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Childhood analysis of great expectations
Characterisation in Great Expectations
Characterisation of great expectations
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Heart Imagery in Great Expectations
The heart is a symbolic barometer in Great Expectations that carries us from chapter to pulsating chapter. The novel's characters are forever wearing their hearts on their sleeves and in the process end up baring their souls within the text itself, and without, to the reader. What is the significance of hearts and their many states as described when Pip unfolds his own dramatic rags-to-riches-to-grace tale? Several scenes probe Miss Havisham's psyche with words about the condition of her heart. By analyzing them, we may be able to guess to what purpose Charles Dickens employs the heart imagery so frequently and so effectively.
For all the allusions which connect Miss Havisham to death-upon seeing her at the dressing table, Pip is immediately reminded of "some ghastly waxwork" and "a skeleton in the ashes of a rich dress," (93) -she is far from dead. Keeping her alive is the promise of youth: Estella and Pip. The promise the children give Miss Havisham, however, is not wholesome or optimistic, and neither is her communication with them. The first thing Miss Havisham reveals to Pip is that she suffers from a broken heart, "[uttering] the word...with strong emphasis, and with a weird smile that had a kind of boast," (94). This seems an odd confession for an adult to heave upon a child. Private miseries are kept quiet in order to spare children from the harsh reality of adult life.
But Miss Havisham is not worried about sparing anyone. Because she holds the family fortune, no one will insist that she snap out of her reverie of grief. Her intention is that Estella will learn to break men's hearts as recompense for Miss Havisham's having been broken. She admits to "sick fancies," and her demeanor so troubles Pip that he remarks, "Her contempt for me was so strong, that it became infectious, and I caught it" (95). Yet Pip is ready to forgive Miss Havisham for reducing him to self-hatred, even on that very first day: He tells us that as she watches the card game, Miss Havisham had "the appearance of having dropped... under the weight of a crushing blow" (96). Her posture softens him and he returns to Satis House over and over, even as he knows he is "under" the house's "influence" and it makes him "continue at heart to hate [his] trade" (158).
Findling, John E., Historical Dictionary of World's Fairs and Expositions, 1851-1988 New York: Greenwood Press, 1990 Komendant, August, "Post-Modern on Habitat", Progressive Architecture 1968 March vol.49, p.138-147
In Great Expectations, Pip is set up for heartbreak and failure by a woman he trusts, identical to Hamlet and Gertrude, but Pip is rescued by joe who pushes Pip to win the love of his life. Similar to Gertrude in Hamlet Miss Havisham becomes a bystander in Pip’s life as she initiates the play that leads to heartbreak several times and she watches Pip’s life crumble due to her teachings. The next quote shows Miss Havisham explaining to Pip the way she manipulated his love Estella to break his heart every time. “‘but as she grew, and promised to be very beautiful, I gradually did worse, and with my praises, and with my jewels, and with my teachings… I stole her heart away and put ice in its place’” (Dickens, 457). This quote makes it clear the Miss Havisham set Hamlet up for failure by making him fall for a woman he could never have.
This 11 by 7 inch color lithograph seen here depicts the Manufactures and Liberal Arts Building at the Chicago World's Columbian Exposition of 1893. As the main exhibit space of the fair, it was the largest building ever constructed at the time and the most visited site at the exposition. The general scheme for the building was laid out during the early planning stages of the Chicago fair. It was to be located facing Lake Michigan on its long axis and the east end of the Court of Honor, where the other main buildings were grouped, on its short axis. Architect John Wellborn Root, partner of fair director Daniel Burnham, devised the basic function for the building. Because Root died early in the planning stages, the program was radically altered by his successor Charles Atwood. The latter's idea for a clear span surrounded by galleries prevailed, as fair organizers were intent to surpass that of the famous Galerie des Machines at the Paris exposition of 1889. New York architect George B. Post (1837-1913) was chosen to design the Manufactures building from a group of mostly eastern architects selected for the major fair buildings, including Richard Morris Hunt and McKim, Mead and White. His experience in large classically detailed New York buildings such as the Produce Exchange (1881-84) and the Havemeyer Building (1891-93), both demolished, made him a good candidate to uphold the White City ideal of the fair, emphasizing classical canons of composition and ornamentation. His expertise in the use of iron and steel, as in the large interior light court of the Produce Exchange, would come in handy if the Manufactures Building was to succeed in its "clear-span rivalry" with the Galerie des Machines (Hoffmann).
To describe the 1933 Chicago World's Fair in a word, one might choose, "modern" or "dazzling," perhaps even "outrageous." The fair experimented with modern architecture, dazzling electric illumination, and a daring color scheme meant to reflect the scientific content of the fair's exhibits. The fair featured advancements in all fields of science, ranging from the inner-workings of the automobile engine to the most recent theory on the structure of the atom. Entitled "The Century of Progress," it used these vivid colors and impressive exhibits to create a light-hearted and uplifting experience intended to distract the nation from the hardships of the Great Depression. The viewbook featured here provides visitors with a souvenir of this striking event and a way to remember the exhibits and buildings after the exhibition was over and the fairgrounds returned to a public park.
However, it wasn’t until the construction of the Eiffel Tower that stirred Americans. “The [Eiffel] tower not only assured the eternal fame of its designer, Alexandre Gustave Eiffel, but also offered graphic proof that France had edged out the United States for dominance in the realm of iron and steel, despite the Brooklyn Bridge, the Horseshoe Curve, and other Undeniable accomplishments of American engineers.” (pg.15). Americans were baffled, how could France be ahead of the race that America started? Discussions of a fair to be built in Chicago were announced, the same men who were responsible for the rebuilding of Chicago after the Great Fire of 1871 would be on the committee for building this great fair (pg.16). This fair would be a display of modern or ancient times. Being that there was one in Paris, it was only right for America to have one, and the goal was for it to be bigger and better. Once approved by government officials and personnel on the committee, there was a decision to construct The Chicago’s World Fair; which would also be referred to as the World’s Columbian Exposition. The lead architects Daniel Burnham and John Root knew that failure wasn’t an option. They could not let the nation’s honor or reputation become tarnished (pg.33). Burnham and Root had the job of insuring the nation’s egotism and prominence by exceeding the expectations of civilians. This was an extremely hard job, for both Burnham and Root this would be their biggest challenge, yet they would excel due to their expertise and power to imagine and
The largest structure at the fair was the Manufactures and Liberal Arts Building. It housed many...
Lord, B., Lord, G.D. and Martin L. ed., Manual of museum planning.3rd ed. New York: Altamira
Cohen, Merdith. “An Indulgence for the Visitor: The Public at the Sainte-Chapelle of Paris.” Speculum, Vol. 83, No. 4 (Oct., 2008): pp. 840-883. Print.
Auden, W. H. ""Musee Des Beaux Arts"" The Longman Anthology. Ed. David Damrosch. New York: Longman, 2003. 2789-2790.
Daniel Burnham was a very talented architect that was put in charge of the 1893 Chicago World’s Fair. He was partners with John Root and he gave ideas on how to increase the fair’s attendance. Burnham always wanted the best for his country so he knew that “failure was unthinkable. If the fair failed, the nation’s honor would be tarnished, Chicago humiliated and his own firm dealt a crushing blow.” (Larson pg.33) On the other hand, at the beginning
After this devastating event, Miss Havisham confined herself in her house, wearing her yellow wedding dress with all the clocks stopped at 8:40 - the exact time she was walked out on. When Pip comments on the eeriness of the house, she answers, "So old to me. . . so familiar to me; so melancholy to both of us" (54). When Miss Havisham says this, she is revealing how long she has actually been in the house and how it has stayed unchanged for that entire period of time. By this comment, she is also showing her frustration at being confined within herself and within her jadedness.
Figure 2: Glenn Sheffer, Worlds Fair Chicago, 1933, can be found at: http://www.radiostratosphere.com/zsite/behind-the-dial/chicago-worlds-fair.html Accessed on the 9/12/13
Findling, John E., Historical Dictionary of World's Fairs and Expositions, 1851-1988 New York: Greenwood Press, 1990
Starting out straight from the beginning of Pip's life he is already in pain from losing his parents. He then must live with his older sister Ms.Joe who puts him through a great deal of torture during his childhood. Such as when he went to the graveyard without her approval, she filled his mouth with tarred water just to prove a point to him. Not only was it Ms.Joe though, but the convict as well who put the dark image in his head of the certain someone who would come to kill him if he didn't bring him what he wanted which Pip eventually could not stop being concerned about after he came back from the graveyard. Once Pip starts to visit Miss Havisham though it is obvious the way she has designed the Satis House is in such a low, dark, depressing emotion because of the experiences she's had to suffer during her past. Miss Havisham's suffering has defined her character though. "Miss Havisham herself, of course, is the big victim of the novel, abandoned on her wedding day ...
In order to make more money Pip’s uncle sends Pip to a psychotic old lady’s house named Mrs. Havisham. Mrs. Havisham is a mean and nasty character who constantly bickers at Pip and tells him of his unimportance. Pip continues to be mild mannered and respectful to Mrs. Havisham yet he begins to see that he will never get ahead in life just being nice. Mrs. Havisham uses Pip as sort of a guinea pig to take out her passion of revenge against men. She does this by using her daughter, Estella to torment Pip.