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19th century fiction stylistic features
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Recommended: 19th century fiction stylistic features
Compare and contrast the narrative structure of Elizabeth Gaskell’s
Cranford and Charles Dickens’s Great Expectations
Compare and contrast the narrative structure of any two nineteenth-century novels.
The narrative structure of Elizabeth Gaskell’s Cranford and Charles Dickens’s
Great Expectations can be compared and contrasted in many ways.
Firstly it is important to note that both of the narrators are looking back on certain
times in their lives, however Pip’s narrative reflects on a larger span of time and
perhaps more significant events in his life whereas Mary Smith reflects as an observer
on her visits to Cranford. Pip asserts himself as both a narrator and character from the
start as he informs us that ‘my father’s name being Pirrip, and my Christian name
Philip, my infant tongue could make of both names nothing longer or more explicit
than Pip’. ‘Pip’ is repeated at the beginning of the novel and it is the repetition of this that asserts him as the narrator. It also informs us of his age, at this point, as he is unable to pronounce his name. We are also made aware of his family background as
he is standing at the graves of his parents and states that their family’s was ‘the marsh
country, down by the river’. Thus we have an idea of the narrator’s background.
In contrast, in Cranford, Mary Smith makes no assertion of herself. We are given
no information about the narrator in the beginning as she begins by informing us that
‘in the first place, Cranford is in possession of the Amazons’ and so nthe setting is
given priority over the identity of the narrator. The reference to the ‘Amazons’ relates
to the reference to the ‘Spartans’, which are both ironic in that the women of Cranford
that she goes on to talk about are nothing like these strong women.
Also in comparison to Great Expectations, we are informed of the name of the narrator not
from the start but in chapter fourteen, towards the end. Therefore the narrative
structure here, informs us of the importance of the narrator as it is evident that Pip is
more important as a narrator and character than Mary here as we are somewhat
acquainted with him from the start.
The voice of the narrator in Cranford is feminine as opposed to the masculine
voice of Pip. This feminine voice is evident throughout the novel as clearly, the ladies
of Cranford are described and the narrator is one of these ladies as she constantly
refers to the ladies and herself as ‘we’. Also there are not many men in the novel and
In Louise Erdrich’s “Tracks';, the readers discovers by the second chapter that there are two narrators, Nanapush and Pauline Puyat. This method of having two narrators telling their stories alternately could be at first confusing, especially if the readers hasn’t been briefed about it or hasn’t read a synopsis of it. Traditionally, there is one narrator in the story, but Erdrich does an effective and spectacular job in combining Nanapush and Pauline’s stories. It is so well written that one might question as he or she reads who is the principal character in this story? Being that there are two narrators, is it Nanapush, the first narrator, him being a participant in the story, who tells his story in the “I'; form? Or is it Pauline, the second narrator, who also narrates in the “I'; form? Upon further reading, the motive for both narrators’ stories become more evident, and by the end of the book, it becomes clear that one character is the driving force for both of the narrators’ stories. This central character is Fleur Pillager. She in fact is the protagonist of “Tracks';. Even though she is limited in dialogues, her actions speak more than words itself.
...s loss, but the novel ends on an acknowledgment of the possibilities the future holds for Pip's redemption. However, such a theme also gives rise to a theme of separation. By this point in the novel, Pip had already lost touch with everything that was important to him as a young man. He had grown in a different direction than Joe and Biddy. He could never be with Estella, although the revised ending attempts to have them together. In this sense, Pip is completely cut off from everything that once gave him solace. His only hope for redemption lies in the hands of little Pip. If little Pip can "grow up a much better man than I (Pip) did" (435; ch. 58), then hopefully little Pip will not have to suffer as the older Pip has.
“I suppose I really seemed mad, then; but it was only through the awfulness of having said nothing but the truth, and being thought to be deluded.” ―Sarah Waters, Fingers. In the novel, Great Expectations by Charles Dickens, Dickens portrays Pip as a poor boy who, as the novel progresses, aspires to become a gentleman, but as Pip starts to obtain “great expectations” he realizes that almost everything he once had starts to disappear. Furthermore, Dickens explores how having great expectations can lead to disillusions and manipulations.
The last of these good deeds, and the one hardest for the writer to authenticate, is made piercingly vivid by a subtle modification of narrative technique. This occurs in Vol III ch. XV, which describes the attempt to spirit Magwitch away down the Thames. Here, for the only time in the novel, the first-person narrative ceases to be Pip¡¦s way of thinking, however, honestly, about himself, and becomes instead an act of attention to others, and to the unfolding events.
In this story the mode or point of view by which the author presents the characters, dialogue, actions, etc. is that of a third-person narrator, who uses proper names and third-person pronouns to designate the various characteris in the tale:
After being forced to face the dark and humble reality of his "great expectations" and his behaviour, Pip is never. the same as the other. From this point onwards, Pip finds freedom in trying to help. Magwitch escapes and, also, begins to grow quite fond of him. The separate voices of the narrator and the leading character in the novel.
The language used paints the exact picture needed for the audience to do the majority of the work of discovering the relationship between the narrator
In the opening of the novel, Pip encounters the convict who was in dire need of help. Pip, innocent and unexposed at the time, did the right thing and helped the dangerous stranger. As he scales the steep cliffs towards gentility, however, his innocence and rectitude fades. The hustle and bustle of London transforms Pip into conceited, shameful, snob. "Let me confess exactly with what feelings I looked forward to Joe’s coming.
Pip must constantly reconsider the value of his different identities to choose what he wants to live with. There’s an obsession with identity in the novel, and a confusing relationship between the chosen identity of the characters and the identity haunted by a characters past and social status. For example, Pips
...rity, and the ending of his story he has sealed with pain and hardships of life. From losing his parents and sister, his best friend, being treated cold hearted by the love of his life Pip still manages to make it out in an okay way with the little hope with Estella and his close one's child who looks just like him in a scary way. It is not the best ending but it could've been worst for the young man. Pip's idea of life is truly suffering from the worst and getting only a little bit of resemblance from it.
It can be seen through Dickens’s highly successful novel Great Expectations, that his early life events are reflected into the novel. Firstly the reader can relate to Dickens’s early experiences, as the novel’s protagonist Pip, lives in the marsh country, and hates his job. Pip also considers himself, to be too good for his ...
Great Expectations is a great example to show Charles Dickens’ writing style and his use of words to depict an image in the reader’s mind. The book is interesting because the tone and the attitude change depending on the structure of the chapter and this create a specific detail and description for every character and his/her actions. Dickens also enhances his plot by using extensive amount of imagery and metaphors to complete his masterpiece. Dickens has an incredible ability to use words to describe and create a vivid image using them. The first person point of view strengthens the emotions of Pip and how these emotions affect his life throughout the book. Dickens also uses themes such as ambition and self-improvement, and social class to describe the life during the Victorian Period and portray this life in the book.
Charles Dickens is well known for his distinctive writing style. Few authors before or since are as adept at bringing a character to life for the reader as he was. His novels are populated with characters who seem real to his readers, perhaps even reminding them of someone they know. What readers may not know, however, is that Dickens often based some of his most famous characters, those both beloved or reviled, on people in his own life. It is possible to see the important people, places, and events of Dickens' life thinly disguised in his fiction. Stylistically, evidence of this can be seen in Great Expectations. For instance, semblances of his mother, father, past loves, and even Dickens himself are visible in the novel. However, Dickens' past influenced not only character and plot devices in Great Expectations, but also the very syntax he used to create his fiction. Parallels can be seen between his musings on his personal life and his portrayal of people and places in Great Expectations.
As a bildungsroman, Charles Dickens’ Great Expectations presents the growth and development of Philip Pirrip, better known as Pip. Pip is both the main character in the story and the narrator, telling his tale many years after the events take place. Pip goes from being a young boy living in poverty in the marsh country of Kent, to being a gentleman of high status in London. Pip’s growth and maturation in Great Expectations lead him to realize that social status is in no way related to one’s real character.