pip's relationship with Estella; Pip "is concerned with impersonal things—with class, with status, with habits, occupations, gestures, and language standard in a particular social milieu. This view is not incompatible with the other theories suggested.
This list is not intended to be definitive, but to stimulate your thinking and to encourage you to find your own interpretations of Pip's love. Their decayed state prefigures the emptiness of Pip's dream of rising in social status and of so being worthy of Estella. With them, Dickens extends his satire of society from the abuse of children and criminals to the corruption of wealth. Miss Havisham's fawning, self-interested, envious relatives and their competition for her wealth illustrate the evil effects of the love of money.
Dickens sees the valuing of money and status over all else as a primary drive in society, which is dominated by the mercantile middle class. Miss Havisham and her decayed house have another relationship; it parallels the diseased state of her mind. By stopping time, symbolized by the clocks all reading twenty to nine, Miss Havisham has stopped her life, which thereby becomes death-in-life. By wilfully stopping her life at a moment of pain and humiliation, she indulges her own anger, self-pity, and desire for revenge; she imagines her death as "the finished curse" upon the man who jilted her page In her revenge, which destroys her life, she is like a child who hurts itself in its anger at someone else.
The decay around her also represents her relationship with others. Her relationships are symbiotic, as we discussed in class.
Her relatives try to feed off her wealth, and she feeds off their envy and subservience. The feeding relationship is symbolized by the mice, which eat the bridal cake and which she claims have gnawed at her heart.
In this sense, the beautiful girl is raised to be just as cold and unattainable as the sparkling but ever distant star in the nocturnal sky: She seemed much older than I, of course, being a girl and beautiful and self-possessed; and she was as scornful of me as if she had been one-and-twenty, and a queen.
There was no discrepancy of years between us, to remove her far from me; we were of nearly the same age […]; but the air of inaccessibility which her beauty and her manner gave her, tormented me in the midst of my delight […] Wretched boy!
Quotes: Pip to Estella, the Agony of Romantic Love – Melmarian's Book Heaven
She is thousands of miles away from me. I adopted her to be loved.
I bred her and educated her to be loved. I developed her into what she is, that she might be loved.
Ironically enough, true love is the one thing Estella will never receive, neither through her biological nor her foster mother, and least of all her husband.