Joseph Andrews

Reference:

These lines have been taken from the Novel Joseph Andres written by Henry Fielding.

Context:
Written as a parody of Pamela; or, Virtue Rewarded by Samuel Richardson, Joseph Andrews is a story about a young footman
who rejects the advances of his recently widowed mistress, Lady Booby, and is subsequently fired. Since he is far from home in
the city of London, Joseph makes his way back to the country estate of Lady Booby, where he can claim settlement. Hes
especially eager to get there because his sweetheart, Fanny, is waiting for him there.

But, of course, Josephs travels are not easy, as he comes across Lady Boobys parson, Abraham Adams, and Fanny herself on
his journey home. Together the three of them will encounter many trials before they reach home.

Explanation

The only Source of the true Ridiculous (as it appears to me) is Affectation.

In the Preface to the novel, Fielding rejects burlesque as the depiction of the monstrous, whereas he, as a comic writer, seeks
to depict the ridiculous; that is, while burlesque heightens distortions of value into a sense of unreality, comedy depicts only
the forms of absurdity that exist in real life. The phenomenon of the true Ridiculous in literature arises from the exposure of
Affectation, which is itself the source or sanction of much of the evil in the world. Thus, in his preference for comedy over
burlesque and for the ridiculous over the monstrous, Fielding has a didactic and ethical purpose in addition to his simply
humorous one.

It is a trite but true Observation, that Examples work more forcibly on the Mind than Precepts.

Fielding explains in Book I, Chapter I the moral utility of the novel: it has this advantage over sermons and works of moral
philosophy, that it can embody virtue in the biographies of exemplary characters, thereby inspir[ing] our Imitation of virtue
rather than merely enjoining it. He goes on to cite Richardsons Pamela and Cibbers autobiography as examples of recent works
of literature that have moved readers to the imitation of virtue; while the examples are obviously sarcastic, the principle and
its enunciation are not.

Mr. Joseph Andrews, the Hero of our ensuing History, was esteemed to be the only Son of Gaffar and
Gammer Andrews, and Brother to the illustrious Pamela, whose Virtue is at present so famous.

In introducing the title character, Fielding makes explicit the connection between his hero and Richardsons heroine: he has
made them not only sister and brother but, implicitly, original and spoof. The reference to their parents as Gaffar and
Gammer, dialect terms of respect for older people of low social rank, emphasizes the (ostensible) low birth of the hero, which
in turn signals the low or comical nature of the action, and is perhaps a satiric glance at the many rusticisms that characterize
the diction of Richardsons Pamela. The detail of Josephs being esteemed the son of his parents will take on obvious
importance in light of later developments.

He was generous, friendly and brave to an Excess; but Simplicity was his Characteristic.

Fielding introduces Parson Adams, the novels great innocent, succinctly and with judicious reference to the weaknesses that
temper his virtues. Adamss generosity, friendliness, and bravery appear to be tied to one another, as indeed they ought to be
according to Fieldings moral scheme, which designates natural sociability, rather than supernatural grace, as the source of that
benevolence which is the only true expression of goodness. In Adams, however, bravery is excessive because he does not
regulate it with prudence; Simplicity, or navet, is certainly more present in Adamss character than in any other in the novel.

Her Complexion was fair, a little injured by the Sun, but overspread with such a Bloom, that the finest
Ladies would have exchanged all their White for it: add to these, a Countenance in which tho she was
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extremely bashful, a Sensibility appeared almost incredible; and a Sweetness, whenever she smiled,
beyond either Imitation or Description.

Fanny Goodwill, like all of Fieldings heroines, is beautiful in a way that would have appealed to eighteenth-century men: buxom
and zaftig, she seems palpable and accessible rather than remote and ethereal, and such naturalistic imperfections as her
sunburn set off her appeal. Fielding is careful, however, to specify that Fannys attractions are not merely physical and sexual:
her Sensibility and Sweetness somehow manifest themselves corporally and render the proper appreciation of her
appearance an exercise not just of physical impulses but of the moral faculty. Fieldings mention of her extreme[]
bashful[ness] is not a throwaway detail, either, for Fannys retiring nature is congruous with the role of potential rape victim
that she plays repeatedly throughout the novel.

As when a hungry Tygress, who long had traversed the Woods in fruitless search, sees within the Reach
of her Claws a Lamb, she prepared to leap on her Prey; or as a voracious Pike, of immense Size, surveys
through the liquid Element a Roach or Gudgeon which cannot escape her Jaws, opens them wide to
swallow the little Fish: so did Mrs. Slipslop prepare to lay her violent amorous Hands on the poor
Joseph.

This passage, which refers to Slipslops lustful attempt on Joseph in London, is a good example of Fieldings use of mock-epic
diction. The comparison of the lecherous Slipslop to a hungry Tygress is a satirical version of the Homeric simile; Homers epic
poems employ many of these highly detailed similes, often comparing valiant warriors to predatory animals. While Homer used
this technique to exalt the heroic actors in his tales, Fielding uses the disjunction between elevated diction and low subject
to poke fun at his characters. Sometimes, as here, the character and action are sordid and the humor is somewhat harsh and
satirical; at other times, as when Fielding renders the epic battle of Joseph with the Hunters hounds, the character and action
are low in class status but good and honorable, and the humor is warmer and more indulgent.

Whoever therefore is void of Charity, I make no scruple of pronouncing that he is no Christian.

Mr. Adams makes this pronouncement during his argument with Parson Trulliber over the true nature of Christianity and the
duties of a Christian. Trulliber, like Parson Barnabas, contrasts with Adams in preaching that faith is sufficient for salvation
without good works; Adams, meanwhile, preaches very nearly the opposite doctrine: as he says in another important passage,
a virtuous and good Turk, or Heathen, are more acceptable in the sight of their Creator than a vicious and wicked Christian,
though his Faith was as perfectly orthodox as St. Pauls himself. St. Paul himself was presumably on Fieldings mind when he
penned Adamss declaration to Trulliber, as the line seems to echo 1 Corinthians 13.2: and though I have all faith, so that I
could remove mountains, and have not charity, I am nothing.

It is more than probable, poor Joseph, who obstinately adhered to his modest Resolution, must have
perished, unless the Postilion, (a lad who hath been since transported for robbing a Hen-roost) had
voluntarily stript off a great Coat, his only Garment, at the time swearing a great Oath, (for which he
was rebuked by the Passengers) That he would rather ride in his Shirt all his Life, than suffer a Fellow-
Creature to lie in so miserable a Condition.

This incident of the poor Postilions lending Joseph his coat when the fastidious coach passengers would prefer to leave him
to die naked in a ditch is perhaps the most famous illustration of hypocrisy in all of Fielding. It alludes to the parable of the
Good Samaritan, in which respectable passersby, including a priest, refuse to help a waylaid Jewish traveler until finally a
Samaritan, member of a despised class, stops to clothe the traveler and tend his wounds; here the Postilion, like the
Samaritan before him, shames his betters by acting charitably despite his modest means. In addition to exposing the
hypocrisy of the passengers, this incident also touches on Josephs virtue, which verges on prudishness: he is so modest
that he would not approach the ladies in the coach while naked, even if it costs him his life.

Now believe me, no Christian ought so to set his Heart on any Person or Thing in this World, but that
whenever it shall be required or taken from him in any manner by Divine Providence, he may be able,
peaceably, quietly, and contentedly to resign it. At which Words one came hastily in and acquainted Mr.
Adams that his youngest Son was drowned.

Speaking to Joseph shortly before his marriage to Fanny, Mr. Adams returns to one of his frequent themes, that of the
regulation of the passions and submission to the divine will. The rationalistic side of Adams demands that people control even
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their spousal and familial affections, which are not sinful in themselves, so as not to repine when it should please God to take
the life of that spouse or family member. This doctrine is easier preached than practiced, however, as Mr. Adams himself will
demonstrate through his reaction, which is not at all resigned, to the supposed death of his son (who quickly turns out not to
have drowned after all). This episode alludes to the Old Testament story of Abraham and Isaac, in which God COMMANDS the
Patriarch to sacrifice his son and Abraham prepares to comply without protesting, only for an angel to stay his hand before he
can take the life of Isaac. In both cases God appears to demand the death of a beloved son but ultimately spares him; each case
represents a test of the fathers faith and resignation to providence, a test which Abraham passes but Adams fails. While Adams
certainly shows himself incapable of taking his own advice, however, many readers will decide that his spontaneous emotional
responses reveal him to be a better person than his rationalistic strictures seemed to imply.

The Pleasures of the World are chiefly Folly, and the Business of it mostly Knavery; and both, nothing
better than Vanity.

Thus does Mr. Wilson summarize the lesson of his lost youth spent debauching in London. Like Fielding himself, Wilson views
Vanity as one of mankinds leading flaws. Vanity has two related but distinct meanings, both of which are in play in the
novel. It can refer to the quality of being vain, of considering oneself better than one is; Mr. Adams is frequently vain in his high
estimation of his sermons, his teaching prowess, and his moral dignity. Vanity may also, however, refer to that which is trivial
and hollow: traditional moralists often refer to a life of frivolity and dissipation, such as that in which Wilson indulged in the
Pleasures of the World, as a life of vanity. The language of this passage bears the influence of a famous phrase that recurs in
the Old Testament book of Ecclesiastes: Vanity of vanities, all is vanity. Finally, Wilsons implicit designation of London as the
locus of vanity is consistent with Fieldings moral geography, whereby London represents the World in all its pride and
corruption and the countryside represents the classical ideal of virtue and contented solitude; the maturing Christian, either
Wilson or Joseph, must therefore progress from town to country, from the life of vice and vanity to the life of virtue and
retirement.

Chapter Wise Summary

Chapter I:

Fielding justifies the moral agenda of his novel by observing that Examples work more forcibly on the Mind than Precepts.
Inspiring stories about virtuous figures will have a better moral effect than the recital of maxims, because in them Delight is
mixed with Instruction, and the Reader is almost as much improved as entertained.

As instances of the positive moral influence of written accounts of exemplars of virtue, Fielding cites two recent publications,
in both cases sarcastically. The first is Samuel Richardsons Pamela (1740), an epistolary novel about a virtuous maid-servant;
Fielding detested the novel and the moral system implicit in it, and both Joseph Andrews and his previous effort in
fiction, Shamela, are spoofs of Richardsons novel. The second is the Apology for the Life of Colley Cibber (1740), the
autobiography of the scantly talented Poet Laureate who was despised by Fielding, Alexander Pope, and almost every other
contemporary writer of note.

Chapter II:

Fielding introduces Mr. Joseph Andrews, the Hero of our ensuing History. Joey, as Fielding and his characters call the hero at
this stage of the narrative, is the son of the low-born Mr. and Mrs. Andrewsand the brother of Pamela Andrews, the fictive
heroine of Samuel Richardsons famous novel. Fielding confesses that, despite his best genealogical efforts, he has been unable
to discover the ancestry of the Andrews family. Jokingly, he asks the reader to contemplate the possibility that the Andrews
family has no ancestors at all, though of course they must be descended from someone. Fielding is satirizing the social
convention whereby only families of high standing are considered to be families in the proper and exalted sense; accordingly,
a person who lacks ancestors of note is said, in this snobbish idiom, to lack ancestors altogether. From his comment on the
arbitrary nature of social distinctions, Fielding goes on to argue for the suitability of Joey as a hero: Would it not be hard, that
a Man who hath no Ancestors should therefore be renderd incapable of acquiring Honour, when we see so many who have no
Virtues, enjoying the Honour of their Forefathers?

Fielding summarizes Joeys early biography. At age ten he went to work in the household of Sir Thomas Booby, his initial job
being to scare birds; he failed at this task, however, because his sweet voice tended rather to attract them. His second job was
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to keep Sir Thomass hounds in line with a whip, but he failed at this task for a similar reason. His third job was to ride Sir
Thomass horses in races, which task he performed so well through his combination of athleticism and invulnerability to
corruption that Lady Booby noticed him and, when he was seventeen, began to employ him as a footman. Joeys new
responsibilities involved attending Lady Booby everywhere, including at church, where his singing voice and general good
conduct attracted the notice of the curate, Mr. Adams.

Chapter III:

Fielding introduces Mr. Abraham Adams, who besides being a clergyman is a master of several tongues both ancient and
modern and who exemplifies ingenuous good nature: He was generous, friendly and brave to an Excess; but Simplicity was his
Characteristic. He is fifty years old, and his income does not go far in providing for his wife and six children.

Mr. Adams quizzes Joey on his knowledge of the Bible and, in answer to a series of questions, learns that Joey has had some
formal education but is largely an autodidact. Mr. Adams, finding Joey so deserving of cultivation, attempts to secure Lady
Boobys permission to tutor him in Latin, by which means he might be qualified for a higher Station than that of Footman.
Lady Booby will not deign to speak with the curate, however, and Mr. Adams must deal with Mrs. Slipslop, her ladyships
pretentious waiting-gentlewoman. Mrs. Slipslop informs Mr. Adams that the Boobys are soon to depart for London and that
Lady Booby will not wish to leave her footman behind to receive Latin instruction. The family leaves within a few days, taking
Joey with them, but not before the latter has thanked Mr. Adams for his consideration of him.

Chapter IV:

In London, Joey falls under the influence of the big-city footmen, who succeed in getting him to change his hair but fail to make
him pick up any of their vices. He spends most of his free time on music, about which subject he becomes very learned. He
becomes less obviously devoted to his religion, but his Morals remained entirely uncorrupted. Lady Booby now flirts
incessantly with him and seeks opportunities of leaning on his arm when he accompanies her on her walks. Other ladies in
town begin to gossip about Lady Booby and her footman. The footman himself remains oblivious to the gossip and to his ladys
intentions, and Lady Booby finds that his restraint makes him even more attractive.

Chapter V:

Sir Thomas Booby dies, and Lady Booby accordingly confines herself to her room, ostensibly to mourn his passing but really to
play cards. On the seventh day of her mourning she sends for Joey and hints around at her amorous intentions. When he
does not catch her drift, she accidentally exposes her neck but fails to produce the desired result. When Lady Booby pretends
to worry whether it is safe for her to be alone in her bedroom with Joey, he vows that he would rather die a thousand Deaths
than commit any sexual transgression. Lady Booby finally dismisses him in frustration.

Chapter VI:

Joseph writes a letter to his sister Pamela, reporting on the strange behavior of Lady Booby since the death of Sir Thomas. He
attributes her baffling conduct to grief over the loss of her husband, despite the fact that he always thought that they did not
like each other. He then recounts the incident in Lady Boobys bedroom, remarking that if it had not been so great a Lady, I
should have thought she had had a mind to me. Joseph anticipates losing his place soon because of this falling-out, and in any
case he does not wish to remain in her employ if she is going to continue to be psychologically unstable.

After finishing this letter, Joseph walks downstairs and comes upon the hideous Mrs. Slipslop, whose physical person Fielding
describes in some detail. Like her mistress, Mrs. Slipslop is strongly attracted to Joseph, and she has tried in the past to entice
him with Tea, Sweetmeats, Wine, and many other Delicacies. Now Joseph accepts her offer of a glass of cordial, and they sit
down together for a chat. Mrs. Slipslop suggest that Joseph has been ungrateful in failing to return her affections; Joseph denies
this charge, angering Mrs. Slipslop, who springs at him with the intention of satisfying her lust and wrath. Lady Booby rings the
bell, however, in time to deliver Joseph from the clutches of the waiting-gentlewoman.

Chapter VII:

Fielding presents the different Operations of this Passion of Love in the gentle and cultivated Mind of the Lady Booby, from
those which it effected in the less polished and coarser Disposition of Mrs. Slipslop. Lady Booby, ashamed of her passion
for Joseph Andrews and detesting Joseph for having aroused it, determines to dismiss him from her service. She rings for
Slipslop and confers with her regarding Josephs character. They both agree that he is a wild young Fellow, with Slipslop
accusing him of all the usual vices, including that of having impregnated the chambermaid. Lady Booby sends Slipslop out of
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the room with an order to dismiss Joseph; she quickly calls Slipslop back, however, and reverses the order, then changes her
mind a couple more times before finally resolving to see the Boy, and examine him herself and then send him away for good.
While Lady Booby prepares for this last View of Joseph (for that she was most certainly resolved it should be), Fielding
apostrophizes Love, complaining of its power to make people deceive themselves.

Chapter VIII:

Fielding requests the readers sympathy on behalf of Lady Booby, pleading as an extenuating circumstance the great physical
beauty of Joseph Andrews, which Fielding now describes in some detail. Joseph is now twenty-one years old and possessed of
an Air, which to those who have not seen many Noblemen, would give an Idea of Nobility.

Joseph appears in all his splendor before Lady Booby, who accuses him of all the vices Mrs. Slipslop attributed to him. Joseph
is taken aback and insists that he has never offended more than Kissing. Lady Booby, having observed that kissing often leads
to other activities, asks him: [I]f I should admit you to such Freedom, what would you think of me? When Joseph resists all
her insinuations, she demands to know what standing he has, as her social inferior, to insist upon his own virtue when she has
cast aside her own. Joseph replies that he cannot see why, because I am a Man, or because I am poor, my Virtue should be
subservient to [a ladys] Pleasure. Lady Booby finally loses all patience when Joseph makes reference to the virtuous example
of his sister, Pamela Andrews, who has endured the lascivious attentions of Sir Thomass nephew while a maid-servant in his
household. She dismisses Joseph in a rage and then rings for Mrs. Slipslop.

Chapter IX:

Lady Booby orders Slipslop, who was listening at the door, to have the steward pay Joseph his wages and send him away.
Slipslop opines that if she had known how Lady Booby would react, she would never have reported Josephs behavior. After
sending Slipslop out of the room and then calling her back again, Lady Booby censures her for impertinence, whereupon Slipslop
says darkly, I know what I know. Lady Booby promptly fires her, and Slipslop departs the room, slamming the door behind
her. Lady Booby then begins to worry about her reputation, which she perceives is in the hands of Slipslop, who no longer has
any incentive to be discreet; after a time she calls Slipslop back again and reinstates her. She still regrets, however, that her
dear Reputation was in the power of her Servants, both Slipslop and Joseph; worse still is the fact that in reality she had not
so entirely conquered her Passion, so that she still vacillates regarding whether or not to reinstate Joseph.

Chapter X:

Joseph, who now understands the Drift of his Mistress, composes a letter to his sister Pamela. In it he reflects on a lesson
of Mr. Abraham Adams, that Chastity is as great a Virtue in a Man as in a Woman, and attributes his own dedication to virtue
to Mr. Adamss guidance and Pamelas letters. He marvels, What fine things are good Advice and good Examples!

Before he has finished his letter, Lady Boobys steward, Mr. Peter Pounce, summons him to receive his wages. Pounce has made
a lucrative racket out of holding back the servants wages, advancing them the wages he has held back, and charging outrageous
interest on the money he has advanced. Joseph, in order to acquire musical instruments, has had to ask Pounce for advances,
and his wages are much diminished as a result. He borrows some clothes from another servant, since he must leave his livery
behind, and sets out at seven oclock in the evening.

Chapter XI:

Joseph heads not to his parents home, nor even to his sister Pamelas, but back to Lady Boobys country seat, where he will
reunite with his sweetheart, Fanny Goodwill. Joseph and Fanny have known each other since early life and have long desired
to marry, though they have taken Mr. Adamss advice in putting off the day until a few Years Service and Thrift will have
augmented both their experience and their finances. In the past year they have not corresponded with each other, for the very
good reason that Fanny is illiterate.

A hailstorm forces Joseph to take shelter at an inn with a lion on its sign-post and a master named Timotheus. While Joseph is
waiting for the storm to pass, another traveller enters the inn, and Joseph recognizes him as the servant of a neighbor of Sir
Thomas. Once the storm has abated, Joseph and this traveller set out together.

Chapter XII:

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Joseph and his companion reach another inn at about two oclock in the morning; the other man stays at the inn for the night,
while Joseph proceeds on foot. Before long Two Ruffians confront him in a narrow lane and demand his money. When Joseph
asks to be able to keep a few shillings, they demand his clothes as well; when he objects that the clothes belong to a friend of
his, they attack him with pistol and stick. Joseph takes care of the stick handily but receives a blow on the head from the pistol.
The Ruffians go on beating the senseless Joseph, strip him naked, and leave him for dead.

Joseph regains consciousness just as a stage-coach approaches. The postillion hears Josephs groans, and the coach stops,
whereupon the passengers begin to debate whether or not to aid the injured man. A young lawyer advises helping him in order
that none of the passengers should be liable for negligence. Other passengers resist this advice, but the lawyer eventually
prevails. Joseph, however, perceives that there are ladies in the coach and refuses to approach unless someone gives him
sufficient Covering, to prevent giving the least Offense to Decency. No one wants to lend a garment to Joseph, until
the Postilion finally volunteers his great-coat.

The Two Ruffians stop the coach and demand the passengers money, which they promptly receive. As the coach moves on,
one of the gentlemen lightens the mood by telling dirty jokes that offend no one but Joseph. They arrive at an inn,
where Betty the servant-maid prepares a bed for him. The coachman fetches a Surgeon who, upon learning that Joseph is a
poor foot Passenger and not a gentleman, goes back to bed.

In the morning the master of the inn, Mr. Tow-wouse, orders Betty to give Joseph one of Mr. Tow-wouses own shirts. Mrs.
Tow-wouse objects to this proceeding, however, and upbraids both her husband and the servant-girl. While Mr. and Mrs. Tow-
wouse are arguing, Betty give Joseph a shirt belonging to the Hostler, who is one of her sweethearts. The Surgeon also visits
Joseph and pronounces his wounds likely mortal.

Chapter XIII:

Mr. Tow-wouse and the Surgeon visit Joseph Andrews, who tells them the story of his encounter with the Two Ruffians. Joseph
then asks the Surgeon about the prospects for his recovery, and the Surgeon advises him to settle his worldly affairs. Mr. Tow-
wouse accordingly sends for Mr. Barnabas, the clergyman, who approaches Josephs room only after having taken Tea with the
landlady and Punch with the landlord. Mr. Barnabas then goes back for another drink and returns to find Joseph apostrophizing
his sister, Pamela Andrews, and extolling the value of sexual purity. The clergyman concludes that Joseph is delirious and
excuses himself from further interference.

The Surgeon returns and declares that Joseph is in fact not delirious but in command of his senses. They send for Mr. Barnabas
again, and the clergyman urges Joseph to repent of all his sins and resign himself to leaving the world. Joseph is generally
compliant but hedges when it comes to Fanny Goodwill, saying that he will have difficulty resigning himself to the divine will if
the divine will proposes to separate him from his beloved. He agrees, however, to divest himself of all human Passion, and fix
his Heart above, if the clergyman will only help him to do it. Mr. Barnabas recommends Prayer and Faith. He then urges
Joseph to forgive the Two Ruffians as a Christian ought, but he gives no further specifics as to what the Christian manner of
forgiveness entails. Mr. Barnabas soon wraps up the visit and returns to the parlor, where the punch has been waiting for him.
There he reports to Mrs. Tow-wouse that Joseph has expressed a desire for tea; Mrs. Tow-wouse does not want to spare it,
however, so Betty the chambermaid goes out to buy some tea for Joseph herself.

Chapter XIV:

In the evening, a grave Person arrives at the inn and sits down by the kitchen fire. There he hears Mrs. Tow-wouse and Betty
discussing their injured guest, whom Betty now believes to be a gentleman on the basis of his fine skin. The grave person feels
compassion for the injured guest and questions the Surgeon about him. The Surgeon uses medical jargon to rebuff the inquiries
of the grave person, who claims to have some little expertise in surgery and whom the Surgeon seems to consider impudent.

Meanwhile, some young men from the neighborhood arrive at the inn with one of the Ruffians. Betty informs Joseph, who asks
her to look out for a token he received from Fanny, a piece of gold with a ribbon. A search of the Ruffian reveals the gold piece,
which Betty conveys to an ecstatic Joseph. Some other young men recover a bundle of Josephs clothes in a ditch, and the grave
person, recognizing the livery as that of the Booby household, goes upstairs to meet the injured guest. A happy reunion thus
takes place between Joseph and Mr. Abraham Adams.

Back in the kitchen, the mob that apprehended the Ruffian finds that it has no real evidence to prove his involvement in the
robberies. Mr. Barnabas and the Surgeon argue over whether the recovered goods belong to the lord of the manor or to some
other party. The Ruffian nearly makes allies of Barnabas, the Surgeon, and Tow-wouse, but Betty intervenes to inform everyone

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of the gold piece, which would seem to prove the Ruffians guilt. They resolve to keep the Ruffian overnight and take him to
the Justice in the morning.

Chapter XV:

Betty tells Mrs. Tow-wouse that Joseph, who appears to be on familiar terms with Mr. Adams, may be a greater Man than
they took him for; as a result, Mrs. Tow-wouse begins to feel better about having extended charity to him. Mr. Barnabas and
the Surgeon approach Joseph, wanting to use his gold piece as evidence against the Ruffian, but Joseph will not give it up and
Mr. Adams supports him.

Mr. Adams explains to Joseph that he is on his way to London to publish some volumes of sermons. He encourages Joseph to
take a light meal, which Joseph accordingly does. In the morning Mr. Barnabas and the Surgeon come to the inn to help convey
the Ruffian before the Justice. They are both quite zealous in bringing the Ruffian to justice, and in order to account for their
zeal Fielding explains that these two gentlemen have long competed to perform the function of lawyer in the parish, since there
is no proper lawyer in it. Fielding concludes the chapter with an apostrophe to vanity, eventually admitting that the reason for
this passage is merely to lengthen out a short Chapter.

Chapter XVI:

The Ruffian turns out to have escaped during the night. The Constable who was guarding him comes under suspicion of having
aided his escape, not so much because his name is Tom Suckbribe as because, not having been concerned in the taking of the
Thief, he could not have been entitled to any part of the Reward, if he had been convicted.

Joseph rises but still is not well enough to travel. Mr. Adams, having bought meals for himself and Joseph, is running low on
money and attempts to borrow three guineas from Mr. Tow-wouse, leaving as a pledge a volume of his sermons. The landlord
declines this plan, disappointing Mr. Adams, who has run out of ideas. Mr. Adams goes off to smoke his pipe, and meanwhile
a coach and six drives up, carrying a young fellow and a coachman named Jack, who insult each other lustily as they settle
themselves in the inn. Meanwhile, the footmen from the coach go to the kitchen, where they discuss having seen Parson
Adams smoaking his Pipe in the Gallery. Mr. Barnabas, overhearing them, decides to sit down Mr. Adams to a bowl of punch,
now that he knows him to be a fellow man of the cloth. Mr. Adams accepts the invitation, and the conversation comes around
to the volumes of sermons that he wishes to publish. Mr. Barnabas warns him that he knows from experience that no one read
sermons anymore.

When the punch is gone, Mr. Adams goes upstairs to check on Joseph, who is sitting down to a loin of mutton. The Surgeon
enters and attributes Josephs recovery to the powers of a medicine that, as it happens, Joseph has not touched. Joseph takes
another three days to recover from his wounds, then resolves to set off again the next day, urging Mr. Adams to continue on
to London. Mr. Adams still expects great things of his sermons, so he agrees to Josephs plan. In the evening they repair to
Josephs room and spend a considerable time in Prayer and Thanksgiving.

Chapter XVII:

Mr. Barnabas sends for Mr. Adams so that he can meet a London Bookseller who has recently arrived. Mr. Adams is delighted
with the opportunity to make some cash without leaving the inn. The Bookseller does not indulge Mr. Adams for very long,
explaining that most sermons do not sell well and concluding, I had rather be excused. He offers, however, to take the
manuscript to London with him and send his opinion of it to Mr. Adams shortly. They go on to discuss the publishing trade and
which genres sell the best, and the Bookseller remarks that, far from objecting to the publication of sermons per se, he is happy
to publish the abnormally lucrative sermons of the Methodist George Whitefield. Mr. Adams and Mr. Barnabas then argue over
the merits and demerits of Whitefield: Barnabas finds Whitefields advocacy of clerical poverty offensive, whereas Adams
shares Whitefields objection to the Luxury and Splendour of the Clergy but cannot accept the detestable Doctrine of Faith
against Good Works. Adams imagines a soul in Whitefields scheme appearing before God on the last day and pleading, Lord,
it is true I never obeyed one of thy Commandments, yet punish me not, for I believe them all; he even suggests that a virtuous
and good Turk, or Heathen, are more acceptable in the sight of their Creator, than a vicious and wicked Christian, tho his Faith
was as perfectly orthodox as St. Pauls himself. The Bookseller, suspecting that Mr. Adamss doctrines would not sit well with
the bishops and thereby would suffer on the market, once again begs to be excused from the project. Mr. Adams goes on to
express further low-church opinions on the nature and purpose of Sunday service, whereupon Mr. Barnabas rings for the bill,
eager to flee the company of such a heterodox clergyman.

A great commotion erupts somewhere else in the inn: Mrs. Tow-wouse, Mr. Tow-wouse, and Betty, all lifting up their Voices
together. The landlady is heard to accuse her husband of abus[ing] my Bed, my own Bed, with my own Servant; she also
7
threatens violence against Betty and calls her a derogatory name that Fielding makes a great show of rendering, delicately, as
She Dog. Betty objects to the slur, and Mrs. Tow-wouse brandishes the spit; Mr. Adams, however, intervenes and prevents
the assault.

Chapter XVIII:

Fielding enumerates Bettys personality attributes, which include Good-nature, Generosity and Compassion, but also
lasciviousness. He then summarizes her sexual history, which is less promiscuous than it might have been. She has been
attracted to Joseph since his arrival, but just today she made a move, which Joseph rebuffed. Lustful and wrathful, Betty
considered stabbing Joseph, devouring him with Kisses, and committing suicide; without resolving these issues, she went to
her masters room to make his bed and, finding him there, received his advances in lieu of Josephs. Mrs. Tow-wouse walked
in at the end of the encounter, and the uproar of the last chapter ensued. Mrs. Tow-wouse discharges Betty and brings her
husband back under her thumb.

Wuthering Heights
Reference:

These lines have been taken from the Novel Wuthering Heights written by Emily Bronte.

Context: Wuthering Heights is not a straightforward love story. But this is the story one of revenge. It follows the life of
Heathcliff, a mysterious gypsy-like person, from childhood (about seven years old) to his death in his late thirties. Heathcliff
rises in his adopted family and then is reduced to the status of a servant, running away when the young woman he loves
decides to marry another. He returns later, rich and educated, and sets about gaining his revenge on the two families that he
believed ruined his life.
Explanation

I am now quite cured of seeking pleasure in society, be it country or town. A sensible man ought to find sufficient
company in himself. (Lockwood, Page 28)

Although Lockwood is not a central character in the novel's main plot, his need to be alone reflects Emily Bront's preoccupation
with solitude. Appreciation for solitude is what separates the people who live at Wuthering Heights from the civilized, quiet
world of the Lintons and Thrushcross Grange. In fact, the characters who most like to be aloneHeathcliff, Catherine Earnshaw,
and Hindleyare also the characters who are most in touch with their own passionate emotions, for better or for worse. Bront
seems to suggest that 'finding sufficient company in [one]self' is the only way a person can truly know who they are and what
they want.

We dont in general take to foreigners here, Mr. Lockwood, unless they take to us first. (Ellen Dean, Page 46)

Ellen's early admonition evokes specific incidents in the novelfrom Lockwood's disastrous first encounter with Heathcliff, to
his eventual decision to move to London because he can no longer bear the unpleasant atmosphere of the moors. However, it
also reflects the extreme insularity of this society more generally. The novel focuses on two families, the Earnshaws and the
Lintons, and the people in these families only interact socially with their servants and with each other. The introduction of
Heathcliffa "foreigner," both in the sense that he is not from the moors, and in the sense that he is not ethnically English
proves to be a violent disruption to this isolated society.

I wish I had light hair and a fair skin, and was dressed, and behaved as well, and had a chance of being as rich as
he will be! (Heathcliff, Page 56)

Heathcliff's outlook on life as a young boy contrasts sharply with the hardened, stoic worldview he will adopt later in life. In a
rare moment of emotional earnestness, Heathcliff admits that he envies Edgar Linton. Some of the reasons for this envy are
not surprisinglike many characters in Victorian novels, Heathcliff aspires to be improve his financial situation. However, his
desire for 'light hair and a fair skin' suggests a veiled critique of English attitudes toward foreigners. Heathcliff's origins are
uncertain, but people often call him a "gipsy," which suggests he has Eastern European features. This would have prevented
him from moving up in society at this time, even if he did amass as much wealth as Edgar Linton (as indeed he does later in the
novel). Although Heathcliff descends into amorality as he gets older, Bront suggests that this is not entirely his faulthis
rejection from society contributed to this outcome as much Heathcliff's own choices.
8
I perceive that people in these regions acquire over people in towns the value that a spider in a dungeon does over
a spider in a cottage, to their various occupants; and yet the deepened attraction is not entirely owing to the
situation of the looker-on. They do live more in earnest, more in themselves, and less in surface, change, and
frivolous external things. (Lockwood, Page 61)

The rugged, inspiring beauty of the Yorkshire moors is one of Wuthering Heights's central motifs. Just as the countryside
inspires wildnessbut also intimacybetween Cathy and Heathcliff, Lockwood suggests that the rural lifestyle encourages
people to be more reflective and in touch with their feelings. Many Victorian authors, including Thomas Hardy and George Eliot,
wrote novels with rustic settings. However, Emily Bront is unique in her tendency to associate the natural world with powerful,
atavistic emotion. Although the countryside's ability to bring out people's deepest selves can be frightening, Bront suggest s
that spending time in the country is necessary to have a full and passionate life.

My love for Linton is like the foliage in the woods: time will change it, Im well aware, as winter changes the trees.
My love for Heathcliff resembles the eternal rocks beneath: a source of little visible delight, but necessary. Nelly, I
am Heathcliff! Hes always, always in my mind: not as a pleasure, any more than I am always a pleasure to myself,
but as my own being. (Catherine Earnshaw, Page 82)

Cathy's oft-quoted declaration of love for Heathcliff incorporates many of the novel's important themes and stylistic qualities.
When she likens her relationships with Linton and Heathcliff to different aspects of the natural world, Cathy reinforces the
connection between nature and deep emotion that Bront introduced earlier in the novel. By having Cathy refer to herself and
Heathcliff as the same being, Bront further develops some questions about the self that she addresses elsewhere in Wuthering
Heights. She raises the question of how far the bounds of the self extendcan two people really be one person, as Cathy
suggests? She also refers to the question of how one gets to know oneself. When Cathy talks about herself, she is oddly
dissociatedshe describes herself using the same terms and syntax she would use to describe another person. This suggests
that we can only understand our minds by spending time with ourselvesthe same way we would get to know any other
person.

I surveyed the weapon inquisitively. A hideous notion struck me: how powerful I should be possessing such an
instrument! I took it from his hand, and touched the blade. He looked astonished at the expression my face assumed
during a brief second: it was not horror, it was covetousness. (Isabella Linton, Page 140)

Isabella's fascination with the knife illustrates Bront's interest in the relationship between gender and power. Up until now,
Isabella has been a somewhat passive character; she rarely thought for herself and was always under the influence of Edgar or
Heathcliff. Her realization of the power she would get from wielding a weapon foreshadows her violent argument with
Heathcliff later in the novel. Although Heathcliff wields the knife in that fight, Isabella's choice to leave him is the first instance
in which she truly thinks for herself. Isabella's shifting relationship with power reflects Bront's subversion of traditional gender
rolesthe knife is a very violent, phallic object, and Isabella's choice to live alone and raise a son by herself would have been
highly unusual in the nineteenth century.

No, no! Even if he had doted on me, the devilish nature would have revealed its existence, somehow. Catherine had
an awfully perverted taste to esteem him so dearly, knowing him so well Monster! would that he could be blotted
out of creation, and out of my memory! (Isabella Linton, Page 172)

The characters in Wuthering Heights repeatedly refer to Heathcliff's evil "nature." Most of them seem to assume that people
are born either good or bad, and that individuals have little control over their personalities or their actions. This worldview
helps explain the characters' preoccupation with physical appearances. For example, Heathcliff isn't allowed to stay at
Thrushcross Grange as a child because of his dark coloration, and as an adult, Heathcliff scorns his son Linton because of the
boy's delicate, fair appearance. For Bront, personality is just as immutable as physical appearance, and there is usually a
correlation between the two.

And the best of it is, Hareton is damnably fond of me! Youll own that Ive outmatched Hindley there. If the dead
villain could rise from his grave to abuse me for his offsprings wrongs, I should have the fun of seeing the said
offspring fight him back again, indignant that he should dare to rail at the one friend he has in the world!
(Heathcliff, Page 217)

Here, Heathcliff's utter lack of empathy becomes clear, demonstrating how much he has changed since Catherine Earnshaw's
death. Not only does he take a contemptuous attitude toward Hareton and his admiration, but he can only think of his

9
relationship with Hareton in terms of how it would affect the long-dead Hindley. This shows Heathcliff's morbid fixation with
the past; he continues to dwell on the cruel treatment he received from Hindley even after the older man has died and Heathcliff
exacted his revenge by becoming the owner of Wuthering Heights. This personality trait will crop up again when Heathcliff
continues to nurse his hatred for the Lintons after Edgar has died.

Let him dare to force you ... Theres law in the land, thank God! there is; though we be in an out-of-the-way place.
Id inform if he were my own son: and its felony without benefit of clergy! (Ellen Dean, Page 274)

This is one of the only times that a character in Wuthering Heightsrefers to the people and customs of the world outside
Wuthering Heights and the Grange. Besides passing references to Gimmerton, the nearest town, the characters seem to live in
complete isolation, which helps to explain their passionate relationships and convoluted family trees. The fact that Ellen thinks
of seeking help from the outside world indicates both the direness of the situation when Heathcliff imprisons her and Cathy at
Wuthering Heights, as well as her common sense relative to the other characters. This contrasts sharply with Cathy's
personality; despite her liveliness, the young girl cannot conceive of a life outside her own insular community, and her greatest
ambition as a child was only to see the other side of the hill on the edge of the Grange.

Linton is all I have to love in the world, and though you have done what you could to make him hateful to me, and
me to him, you cannot make us hate each other. And I defy you to hurt him when I am by, and I defy you to frighten
me! (Cathy Linton, Page 284)

Cathy's defiant stand against Heathcliff's attempts to control her contrasts with the fear and subservience he inspires in virtually
everyone else in the novel: Hareton, Joseph, Linton, and even Lockwood. Cathy Linton draws her strength and passion from
love, unlike Heathcliff and Catherine Earnshaw, who are driven by deep, animalistic urges and only seem to care about
themselves and each other. Because of this, she represents humanity and civilization in this noticeably wild, cruel society. Her
fierce determination to love someoneeven if he may not deserve itspeaks to the absolute necessity of love in the human
psyche.

"It would degrade me to marry Heathcliff now; so he shall never know how I love him: and that, not because he's
handsome, Nelly, but because he's more myself than I am." (Catherine, Chapter 9, p. 99)

Catherine Earnshaw is explaining to Mrs. Dean, Nelly, why she can never marry Heathcliff. She would love to marry him, but
because her brother, Hindley, has given Heathcliff the status of servant, she cannot. Heathcliff only hears her say, "It would
degrade me to marry Heathcliff now," and does not hear her professes her love for him. He, at these words, leaves Wuthering
Heights and does not return for three years. Catherine feels that Heathcliff and she are soul mates; people who are destined
to be a part of each other's lives. Instead she marries Edgar Linton, because he has social position and money. She hopes she
can uses both of these attributes to help Heathcliff become a successful man.

Little does she know her actions will taint Heathcliff's entire life and ruin her life. She does not know of Heathcliff's plot for
revenge against Edgar, because he married Catherine and not Heathcliff.

"Whatever he may pretend, he wishes to provoke Edgar to desperation; he says he has married me on purpose to
obtain power over him; and he shan't obtain it-I'll die first!" (Isabella Heathcliff, Chapter 14, p.172)

Isabella is explaining to Mrs. Dean the real reason Heathcliff married her. The eighteen year-old girl thought she was marrying
the man of her dreams, only to find she had entered into a nightmare of a marriage. Heathcliff didn't love her, in fact, he
despised her. He only wanted to cause heartache and pain for Edgar Linton, Isabella's brother. She is defiant and pledges she
will die before she gives Heathcliff the pleasure of power over her brother, unfortunately that is exactly what happens. She
dies thirteen years after having Heathcliff's son, Linton. She gave guardianship of the boy to her brother, but Heathcliff claims
his son. He uses the boy to gain control over Edgar's land by having Linton marry Edgar's daughter.

"About twelve o'clock, that night, was born the Catherine you saw at Wuthering Heights: a puny, seven months'
child; and two hours after the mother died, having never recovered sufficient consciousness to miss Heathcliff, or
know Edgar." (Mrs. Dean, Chapter 16, p. 184)

Mrs. Dean is explaining to Mr. Lockwood the fate of Catherine Linton. She died on the same day she and Heathcliff had a
tumultuous reunion. She blamed Heathcliff and Edgar for her weakened health, because they had both broken her heart.

10
After their argument was over, they held each other and professed their love for each other. She would not let him leave
even as her husband returned home. She was unconscious by the time Edgar found her in Heathcliff's arms. He returned her
to her husband, but he would not leave the property till the next morning, after he found out she was dead.

"The guest was now the master of Wuthering Heights: he held firm possession, and proved to the attorney-who, in
his turn, proved it to Mr. Linton-that Earnshaw had mortgaged every yard of land he owned, for cash to supply his
mania for gaming; and he, Heathcliff, was the mortgagee." (Mrs. Dean, Chapter 17, p. 207)

Mrs. Dean explains how Heathcliff gained control of Hareton's inheritance. Hareton upon his father, Hindley's, death should
have inherited Wuthering Heights and all its lands. Instead, Heathcliff received it all because he held the mortgage to it. He
used Hindley's weakness, after the death of his wife, to gain control of Wuthering Heights. He eventually used his wiles to
gain control of Thrushcross Grange also, by having his son will him all his and his wife's lands. Because his son had married
Edgar Linton's daughter, he succeeded in gaining some revenge against Edgar for marrying Catherine Earnshaw.

"My design is as honest as possible. I'll inform you of its whole scope," he said. "That the two cousins may fall in
love, and get married." (Heathcliff, Chapter 21, p. 234)

Heathcliff is explaining to Mrs. Dean his grand plan to have Catherine Linton and Linton Heathcliff marry. Catherine is the
daughter of his true love, Catherine Earnshaw and her husband Edgar Linton. Linton is Heathcliff's son with his wife, Isabella
Linton, Edgar's sister. By having the two marry he has the chance to have control over Edgar's house and land after he dies.

"Papa wants us to be married," he continued, after sipping some liquid. "And he knows your papa wouldn't let us
marry now; and he's afraid of my dying, if we wait; so we are to be married in the morning, and you are to stay
here all night; and, if you do as he wishes, you shall return home next day, and take me with you." (Linton,
Chapter 27, p. 291)

Linton is explaining to Catherine Linton and Mrs. Dean why they have been taken prisoner at Wuthering Heights. Heathcliff is
afraid his plan to become the master over Edgar's possessions will be thwarted if Linton dies. The young man is very ill and
does die shortly after his marriage to Catherine.

The promise of returning Catherine to her dying father the next day is a false promise. He is determined to cause further
misery for Catherine and Edgar by keeping them apart. Heathcliff does not let Mrs. Dean have her freedom for four days.
Catherine, with Linton's help, escapes in time to see her father before he dies.

"In every cloud, in every tree-filling the air at night, and caught by glimpses in every object, by day I am
surrounded with her image!" (Heathcliff, Chapter 33, p. 342)

Heathcliff is explaining to Mrs. Dean how everything reminds him of his beloved Catherine. He is lost without her in his world.
He cannot stand to look at the most ordinary of objects, because they remind him of her. He especially cannot bear to look at
Hareton, Catherine's nephew, due to his resemblance to his aunt. He does not know how much more he can stand of being in
a world that causes him so much pain. But he does tell Mrs. Dean he does not wish to die. He is a tormented man living with
the memory of his lost love.

"The lattice, flapping to and fro, had grazed one hand that rested on the sill; no blood trickled from the broken
skin, and when I put my fingers to it, I could doubt no more: he was dead and stark!" (Mrs. Dean, Chapter 34, p.
353)

Mrs. Dean is recounting to Mr. Lockwood how she found Heathcliff dead in his bed. She thought he was outside wandering on
the moor in the rain, but instead she found his stiff dead body lying in his bed. Heathcliff had been acting strangely for some
time, which baffled the other members of the household. He would appear happy one moment and then the next he would
be angry at all of them for no apparent reason.

His death brought about some changes in the household. Catherine and Hareton were once again in possession of what was
rightfully theirs and the two of them had become engaged to be married. The household, except for Joseph, seemed happier
and more relaxed than ever.
11
He got onto the bed, and wrenched open the lattice, bursting, as he pulled at it, into an uncontrollable passion of
tears. "Come in! come in!" he sobbed. "Cathy, do come. Oh, do--once more! Oh! my heart's darling! hear me this
time--Catherine, at last!" (45).

Whether or not Catherine's ghost appears to Lockwood the night he stays at Wuthering Heights or if it's just a nightmare is
ambiguous. It is apparent, however, that Heathcliff senses that Catherine's ghost appears from time to time. This becomes
evident as the novel progresses. Despite obtaining wealth and physical stature, Heathcliff remains haunted by the past and his
longing for Catherine. It's a haunting he requests and one that causes a frenzied desire for revenge on all whom he suspects of
not allowing his and Catherine's love to gain its fullness while Catherine lived.

I really thought him not vindictive--I was deceived, completely, as you will hear (54).

Nelly begins her tale by foreshadowing upcoming events. She gives reference to Heathcliff's appetite for revenge, which
dominates the novel. She also hints at her own lack of good judgment, something from which she suffers throughout the tale.

"I'm trying to settle how I shall pay Hindley back. I don't care how long I wait, if I can only do it, at last. I hope he
will not die before I do!...I only wish I knew the best way! Let me alone, and I'll plan it out: while I'm thinking of that,
I don't feel pain." (65).

Nelly gives insight to the depths of Heathcliff's antipathy toward Hindley and foreshadows his impending doom. Hindley's ruin
does not, however, give Heathcliff happiness or satisfaction. In fact, his vengeful acts make him only more miserable and evil.

I was very sad for Hindley's sake; he had room in his heart for only two idols--his wife and himself--he doted on
both, and adored one, and I couldn't conceive how he would bear the loss (73).

Most consider Heathcliff the obsessive lover, but Hindley has much in common with his nemesis. Hindley never recovers from
his wife's death, becoming a drunk and a gambler. It is this loss that allows Heathcliff to gain his revenge.

At fifteen she was the queen of the country-side; she had no peer: and she did turn out a haughty, headstrong
creature! I own I did not like her (75).

Nelly Dean's narration is extremely critical of Catherine Earnshaw, and this passage explains why. It is important to remember
that Nelly and Catherine are nearly the same age, and it's quite possible Nelly is jealous of Catherine's popularity, therefore
skewing the narration. It is also jealousy that causes Hindley to initially hate Heathcliff.

But Mr. Heathcliff forms a singular contrast to his abode and style of living. He is a dark-skinned gypsy in aspect,
in dress and manners a gentleman, that is, as much a gentleman as many a country squire: rather slovenly,
perhaps, yet not looking amiss with his negligence, because he has an erect and handsome figureand rather
morose. Possibly, some people might suspect him of a degree of under-bred pride; I have a sympathetic chord
within that tells me it is nothing of the sort: I know, by instinct, his reserve springs from an aversion to showy
displays of feelingto manifestations of mutual kindliness. Hell love and hate, equally under cover, and esteem it
a species of impertinence to be loved or hated againNo, Im running on too fastI bestow my own attributes
over-liberally on him.

This passage, from the first chapter and spoken in the voice of Lockwood, constitutes the first of many attempts in the book to
explain the mysterious figure of Heathcliff, his character and motivations. Outside of the novel, when critics and readers
discuss Wuthering Heights, the same question arises repeatedly. How is Heathcliff best understood? We see here that the
question of his social positionis he a gentleman or a gypsy?causes particular confusion.

The situation of the reader, just beginning to enter into Wuthering Heights as a novel, parallels the situation of Lockwood, just
beginning to enter into Wuthering Heights as a house. Like Lockwood, readers of the novel confront all sorts of strange scenes
and charactersHeathcliff the strangest of alland must venture interpretations of them. Later illuminations of Heathcliffs
personality show this first interpretation to be a laughable failure, indicating little beyond Lockwoods vanity. Lockwood, in
claiming to recognize in Heathcliff a kindred soul, whom he can understand by instinct, makes assumptions that appear
absurd once Heathcliffs history is revealed. Lockwood, while he rather proudly styles himself a great misanthrope and hermit,
in fact resembles Heathcliff very little. In the many misjudgments and blunders Lockwood makes in his early visits to Wuthering

12
Heights, we see how easy it is to misinterpret Heathcliffs complex character, and the similarity between our own position and
Lockwoods becomes a warning to us as readers. We, too, should question our instincts.

The ledge, where I placed my candle, had a few mildewed books piled up in one corner; and it was covered with
writing scratched on the paint. This writing, however, was nothing but a name repeated in all kinds of characters,
large and smallCatherine Earnshaw, here and there varied to Catherine Heathcliff, and then again to Catherine
Linton. In vapid listlessness I leant my head against the window, and continued spelling over Catherine
EarnshawHeathcliffLinton, till my eyes closed; but they had not rested five minutes when a glare of white
letters started from the dark, as vivid as spectresthe air swarmed with Catherines; and rousing myself to dispel
the obtrusive name, I discovered my candle wick reclining on one of the antique volumes, and perfuming the place
with an odour of roasted calf-skin.

In this passage from Chapter III, Lockwood relates the first of the troubling dreams he has in Catherines old bed. The quotation
testifies to Lockwoods role as a reader within the novel, representing the external readerthe perplexed outsider determined
to discover the secrets of Wuthering Heights. Upon Lockwoods first arrival at the house, no one answers his knocks on the
door, and he cries, I dont careI will get in! The same blend of frustration and determination has marked the responses of
many readers and critics when facing the enigmas of Wuthering Heights.

The connection between Lockwood and readers is particularly clear in this passage. Catherine first appears to Lockwood, as she
does to readers, as a written wordher name, scratched into the paint. When Lockwood reads over the scraped letters, they
seem to take on a ghostly powerthe simile Bront uses is that they are as vivid as spectres. Ghosts, of course, constitute a
key image throughout the novel. In this instance, it is crucial to note that what comes back, in this first dream, is not a dead
person but a name, and that what brings the name back is the act of reading it. We see that Bront, by using Lockwood as a
stand-in for her readers, indicates how she wants her readers to react to her book; she wants her words to come vividly before
them, to haunt them.

In this passage, one also can see an active example of Wuthering Heightss ambiguous genre. The work is often compared to
the Gothic novels popular in the late eighteenth century, which dealt in ghosts and gloom, demonic heroes with dark glints in
their eyes, and so on. But Bront wrote her book in the 1840s, when the fashion for the Gothic novel was past and that genre
was quickly being replaced as the dominant form by the socially conscious realistic novel, as represented by the work of Dickens
and Thackeray. Wuthering Heights often seems to straddle the two genres, containing many Gothic elements but also obeying
most of the conventions of Victorian realism. The question of genre comes to a head in the appearances of ghosts in the novel.
Readers cannot be sure whether they are meant to understand the ghosts as nightmares, to explain them in terms of the
psychology of the characters who claim to see them, or to take them, as in a Gothic novel, as no less substantial than the other
characters. Bront establishes this ambiguity carefully. The spectres here are introduced within a simile, and in a context that
would support their interpretation as a nightmare. Similarly subtle ambiguities lace Lockwoods account, a few pages later, of
his encounter with the ghost of Catherine.

It would degrade me to marry Heathcliff now; so he shall never know how I love him; and that, not because hes
handsome, Nelly, but because hes more myself than I am. Whatever our souls are made of, his and mine are the
same, and [Edgars] is as different as a moonbeam from lightning, or frost from fire.

Catherines speech to Nelly about her acceptance of Edgars proposal, in Chapter IX, forms the turning-point of the plot. It is at
this point that Heathcliff leaves Wuthering Heights, after he has overheard Catherine say that it would degrade her to marry
him. Although the action of Wuthering Heights takes place so far from the bustle of society, where most of Bronts
contemporaries set their scenes, social ambition motivates many of the actions of these characters, however isolated among
the moors. Catherines decision to marry Edgar Linton out of a desire to be the greatest woman of the neighbourhood
exemplifies the effect of social considerations on the characters actions.

In Catherines paradoxical statement that Heathcliff is more myself than I am, readers can see how the relation between
Catherine and Heathcliff often transcends a dynamic of desire and becomes one of unity. Heterosexual love is often, in
literature, described in terms of complementary oppositeslike moonbeam and lightning, or frost and firebut the love
between Catherine and Heathcliff opposes this convention. Catherine says not, I love Heathcliff, but, I amHeathcliff. In
following the relationship through to its painful end, the novel ultimately may attest to the destructiveness of a love that denies
difference.

I got the sexton, who was digging Lintons grave, to remove the earth off her coffin lid, and I opened it. I thought,
once, I would have stayed there, when I saw her face againit is hers yethe had hard work to stir me; but he
13
said it would change, if the air blew on it, and so I struck one side of the coffin loose, and covered it upnot
Lintons side, damn him! I wish hed been soldered in leadand I bribed the sexton to pull it away, when Im laid
there, and slide mine out too. Ill have it made so, and then, by the time Linton gets to us, hell not know which is
which! You were very wicked, Mr. Heathcliff! I exclaimed; were you not ashamed to disturb the dead?

When Heathcliff narrates this ghoulish scene to Nelly in Chapter XXIX, the book enters into one of its most Gothic moments.
Heathcliff, trying to recapture Catherine herself, constantly comes upon mere reminders of her. However, far from satisfying
him, these reminders only lead him to further attempts. Heathcliffs desire to rejoin Catherine might indeed explain the
majority of Heathcliffs actions, from his acquisition of Thrushcross Grange and Wuthering Heights, to his seizure of power over
everyone associated with Catherine.

He tries to break through what reminds him of his beloved to his beloved herself by destroying the reminder, the intermediary.
Readers can see, in the language he uses here, this difference between the objects that refer to Catherine and Catherine herself.
When he opens her coffin, he does not say that he sees her again. Instead, he says, I saw her face again, showing that her
corpse, like her daughter or her portrait, is a thing she possessed, a thing that refers to her, but not the woman herself. It seems
that, in this extreme scene, he realizes at last that he will never get through to her real presence by acquiring and ruining the
people and possessions associated with her. This understanding brings Heathcliff a new tranquility, and from this point on he
begins to lose interest in destruction.

That, however, which you may suppose the most potent to arrest my imagination, is actually the least, for what
is not connected with her to me? and what does not recall her? I cannot look down to this floor, but her features
are shaped on the flags! In every cloud, in every treefilling the air at night, and caught by glimpses in every
object by day, I am surrounded with her image! The most ordinary faces of men and womenmy own features
mock me with a resemblance. The entire world is a dreadful collection of memoranda that she did exist, and that I
have lost her!

In this passage from Chapter XXXIII, Heathcliff confesses to Nelly his inner state. What Nelly calls Heathcliffs monomania on
the subject of his departed idol has now reached its final stage of development. In the passage in which Heathcliff describes
his excavation of Catherines grave, the reader gains insight into Heathcliffs frustration regarding the double nature of all of
Catherines memoranda. While Catherines corpse recalls her presence, it fails to substitute fully for it, and thus recalls her
absence. Heathcliffs perception of this doubling comes through in his language. The many signs of Catherine show that she
did exist but that I have lost her. In the end, because his whole being is bound up with Catherine, Heathcliffs total set of
perceptions of the world is permeated by her presence. Consequently, he finds signs of Catherine in the entire world, and
not just in localized figures such as her daughter or a portrait of Catherine.

Tess dUrbervilles
Reference:

These lines have been taken from the Novel Tess of the dUrbervilles written by Thomas Hardy.

Context: The Durbeyfields learn that they are descendents of the d'Urbervilles, an ancient and distinguished family. Tess
is sent to claim kin with them, in hopes that they will assist her family in their poverty. She meets Alec d'Urberville, who is not
really a d'Urberville at all since his family only attaches on the last name, and when she does not respond to his romantic
gestures, he rapes her one night as she sleeps. Tess is left scarred and impregnated by the experience, and she tries to escape
her past by going to Talbothays. There she meets Angel Clare, with whom she falls in love and marries, but her guilt causes her
to reveal all her past indiscretions to him. Hearing this, Angel rebuffs her, unwilling to love her as before and leaving her alone
as he tries to make a living in Brazil. Tess, meanwhile, struggles on her own, embarrassed at being deserted and humiliated by
her past. Alec finds her again, and though he appears as a converted religious man, he soon drops the disguise and continues
his old ways. He manipulates Tess into marrying him, telling her that Angel will not return for her. However, Angel realizes that
he has been wrong and comes back to love Tess, but he finds her in the arms of Alec d'Urberville though she is really in love
with Angel. Tess' fury at Alec for his deception causes her to kill him. Angel tries to hide Tess, but she is caught and executed.
Angel mourns her death, and marries her sister instead, keeping a promise he made to Tess.

14
Explanation
You are the lineal representative of the ancient and knightly family of the dUrbervilles, who derive their descent
from Sir Pagan dUrberville, that renowned knight who came from Normandy with William the Conqueror, as
appears by Battle Abbey Roll?

Parson Twingham plants the idea in John Durbeyfields mind that he and his family are better than their neighbors and thus
begins Tesss path toward destruction.

Tess Durbeyfield at this time of her life was a mere vessel of emotion untinctured by experience.

At the beginning of the novel, Tess is angry when the villagers attempt to make fun of her prideful father riding home in a hired
cart he cant afford. In a state of heightened emotion, she tells her friends that she will no longer talk to them if they laugh at
Durbeyfield. From the beginning, Tess demonstrates great love for her family. She will defend them to the death.

I dont know; but I think so. They sometimes seem to be like the apples on our stubbard-tree, most of them splendid
and sounda few blighted.

As the youngsters ride along at night to market, Tess pessimistically explains to her younger brother Abraham that stars are
indeed worlds and that they have the misfortune to live on a blighted star and that this explains all their familys misfortunes.

By this time every couple had been suitable matchedan inner cloud of dust rose around the prostate figures.

Unlike Car Darch and the other crude working women, Tess keeps herself pure and apart from drinking and sexual activity.
However, as Hardy would have it, despite her efforts, Tesss fate insures that she will fail to preserve her chastity after she rides
off with Alec dUrberville into the woods.

By this time every couple had been suitable matchedan inner cloud of dust rose around the prostate figures.

Unlike Car Darch and the other crude working women, Tess keeps herself pure and apart from drinking and sexual activity.
However, as Hardy would have it, despite her efforts, Tesss fate insures that she will fail to preserve her chastity after she rides
off with Alec dUrberville into the woods.

Perhaps, of all things, a lie on this thing would do the most good to me now; but I have honour enough left, little
as tis, not to tell that lie.

After a month with Alec dUrberville, Tess realizes she must leave him. Although it would serve her well financially to tell
dUrberville she is in love with him, Tess maintains her honor by leaving him and not becoming his paid mistress.
.

`Dead! dead! dead! he murmured. After fixedly regarding her for some moments with the same gaze of
unmeasurable woe he bent lower, enclosed her in his arms, and rolled her in the sheet as in a shroud. Then lifting
her from the bed with as much respect as one would show to a dead body, he carried her across the room,
murmuring, My poor, poor Tess, my dearest darling Tess! So sweet, so good, so true!

After telling him of her secret past, Tess finds Angel sleepwalking and looming over her in the dark. Pride keeps Angel from
accepting and loving Tess, yet unconsciously he remains deeply in love with her and understands he r reasoning for not
telling him the truth. This scene foreshadows Tesss early death.

Under the trees several pheasants lay about, their rich plumage dabbled with blood; some were dead, some feebly
twitching a wingTesss first thought was to put the still living birds out of their torture, and to this end with her
own hands she broke the necks of as many as she could find Poor darlingsto suppose myself the most miserable
being on earth in the sight o such misery as yours! she exclaimed, her tears running down as she killed the birds
tenderly.

After changing her mind about asking Angels parents for help, Tess despairs after spending the night outdoors. In the morning
she spies the dead and dying pheasants and experiences an affinity for the tortured birds. Then, despite her tortured life at
15
Flintcomb-Ash, she optimistically rallies and realizes that compared with the birds, her life is not bad. Despite her attempts to
remain optimistic, however, Hardys pessimistic views insure that Tess is doomed and that the birds wrung necks foreshadow
her own death by hanging.

His father too was shocked to see him. So reduced was that figure from its former contours by worryyou could
see the skeleton behind the man and almost the ghost behind the skeleton.

Like his forlorn wife Tess, Angel Clare also undergoes great mental and physical hardship when he is separated from her in
Brazil. The price of forgoing his immature judgmental ways comes at great personal cost.

Justice was done, and the President of the Immortals, in Aeschylean phrase, had ended his sport with Tess.

The Greek dramatist Aeschylus wrote tragedies. Like Aeschyluss characters, Tess ultimately had no control over her life. Her
actions were fate-driven, predestined, determined solely by the whim, or the sport, of the gods.

Remember, my lady, I was your master once; I will be your master again. If you are any mans wife you are mine!
p.352

This is a quotation from the sixth phase in the novel. It is a conversation between Alec dUrberville and Tess. Alec gets extremely
mad with Tess after she slaps him over the face with a leather glove. His moods towards Tess have been laid back, but after
this incident, his unleashes himself. He tells her that he is her master and will always be her master. I think that this quotation
is important, because Alec finally gets mad at Tess and reminds both him and her of their bad past, and tells her that he could
relive that past by doing it again, any time he wants. I think that this gives Tess the message, that Alec is not playing around
anymore, and that he is serious.

I- I am a not a Durbeyfield, but a dUrberville- a descendant of the same family as those who owned the old house
we passed. And- we are all gone to nothing! p.206

This is a quotation from Phase the Fourth. It is a confession from Tess to Angel, telling him that she is related to the ancient
family of the dUrbervilles. She thinks that Angel will be mad because she lied to him about her family, but it turns out that he
is delighted. This means that he would be related to a noble family, therefore his parents would be as well, making them happy.
Tess is surprised to hear this. I think that this is significant to the novel because this makes Angel want to marry Tess even more,
therefore hurrying the marriage.

What a fresh and virginal daughter of Nature that milkmaid is. p.136

This is a quotation that is found in Phase the Third. It is Angel Clare talking about Tess at Talbothays Dairy. This is one of the
first times that Angel sees Tess at the dairy. It turns out that she was the girl who he saw dancing at the beginning of the novel,
but he wouldnt dance with her. I think that this quotation is significant to the novel because this is when Angel starts to become
interested in Tess, and later asks her to marry him. It is also ironic that Angel says how fresh and virginal she is even though he
doesnt know about her past with Alec dUrberville. She actually isnt a virgin and Angel later finds out and leads to controversy
between him and Tess.

SORROW, I baptize thee in the name of the Father, and the Son, and of the Holy Ghost. p.107

This is a quotation from Phase the Second. Tess is baptizing her child, knowing that her son will soon die. I chose this quotation
because it represents her past with Alec dUrberville. The child was conceived by him and it is something that stays with Tess
throughout the novel. It also represents the religious views of Tess, because she is baptizing her child, meaning that she is a
Christian. She does this because she wants to follow her religion and it is what her mother would want her to do. I think that
she names the baby Sorrow, because it shows her distress about her loss of innocence with Alec and she is showing an
expression of grief sadness and dissapointement.

I am Parson Tringham, the antiquary, of Stagfoot lane. Dont you really know, Durbeyfield, that you are the lineal
representative of the ancient and knightly family of the DUrbervilles, who derive their descent from Sir Pagan
DUrberville, that renowned knight who came from Normandy with William the Conqueror, as appears by Battle
Abby Roll? p. 13-14

16
This is a quotation from Phase the First. It is a Parson telling Tess dad that they are related to a wealthy and noble family, the
dUrbervilles. I feel that it is significant to the novel because it is the whole reason that Tess has to go to the dUrbervilles
mansion. Once they find out that they are related, her mother forces her to go there to try and marry Alec dUrberville. This
relates to the treatment of women, because women back then were forced into an arranged marriage by their parents, giving
them no choice. This is what later happened to Tess, although she didnt end up marrying Alec.

Dont you really know, Durbeyfield, that you are the lineal representative of the ancient and knightly family of
the dUrbervilles, who derive their descent from Sir Pagan dUrberville, that renowned knight who came from
Normandy with William the Conqueror, as appears by Battle Abbey Roll? Never heard it before, sir!

In this passage, from Chapter I, the local parson informs Mr. Durbeyfield of his grand lineage, thus setting in motion the events
that change the fate of Tess Durbeyfield forever. Interestingly, the parsons tone is casual, as if he is unable even to conceive
of how his news might lead to tragedy later. For the parson it is genealogical trivia, but for Durbeyfield it feels like fatethe
deepest truth about himself, like Oedipuss discovery of his own identity. The fact that this prophetic news is delivered on the
road, in an open field, right at the beginning of the work is reminiscent of the opening of Macbeth.There, the witches address
Macbeth as Thane of Cawdor and King of Scotland, just as the parson addresses Durbeyfield as Sir John. As in Macbeths
case, the noble address leads to disaster and deathin this case, the death of the rightful dUrberville, Alec.
Hardy emphasizes the irony of Durbeyfields situation not only by contrasting the common peddler on the road with the image
of the renowned knight who was his forebear, but also by contrasting the modes of address of Durbeyfield and the parson.
The parson has just addressed him as Sir John, which sets the whole conversation in motion, but we see here that the parson
soon lapses back into the familiar tone more appropriate to one addressing a social inferior: Dont you really know,
Durbeyfield. . . . Durbeyfield does the same: despite his discovery that he is Sir John, it is he who calls the parson sir here.
The ironies multiply, making questions of class and identity complex and unstable, as Hardy intends to depict them.

Clare came close, and bent over her. Dead, dead, dead! he murmured. After fixedly regarding her for some
moments with the same gaze of unmeasurable woe he bent lower, enclosed her in his arms, and rolled her in the
sheet as in a shroud. Then lifting her from the bed with as much respect as one would show to a dead body, he
carried her across the room, murmuring, My poor poor Tess, my dearest darling Tess! So sweet, so good, so true!
The words of endearment, withheld so severely in his waking hours, were inexpressibly sweet to her forlorn and
hungry heart. If it had been to save her weary life she would not, by moving or struggling, have put an end to the
position she found herself in. Thus she lay in absolute stillness, scarcely venturing to breathe, and, wondering what
he was going to do with her, suffered herself to be borne out upon the landing. My wifedead, dead! he said.

In Chapter XXXVII, Angel Clare begins to sleepwalk on the third night of his estrangement from Tess, having rejected her as his
wife because of her earlier disgrace. Like Lady Macbeths sleepwalking scene, Angels nighttime somnambulism reveals an inner
conflict within a character who earlier seems convinced of a moral idea, in control, and inflexible. For Lady Macbeth, her earlier
cold protestations that killing a king is justifiable are belied by her unconscious fixation on being bloodstained. For Angel, the
situation is reversed. He consciously maintains a conviction that Tess is bad, corrupt, and cannot be forgiven, but his
unconscious sleepwalking self reveals the tender love and moral respect for her (so good, so true!) that he feels somewhere
inside him. This revelation foreshadows his final realization, too late, that his condemnation of Tess was wrongheaded. Angels
words dead, dead, dead hint at Tesss future death, but they also signal Angels conception of Tess. She is alive physically,
but for him she is dead morally, as dead as an idea of purity that he once revered.

Under the trees several pheasants lay about, their rich plumage dabbled with blood; some were dead, some feebly
twitching a wing, some staring up at the sky, some pulsating quickly, some contorted, some stretched outall of
them writhing in agony except the fortunate ones whose tortures had ended during the night by the inability of
nature to bear more. With the impulse of a soul who could feel for kindred sufferers as much as for herself, Tesss
first thought was to put the still living birds out of their torture, and to this end with her own hands she broke the
necks of as many as she could find, leaving them to lie where she had found them till the gamekeepers should
come, as they probably would come, to look for them a second time. Poor darlingsto suppose myself the most
miserable being on earth in the sight o such misery as yours! she exclaimed, her tears running down as she killed
the birds tenderly.

Tess stumbles upon the pheasants at the end of Chapter XLI, feeling like a hunted soul. The dying birds symbolize her own
condition. It is a strange and unexpected image, since throughout all the scenes of farm life we have witnessed in the novel,
there has never been any killing. Farming is always associated with production, never with loss or sacrifice. But hunting is
different: it kills creatures, and does so unnecessarily. It is gratuitous cruelty. The image of silently suffering victims of violence
evokes Tesss quiet acceptance of her own violation at the hands of Alec, which was also gratuitous. In a literary sense, these

17
flightless birds stand in sharp contrast to the high-flying birds of Romantic poetrywe recall that Angel is compared to Shelley,
who wrote an ode to a skylark. Romantic birds leave the Earth below to soar into a higher plane of existence, but the birds here
have no such luck, having been shot down as Tess has been.
Tesss killing of these suffering birds suggests that she is killing off that part of herself that has quietly accepted many years of
agony. After this scene Tess begins to show a more active resolution that culminates in her final murder of Alec. Her newfound
activity may not save her; indeed, her punishment for the murder, presumably death by hanging, will snap her neck just like
she snaps the necks of these pheasants. Nevertheless, it may be preferable to her earlier passivity, providing her with a nobler
way to face her fate.

As soon as she drew close to it she discovered all in a moment that the figure was a living person; and the shock to
her sense of not having been alone was so violent that she was quite overcome, and sank down nigh to fainting,
not however till she had recognized Alec dUrberville in the form. He leapt off the slab and supported her. I saw
you come in, he said smiling, and got up there not to interrupt your meditations. A family gathering, is it not,
with these old fellows under us here? Listen. He stamped with his heel heavily on the floor; whereupon there
arose a hollow echo from below. That shook them a bit, Ill warrant, he continued. And you thought I was the
mere stone reproduction of one of them. But no. The old order changeth. The little finger of the sham dUrberville
can do more for you than the whole dynasty of the real underneath. . . . Now command me. What shall I do?

Having sought shelter for her family in the ancient clans church in Chapter LII, Tess has gone out walking at night and has come
upon her family vault and Alec dUrberville. Hardys irony is deep here: originally, the knowledge that Tess belongs to the
dUrberville line brings her into tragic conflict with Alec, and here those ancestors and Alec are united before her dazed eyes.
The two main factors in her sad fate are brought together for her viewing. Moreover, it is ironic that Alec is at first mistaken
for one of the sculpted ancestors, as if the distinction between the truly noble dUrbervilles and the sham onesto use Alecs
own wordis not as important as it first seemed. They are all part of the same display. Whether true or fake, the dUrbervilles
have brought Tess only grief. When Alec stomps on the floor of the crypt and a hollow echo from below is heard, we feel that
those ancestors may indeed be nothing more than an empty void, a meaningless nothingness. Alec believes he is different from
them, since he has power over her while they do not, but in fact he is just like them, using his power like a grand lord although
he is quite hollow. He promises empty advantages to her, like the wealth she eventually receives from him, that can never be
more important than love. This scene in the corpse-ridden vault shows how dead all thoughts of personal grandeur are next to
the life of true feeling, like that of Tesss feelings for Angel.

Justice was done, and the President of the Immortals (in Aeschylean phrase) had ended his sport with Tess. And
the dUrberville knights and dames slept on in their tombs unknowing. The two speechless gazers bent themselves
down to the earth, as if in prayer, and remained there a long time, absolutely motionless: the flag continued to
wave silently. As soon as they had strength they arose, joined hands again, and went on.

This passage is the last paragraph of Chapter LIX at the close of Tess of the dUrbervilles. Its tired and unimpassioned tone
suggests the narrators weariness with the ways of the world, as if quite familiar with the fact that life always unfolds in this
way. Nothing great is achieved by this finale: the two figures of Liza-Lu and Angel went on at the end, just as life itself will go
on. Ignorance rules, rather than understanding: the dUrberville ancestors who cause the tragedy are not even moved from
their slumber, blithely unaffected by the agony and death of one of their own line. Tesss tale has not been a climactic unfolding,
but a rather humdrum affair that perhaps happens all the time.
In this sense, there is great irony in Hardys reference to the Greek tragedian Aeschylus, since we feel tragedy should be more
impassioned, like the Prometheus Bound referred to here. Prometheus dared to steal fire from the gods for the benefit of men,
thus improving human life, but he was punished by eternal agony sent by the president of the gods. Aeschyluss view of that
divine justice was ironicjust as Hardys justice is placed in ironic quotation markssince it seemed deeply unjust to punish
Prometheus so severely. Our judgment of Prometheuss crime matters immensely. Yet Tesss suffering, by contrast, seems
simply a game or sport, as if nothing important is at stake. It is hard to know whether Tess has brought any benefits to anyone,
though Angels life has been changed and Liza-Lu may grow up to be like her sister. In any case, Hardy hints that Tesss life may
have a mythical and tragic importance like that of Prometheus, but it is up to us to judge how ironic this justice is, or what her
lifes importance might be.

18
 Great Expectations
Reference:

These lines have been taken from the Novel Great Expectations written by Charles Dickens.

Context: The narrator, Pip recounts his life story from his childhood to how he matures and grows up to becoming a young
man. Throughout this transformation, one thing remains unchanged. Pip falls in love with a wealthy but heartless girl named
Estella. From that moment on, everything Pip does in his life is no longer for himself or anyone else but for Estella and only her.
Pip even receives a fortune from a secret benefactor to pursue an education and he does this along with obtaining wealth,
success and high social class in the hopes of becoming worthy in the eyes of his beloved Estella.

Explanation
1) "My fathers family name being Pirrip, and my christian name Phillip, my infant tongue could make of both names
nothing longer or more explicit than Pip. So, I called myself Pip, and came to be called Pip." (Pg. 3)
This is the opening statement of Dickens's novel and it shows us how simple the young Pip was before his expectations ever
began. This is the voice, not of the boy himself, but of the man, who can refer with light-hearted irony to the inadequacies of
the infant tongue. In an act of self-identification explained by the next paragraph, the child gives himself a name associating
him with his dead father, even as it registers his isolation from his unknown family. The second paragraph of the novel
reinforces the suggestion of the creative power of the boy fancies or imagination, at the same time as it offers a critical
perspective upon that power: reading the grave inscriptions leads to unreasonable or childish images, which nonetheless sway
us with their sympathetic or comic force.

2) ".I supposed that both Joe Gargery and I were brought up by hand." Again said by Pip, this quote explains Pip's
meaning of being brought up by hand, which is by being beaten by his sister.

3) ".for he gave me a look that I did not understand, and it all passed in a moment. But if he had looked at me for
an hour, or a day, I could not have remembered his face ever afterwards, as having been more attentive."
Pip is talking about his convict after the soldiers catch him. This passage is important to the story because it foreshadows all
that is to come. Pip could not interpret what the convict felt for him.

4) "Well, I thought I overheard Miss Havisham answer- only it seemed so unlikely- 'Well, you can break his heart.'"
Another instance of foreshadowing, this is the first point in the story when the reader can see Miss Havisham's plot with Estella.

5) "They may not be worth much, but after all, they're property and portable. It don't signify to you, with your
brilliant lookout, but as to myself, my guiding star always is, Get hold of portable property."
This statement was made by Wemmick when he is talking about things he has collected from various trials and convicted
persons.

6) " 'You must know,' said Estella, condescending to me as a beautiful woman might, 'that I have no heart- if that
has anything to do with my memory.'" (Pg. 235)
Estella's statement to Pip shows us that she thinks she has no emotion. Pip does not believe her, but is hurt by the statement
and the attitude.

7) " 'for I have seen you give him looks and smiles this very night, such as you never give to- me.' 'Do you want me
then,' said Estella, turning suddenly with a fixed and serious, if not angry, look, 'to deceive and entrap you?' 'Do you
deceive and entrap him Estella?' 'Yes, and many others-all of them but you.'" (Pg. 307)
This conversation between Estella and Pip after she flirts with Drummle shows that of all the men in her life, Pip is the only one
she cares a little about because she does not try to string him on.

8) "Yes, Pip, dear boy, I've made a gentleman on you!" (Pg. 315)
Magwitch tells Pip this the first night he comes to his house. It reveals that Magwitch is his benefactor and this one statement
totally changes Pips outlook on his good fortune.

19
9) "I took her hand in mine and we went out of the ruined place; and, as the morning mists had risen long ago when
I first left the forge, so the evening mists were rising now, and in all the broad expanse of tranquil light they showed
to me, I saw the shadow of no parting from her."
Pip's statement shows that he finally has clarity in his thoughts and in his life. This statement shows that after everything he
has been through, Pip finally reaches his goal.

10) My convict looked round him for the first time, and saw me . . . I looked at him eagerly when he looked at me,
and slightly moved my hands and shook my head. I had been waiting for him to see me, that I might try to assure
him of my innocence. It was not at all expressed to me that he even comprehended my intention, for he gave me a
look that I did not understand, and it all passed in a moment. But if he had looked at me for an hour or for a day, I
could not have remembered his face ever afterwards as having been more attentive.
This quote from Chapter 5 describes Pips brief reunion with Magwitch after the latter has been captured by the police. Pip,
who is always concerned with other peoples impressions of his behavior, is anxious for Magwitch to know that he is innocent
that he is not responsible for turning Magwitch in to the police. But when Magwitch looks at Pip, he seems to experience
feelings that have nothing to do with Pips innocence or guilt, a look that Pip did not understand but which is the most
attentive look Pip has ever received. This is an important moment of foreshadowing in the book, our first impression that
Pips kindness has moved Magwitch to strong feelings of loyalty and love. It also an important moment of character
development, our first glimpse of something in Magwitchs character beyond the menace and bluster of his early scenes in the
book.

11) Pip, dear old chap, life is made of ever so many partings welded together, as I may say, and one mans a
blacksmith, and ones a whitesmith, and ones a goldsmith, and ones a coppersmith. Diwisions among such must
come, and must be met as they come.
Joe says these words to Pip as a farewell in Chapter 27, after their awkward meeting in London. Pip, now a gentleman, has been
uncomfortably embarrassed by both Joes commonness and his own opulent lifestyle, and the unpretentious Joe has felt like a
fish out of water in Pips sumptuous apartment. With this quote, Joe tells Pip that he does not blame him for the awkwardness
of their meeting, but he chalks it up instead to the natural divisions of life. The blacksmith concocts a metaphor of metalsmithing
to describe these natural divisions: some men are blacksmiths, such as Joe, and some men are goldsmiths, such as Pip. In these
simple terms, Joe arrives at a wise and resigned attitude toward the changes in Pips social class that have driven them apart,
and he shows his essential goodness and loyalty by blaming the division not on Pip but on the unalterable nature of the human
condition.

12) I begin to think, said Estella, in a musing way, after another moment of calm wonder, that I almost
understand how this comes about. If you had brought up your adopted daughter wholly in the dark confinement of
these rooms, and had never let her know that there was such a thing as the daylight by which she has never once
seen your faceif you had done that, and then, for a purpose, had wanted her to understand the daylight and know
all about it, you would have been disappointed and angry? . . .
Or, said Estella, which is a nearer caseif you had taught her, from the dawn of her intelligence, with your
utmost energy and might, that there was such a thing as daylight, but that it was made to be her enemy and
destroyer, and she must always turn against it, for it had blighted you and would else blight herif you had done
this, and then, for a purpose, had wanted her to take naturally to the daylight and she could not do it, you would
have been disappointed and angry? . . .
So, said Estella, I must be taken as I have been made. The success is not mine, the failure is not mine, but the two
together make me.
Estella makes this speech to Miss Havisham in Chapter 38, when Miss Havisham has complained that Estella treats her coldly
and without love. Astonished that her adopted mother would make such an accusation after deliberately raising her to avoid
emotional attachment and treat those who love her with deliberate cruelty, Estella responds with this analytical exploration
of Miss Havishams attitude. Using sunlight as a metaphor for love (an appropriate metaphor, given Miss Havishams refusal to
go into the sun), Estella first says that it is as if Miss Havisham raised her without ever telling her about sunlight, then expected
her to understand it without having been taught. She then thinks of a better metaphor and says that it is as if Miss Havisham
did tell her about sunlight, but told her that sunlight was her hated enemy, then reacted with disappointment and anger when
Estella did not naturally love the sunlight.
Estella concludes this metaphor by reminding Miss Havisham that she made her as she is, and that Miss Havisham is responsible
for her creation. Estella says that both Miss Havishams success (Estellas coldness and cruelty) and her failure (Estellas
inability to express her emotions and inability to love) make her who she is. This quote is extremely important to Estellas
development as a character, because it indicates her gradual arrival at self-knowledge, which will eventually enable her to
overcome her past. The speech is also one of the best descriptions of Estellas character to be found in the book.

20
13) Lookee here, Pip. Im your second father. Youre my sonmore to me nor any son. Ive put away money, only
for you to spend. When I was a hired-out shepherd in a solitary hut, not seeing no faces but faces of sheep till I half-
forgot wot mens and womens faces wos like, I see yourn. . . . I see you there a many times plain as ever I see you
on them misty marshes. Lord strike me dead! I says each timeand I goes out in the open air to say it under the
open heavensbut wot, if I gets liberty and money, Ill make that boy a gentleman! And I done it. Why, look at
you, dear boy! Look at these here lodgings of yourn, fit for a lord! A lord? Ah! You shall show money with lords for
wagers, and beat em!
Magwitch makes this speech to Pip in Chapter 39, when he dramatically reveals himself as Pips secret benefactor and the
source of all his wealth. This revelation is crucially important to the plot of the novel, as it collapses Pips idealistic view of
wealth and social class by forcing him to realize that his own status as a gentleman is owed to the loyalty of a lower-class
criminal. The quote is also important for what it reveals about Magwitchs character: previously, the convict has seemed
menacing, mysterious, and frightening; with this quote, we receive our first glimpse of his extraordinary inner nobility,
manifested through the powerful sense of loyalty he feels toward Pip.

14) Dear Magwitch, I must tell you, now at last. You understand what I say?
A gentle pressure on my hand.
You had a child once, whom you loved and lost.
A stronger pressure on my hand.
She lived and found powerful friends. She is living now. She is a lady and very beautiful. And I love her!
In this passage from Chapter 56, Pip tells the dying Magwitch about his daughter, Estella, whom he has not seen since she was
a young girl. If the arrival of Magwitch collapses Pips idealistic view of the upper classes, then the subsequent revelation that
EstellaPips first ideal of wealth and beautyis the daughter of the convict buries it for good. By consoling the dying Magwitch
with the truth about Estella, Pip shows the extent to which he has matured and developed a new understanding of what matters
in life. Rather than insisting on the idealistic hierarchy of social class that has been his guiding principle in life, Pip is now able
to see hierarchy as superficial and an insufficient guide to character. Loyalty, love, and inner goodness are far more important
than social designations, a fact that Pip explicitly recognizes by openly acknowledging the complications that have made his
former view of the world impossible.

the marsh mist was thick....I couldn't warm my feet, to which the damp cold seemed riveted as the iron was
riveted to the leg of the man I was running to meet.
The misty and damp marshes are symbolic of the ambiguity in which Pip exists throughout his life. The image of the leg iron
prevails throughout the narrative as one of Dickens's stylistic devices which connects various characters in their "guilt and
corruption, their roles as betrayers and betrayed, corruptors and corrupted."

That was a memorable day to me, for it made great changes in me. But it is the same with any life....think for a
moment of the long chain of iron or gold, of thorns or flowers, that would never have bound you, but for the
formation of the first link on one memorable day.
This passage from Chapter IX is the adult Pip's reflection of the great impact that his visit to Satis House had upon him. Estella's
having called him "a common laboring boy" has caused him, for the first time in his life, to be ashamed of what he is. His
exposure to the upper class produces Pip's consuming desire to be a gentleman so that he will be the equal of anyone and
Estella may then love him. This incident corrupts the innocence of Pip, who goes on to value money and position over friendship
and love.

Well, Mr. Wemmick, said the turnkey, who kept us between the two studded and spiked lodge gates, and who
carefully locked one before he unlocked the other, What's Mr. Jaggers going to do with that Waterside murder?
Is he going to make it manslaughter, or what is he going to make of it?
This citation from Chapter XXXII in which Pip visits Newgate Prison continues the symbolism of fetters and bars and leg irons
with the motif of guilt and corruption. It also represents Dickens's theme of society as a prison because there is a separate
justice for those with money who can pay the unscrupulous Jaggers.

Take nothing on its looks; take everything on evidence. There's no better rule.

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These words of Mr. Jaggers express the theme of Appearances vs. Reality. Pip fails to take this advice throughout because he
has assumed that Miss Havisham and Estella are models by which he should live but thinks Magwitch is repulsive when he
really has a loving heart.

...that basest of swindlers, Pumblechook, rising to shake hands with her [Mrs. Joe]..."and I wish you joy of the
money."
Pumblechook's echoing of this phrase, the "joy of money," indicates the superficiality of his character as a representation of
the rising middle class in Dickens's time that foolishly envied what Dickens considered a frivolous aristocracy. This statement
proves ironic, as well, since Pip's money brings him no joy.

"Your own, one day, my dear, and you will use it well....Break their hearts and have no mercy" [Ch.XII]
Take the pencil and write under my name, I forgive her!
Miss Havisham in an earlier chapter and in Chapter XII, executes her revenge upon the male gender through her protege, Estella.
Locked in her own personal prison formed by the melancholy Satis House and her hardened heart, she instead transforms into a
victim herself as Estella, made heartless by her, becomes cold and cruel. After Miss Havisham realizes what she has wrought,
she begs Pip's forgiveness for his cruel treatment by her and Estella.

"Joe, how are you, Joe?"

"Pip, how AIR you, Pip?"
With his good honest face all glowing and shining, and his hat put down on the floor between us, he caught both
my hands and worked them straight up and down, as if I had been the last-patented Pump.
This passage, from Chapter 27, describes the grown-up Pips encounter with Joe, a true friend from his youth. The passage is
memorable for a number of reasons, including these: (1) it shows Dickens skill in recreating dialect (how AIR you); (2) it
implies the distinctions in class (a major theme of the novel) that now exist between Pip and Joe; (3) it reminds us that Joe is
the moral touchstone of the novel a truly good man who, without intending to do so, sets an ethical standard by which other
characters, including Pip, can be judged; (4) it uses subtle symbolism to imply Joes moral character and vitality (glowing and
shining); and (5) it exemplifies Dickens use of humor (as in the reference to the pump handle).

Betimes in the morning I was up and out. It was too early yet to go to Miss Havisham's, so I loitered into the
country on Miss Havisham's side of town,which was not Joe's side; I could go there to-morrow,thinking about
my patroness, and painting brilliant pictures of her plans for me.

In this passage, from the very beginning of Chapter 29, Pip mentions one of the major characters of the book (Miss Havisham)
and implies the difference in social class between her and Joe. Joe and Miss Havisham are also distinct morally, and it is a
sign of Pips waywardness that he is attracted to Miss Havisham. The theme of ambition is also implied here a major theme
of the book.

In her furred travelling-dress, Estella seemed more delicately beautiful than she had ever seemed yet, even in my
eyes. Her manner was more winning than she had cared to let it be to me before, and I thought I saw Miss
Havisham's influence in the change.

This passage focuses on Estella, another major character in the novel. It emphasizes her physical beauty, which Pip finds
attractive, and it also emphasizes the influence of Miss Havisham on Estella another major theme. Estellas wealth (a major
theme) is implied by the way she dresses. Pips growing attraction to her (a major theme) is implied by his reaction here.

Herbert and I went on from bad to worse, in the way of increasing our debts, looking into our affairs, leaving
Margins, and the like exemplary transactions; and Time went on, whether or no, as he has a way of doing; and I
came of age,in fulfilment of Herbert's prediction, that I should do so before I knew where I was.
This passage, from the very beginning of Chapter 36, mentions another major character (Pip's friend Herbert), alludes to one of
Pip's major problems in London (debts), and alludes to a major theme of the book: the passage of time. Pip's coming "of age"
is also a major motif of the novel.

But I thought with dread that it was flowing towards Magwitch, and that any black mark on its surface might be
his pursuers, going swiftly, silently, and surely, to take him.

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In the beginning of the book Pip was terrified of this man. Later he meets him again and is still apprehensive of him. Now he
seems to almost be afraid for him. It would crush Pip if Magwitch was caught because he seemed to have a father son bond.
Magwitch had taken care of him so long that even he felt this bond as well. Pip now knows what it's like to care for someone
other than himself.

The felicitous idea occurred to me a morning or two later when I woke, that the best step I could take towards
making myself uncommon was to get out of Biddy everything she knew. Ch 10

Pip now turns to one of his friends for help in his quest to become uncommon. He really wants to get his life on the more
civilized route. It looks like to me that the only reason that he wants this is to impress Estella which is very stupid to try to
become someone you're not for a girl. Many times this will lead the person down a path that they may have liked, but never
needed in the first place. Later in the book he even questions how his life would have been if he had become Joes apprentice
instead.

The more I thought of the fight, and recalled the pale young gentleman on his back in various stages of puffy and
incrimsoned countenance, the more certain it appeared that something would be done to me. Ch 12

Throughout the novel I see that Pip can be a very regrettful and honest person. He always feels that consequences are to fall
upon him, no matter who started it. This even started earlier in the book. He stole some food for the convict and felt
extremely guilty about it. These traits point to innocence.

Within a single year, all this was changed. Now, it was all coarse and common, and I would not have had Miss
Havisham and Estella see it on any account. Ch 14

Pip now describes his home. The wealth he has come over and his being a gentleman has swelled his head. He now thinks
that he is to good for all the old things he had. Wealth and power can corrupt you if you let it. Charles Dickens really shows
how the rich treat the poor.

I was at first disposed to believe that I must have had some hand in the attack upon my sister, or at all events that
as her near relation, popularly known to be under obligations to her, I was a more legitimate object of suspicion
than any one else. Ch 16

Pip continues to have this Guilt that he was the cause of the attack on his sister. He keeps having this guilty conscience and it
now seems to be a characteristic of him. He always plays out the worst scenario and brings it back to himself. Does he truly
care about his sister or himself? This is one of Pips faults.

Told me! You have never told me when you have got your hair cut, but I have had senses to perceive it. You have
always adored her, ever since I have known you. You brought your adoration and your portmanteau here together.
Told me! Why, you have always told me all day long. When you told me your own story, you told me plainly that
you began adoring her the first time you saw her, when you were very young indeed.

This quote is important because Pip thinks he is breaking the news to his best friend Herbert that he loves Estella, but Herbert
tells him it is obvious, and he already knew. He also shares that hes secretly engaged. It is an example of Herberts compassion
for Pip, but also Pips naivety because he did not realize how obvious his love for Estella showed. Pip is also not nearly as aware
of Herbert as Herbert is of Pip.

Miserably I went to bed after all, and miserably thought of Estella, and miserably dreamed that my expectations
were all cancelled, and that I had to give my hand in marriage to Herbert's Clara, or play Hamlet to Miss Havisham's
Ghost, before twenty thousand people, without knowing twenty words of it. (p. 176)

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It is interesting that the trip to the theater makes Pip think of Estella. Mr. Wopse reminds him of him and different times. His
miserable dreams are further indication of his childhood guilt, and that he realizes in his heart that there is no future with
Estella and his expectations are an illusion.

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