The Role of Social Class in Charles Dickens' "Great Expectations"

Charles Dickens' Great Expectations is one of the most enduring novels in English literature, offering profound insights into themes of ambition, social class, and personal growth. Published in 1861, this novel captures the Victorian era’s preoccupation with social mobility and class structure. Through the journey of its protagonist, Pip, Dickens exposes the rigid and often hypocritical class distinctions of the time, critiquing both the upper and lower classes while exploring how social mobility affects personal identity and morality. This article delves into how Dickens presents the theme of social class in Great Expectations, drawing connections between characters, plot, and Victorian society.
Social Class and Identity
At the core of Great Expectations is Pip’s quest for self-improvement and upward social mobility. From his humble beginnings as an orphan raised by his sister and her blacksmith husband, Joe Gargery, Pip aspires to transcend his social station. Early on, Pip’s encounter with Miss Havisham, a wealthy recluse, and her ward, Estella, ignites his desire to become a "gentleman." The allure of wealth and status quickly consumes him, as Pip equates being a gentleman with being worthy of Estella’s love. Dickens carefully constructs Pip’s ambition to reflect a common Victorian sentiment: the belief that one's identity is tied to their social standing.
However, as Pip ascends the social ladder, his identity becomes fractured. He abandons his familial ties, including his relationship with Joe, the symbol of his working-class roots, and adopts the manners and values of the elite. Dickens uses this transformation to critique the superficiality of class-based identities. Pip’s transformation into a gentleman does not bring him happiness or moral fulfillment but rather alienates him from his true self. In this way, Dickens suggests that the pursuit of social mobility can lead to a loss of personal integrity and moral direction.
The Hypocrisy of the Upper Class
Dickens portrays the upper class in Great Expectations as morally bankrupt and hypocritical. Miss Havisham, who is wealthy but emotionally ruined, serves as a critique of the upper class’s emptiness. Her life is frozen in time, symbolizing the stagnation that often accompanies inherited wealth. Despite her high social standing, she manipulates Pip and Estella to fulfill her own emotional revenge, exposing the corrupt nature of those in power. Estella, raised to be beautiful but emotionally detached, embodies the emptiness of class-driven values. Her beauty and grace make her desirable, yet she is incapable of love—a reflection of the coldness Dickens associates with the upper class.
Another key figure is Bentley Drummle, a fellow student of Pip’s who represents the arrogance and cruelty often present in the upper echelons of society. Drummle’s wealth and status afford him power, but Dickens portrays him as brutish and undeserving of the privileges he enjoys. Through Drummle, Dickens critiques the idea that wealth and class are indicative of moral superiority, emphasizing that many of the privileged members of society are deeply flawed.
The Dignity of the Working Class
In contrast, Dickens presents the working class with a degree of moral dignity and resilience. Joe Gargery, Pip’s brother-in-law, is a blacksmith and embodies the virtues of hard work, loyalty, and kindness. Although Pip initially looks down on Joe because of his lowly station, Joe remains a figure of integrity throughout the novel. Joe’s humility and unwavering support for Pip, even when Pip turns his back on him, highlight Dickens’ belief in the inherent worth of individuals regardless of their social class.
Similarly, characters like Biddy, who serves as a foil to Estella, exemplify the value of compassion and practical wisdom, qualities often overlooked in the pursuit of wealth and status. Biddy, though of humble origins, demonstrates intelligence and emotional maturity, suggesting that moral strength does not correlate with social standing. Dickens uses Biddy and Joe to remind readers that true nobility is found in one’s character rather than one’s class.
The Myth of Social Mobility
Great Expectations also explores the myth of social mobility and its potential pitfalls. While Pip achieves his "great expectations" through the financial support of the mysterious benefactor Magwitch, a convict, his rise in social class does not lead to fulfillment or happiness. Instead, it results in disillusionment. The novel ultimately reveals that wealth and social standing are not enough to ensure personal happiness or moral integrity.
Magwitch’s role as Pip’s benefactor further complicates the theme of social mobility. Initially, Pip is horrified to learn that his wealth comes not from Miss Havisham, whom he associated with refinement and high society, but from a convict. Magwitch’s history challenges Pip’s—and by extension, Victorian society’s—prejudices about class and criminality. Although Magwitch is a convict, he possesses qualities of loyalty, generosity, and paternal affection, which Dickens contrasts with the coldness of the upper class. Through this, Dickens dismantles the rigid boundaries between classes, suggesting that individuals are not defined by their social origins.
Conclusion
Charles Dickens’ Great Expectations offers a powerful critique of the Victorian obsession with class and social mobility. Through Pip’s journey, Dickens reveals the moral consequences of equating self-worth with social status. The novel critiques both the upper class’s moral emptiness and the working class’s resilience, ultimately suggesting that personal integrity and human connection are more valuable than wealth or status. In Great Expectations, Dickens challenges readers to reconsider the true meaning of success and the cost of sacrificing personal relationships and values in the pursuit of social advancement. Through its rich characters and nuanced exploration of class, the novel remains a timeless commentary on the complexities of social ambition and identity.