The novel is narrated at
first person by Pip and he ‘sees his transformation from a loving child into an
ambitious snob to be the product of inferiority feelings induced by Estella’s
contempt.’ (Paris 119).
His portrayal details seems to be trustworthy but not that much genuine when it
comes to his judgments of the other characters. For example, his problems do
not seems to be a result of Estella’s indifference or Miss Havisham’s attitude,
but from his sister maltreatment as a child. In addition, Pip considers himself
a mature and wisdom man, but he is ‘is a troubled human being whose view of
things is distorted by his compulsions and blind spots.
He thinks he has renounced
his project of becoming “uncommon,” but as he narrates his story he
is still engaged in defending an idealized conception of himself.’ (Paris 120).
The plot has a
(Zirra) and all the involved characters are transformed according to
those rules. Therefore,’ the relationship between these two orphans, as victims
of fate and society in both similar and different ways, is turned into the
typical relationship between a marriage-villain, Estella and a marriage-victim,
Estella is raised to become the snob- urban type while Pip becomes the marriage
victim that result from his love for Estella, and also the villain in his
relationship with his initially supposed mate, Biddy, who he reject. ‘The
complexity of the victim-benefactor cluster is very similar to that of the
Miss Havisham uses her
wealth to do harm in a selfish way while pretending to be Estella’s protector.
In the same time she is the assumptive benefactor of Pip. In fact, Pip’s real
benefactor is Mr. Magwitch who in order to be ‘the only real social benefactor
has to be also the absolute social victim (he is condemned and imprisoned as a
criminal for participating at Compeyson’s abjection against Miss Havisham) not
the angry emotional victim’ (Zirra).
Thus, Dickens surprises by its ‘dramatic mastery in subjecting his readers to
the temporarily disturbed cluster of values, attitudes and characters made to
work one against the other.’ (Zirra).