Editing Great Expectations (section)

=== Moral regeneration ===
Another theme of ''Great Expectations'' is that Pip can undergo "moral regeneration".

In chapter 39, the novel's turning point, Magwitch visits Pip to see the gentleman he has made, and once the convict has hidden in Herbert Pocket's room, Pip realises his situation:

{{Blockquote|For an hour or more, I remained too stunned to think; and it was not until I began to think, that I began fully to know how wrecked I was, and how the ship in which I had sailed was gone to pieces.

Miss Havisham's intentions towards me, all a mere dream; Estella not designed for me&nbsp;... But, sharpest and deepest pain of all—it was for the convict, guilty of I knew not what crimes, and liable to be taken out of those rooms where I sat thinking, and hanged at the Old Bailey door, that I had deserted Joe.<ref>{{harvnb|Charles Dickens|1993|p=279}}</ref>}}

To cope with his situation and his learning that he now needs Magwitch, a hunted, injured man who traded his life for Pip's. Pip can only rely on the power of love for Estella.<ref>{{harvnb|John Hillis-Miller|1958|pp=265, 271}}</ref> Pip now goes through a number of different stages each of which, is accompanied by successive realisations about the vanity of the prior certainties.<ref>{{harvnb|Henri Suhamy|1971|pp=11–14}}</ref>
[[File:"Joe now sat down to his great work,"etc..jpeg|thumb|Joe learns to read by John McLenan]]

Pip's problem is more psychological and moral than social. Pip's climbing of the social ladder upon gaining wealth is followed by a corresponding degradation of his integrity. Thus after his first visit in Miss Havisham, the innocent young boy from the marshes, suddenly turns into a liar to dazzle his sister, Mrs Joe, and his Uncle Pumblechook with the tales of a carriage and veal chops.<ref name="Suhamy11"/> More disturbing is his fascination with Satis House—where he is despised and even slapped, beset by ghostly visions, rejected by the Pockets—and the gradual growth of the mirage of London. The allure of wealth overpowers loyalty and gratitude, even conscience itself. This is evidenced by the urge to buy Joe's return, in chapter 27, Pip's haughty glance as Joe deciphers the alphabet, not to mention the condescending contempt he confesses to Biddy, copying Estella's behaviour toward him.<ref name="Suhamy12">{{harvnb|Henri Suhamy|1971|p=12}}</ref>

[[File:"Hold me! I'm so frightened!" (Trabb's boy).jpeg|thumb|left|Trabb's boy mocks Pip in the village highstreet outside the post-office by John McLenan]]
Pip represents, as do those he mimics, the bankruptcy of the "idea of the gentleman", and becomes the sole beneficiary of vulgarity, inversely proportional to his mounting gentility.<ref>{{harvnb|John Hillis-Miller|1958|pp=269–270}}</ref> In chapter 30, Dickens parodies the new disease that is corroding Pip's moral values through the character "Trabb's boy", who is the only one not to be fooled. The boy parades through the main street of the village with boyish antics and contortions meant to satirically imitate Pip. The gross, comic caricature openly exposes the hypocrisy of this ''new'' gentleman in a frock coat and top hat. Trabb's boy reveals that appearance has taken precedence over being, protocol on feelings, decorum on authenticity; labels reign to the point of absurdity, and human solidarity is no longer the order of the day.<ref name="Suhamy14">{{harvnb|Henri Suhamy|1971|p=14}}</ref>

[[File:Mrs. Pocket And Her Family by Harry Furniss. 1910..jpeg|thumb|Mrs Pocket and her children indulging in idleness by Harry Furniss (1910)]]
Estella and Miss Havisham represent rich people who enjoy a materially easier life but cannot cope with a tougher reality. Miss Havisham, like a melodramatic heroine, withdrew from life at the first sign of hardship. Estella, excessively spoiled and pampered, sorely lacks judgement and falls prey to the first gentleman who approaches her, though he is the worst. Estella's marriage to such a brute demonstrates the failure of her education. Estella is used to dominating but becomes a victim to her own vice, brought to her level by a man born, in her image.<ref>{{harvnb|Henri Suhamy|1971|pp=13–14}}</ref>

Dickens uses imagery to reinforce his ideas and London, the paradise of the rich and of the ''ideal'' of the gentleman, has mounds of filth, it is crooked, decrepit, and greasy, a dark desert of bricks, soot, rain, and fog. The surviving vegetation is stunted, and confined to fenced-off paths, without air or light. Barnard's Inn, where Pip lodges, offers mediocre food and service while the rooms, despite the furnishing provided, as Suhamy states, "for the money", is most uncomfortable, a far cry from Joe's large kitchen, radiating hearth, and his well-stocked pantry.<ref name="Suhamy13"/>

Likewise, such a world, dominated by the lure of money and social prejudice, also leads to the warping of people and morals, to family discord and war between man and woman.<ref group="N">Original quote in French: "un monde que dominent l'appât de l'argent et les préjugés sociaux conduit à la mutilation de l'être, aux discordes de famille, à la guerre entre homme et femme, et ne saurait conduire à quelque bonheur que ce soit".</ref> In contrast to London's corruption stands Joe, despite his intellectual and social limitations, in whom the values of the heart prevail and who has natural wisdom.<ref name="Suhamy14"/>