Summary
First Encounters with Fear and Power
Great Expectations by Charles Dickens
Seven-year-old Pip introduces himself in a graveyard where his parents and five brothers are buried. Orphaned and raised by his sister, he's visiting their graves on a bleak winter evening when a terrifying escaped convict emerges from the shadows. The desperate man, shackled and clearly on the run, threatens Pip's life unless the boy brings him food and a file to remove his chains. Pip, utterly powerless and terrified, agrees to steal what the convict needs. This opening chapter establishes the novel's central themes about class, power, and moral compromise. Pip's encounter with the convict represents his first real taste of how the world works - that survival sometimes requires doing things that feel wrong, that power often comes through intimidation, and that circumstances can force good people into bad choices. The marsh setting creates an atmosphere of isolation and danger, while Pip's orphaned status immediately establishes him as vulnerable and dependent on others. Dickens uses this dramatic opening to show how a single encounter can change everything - Pip's safe, predictable world is shattered in minutes. The convict's desperation humanizes him even as he terrorizes a child, suggesting that good and evil aren't always clear-cut. This scene plants the seeds for everything that follows, as Pip's act of compassion toward a dangerous stranger will have consequences he can't imagine.
Coming Up in Chapter 2
Pip returns home to face his formidable sister, Mrs. Joe, who rules their household with an iron fist. As he contemplates stealing from his own family to help the convict, Pip discovers that doing the right thing isn't always simple - especially when you're caught between competing loyalties and the adults in your life seem just as frightening as strangers in graveyards.
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An excerpt from the original text.(~500 words)
My father’s family name being Pirrip, and my Christian name Philip, 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. I give Pirrip as my father’s family name, on the authority of his tombstone and my sister,—Mrs. Joe Gargery, who married the blacksmith. As I never saw my father or my mother, and never saw any likeness of either of them (for their days were long before the days of photographs), my first fancies regarding what they were like were unreasonably derived from their tombstones. The shape of the letters on my father’s, gave me an odd idea that he was a square, stout, dark man, with curly black hair. From the character and turn of the inscription, “_Also Georgiana Wife of the Above_,” I drew a childish conclusion that my mother was freckled and sickly. To five little stone lozenges, each about a foot and a half long, which were arranged in a neat row beside their grave, and were sacred to the memory of five little brothers of mine,—who gave up trying to get a living, exceedingly early in that universal struggle,—I am indebted for a belief I religiously entertained that they had all been born on their backs with their hands in their trousers-pockets, and had never taken them out in this state of existence. Ours was the marsh country, down by the river, within, as the river wound, twenty miles of the sea. My first most vivid and broad impression of the identity of things seems to me to have been gained on a memorable raw afternoon towards evening. At such a time I found out for certain that this bleak place overgrown with nettles was the churchyard; and that Philip Pirrip, late of this parish, and also Georgiana wife of the above, were dead and buried; and that Alexander, Bartholomew, Abraham, Tobias, and Roger, infant children of the aforesaid, were also dead and buried; and that the dark flat wilderness beyond the churchyard, intersected with dikes and mounds and gates, with scattered cattle feeding on it, was the marshes; and that the low leaden line beyond was the river; and that the distant savage lair from which the wind was rushing was the sea; and that the small bundle of shivers growing afraid of it all and beginning to cry, was Pip. “Hold your noise!” cried a terrible voice, as a man started up from among the graves at the side of the church porch. “Keep still, you little devil, or I’ll cut your throat!” A fearful man, all in coarse grey, with a great iron on his leg. A man with no hat, and with broken shoes, and with an old rag tied round his head. A man who had been soaked in water, and smothered in mud, and lamed by stones, and cut by flints, and stung by nettles, and torn by briars; who limped, and...
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Intelligence Amplifier™ Analysis
The Road of Desperate Choices
When people face extreme pressure, they often pass that pressure to whoever has less power to resist.
Why This Matters
Connect literature to life
This chapter teaches how to distinguish between someone genuinely desperate and someone using desperation to manipulate you.
Practice This Today
This week, notice when someone's crisis becomes your emergency - ask yourself if you're being chosen because you have less power to say no.
Now let's explore the literary elements.
Terms to Know
Orphan
A child whose parents have died, leaving them dependent on relatives or institutions for care. In Victorian times, orphans had no legal protections and were often treated as burdens by their guardians.
Modern Usage:
Today we see this in kids raised by grandparents, older siblings, or in foster care - people who grow up without their original safety net.
Convict
A person convicted of a crime and serving punishment. In Dickens' time, many convicts were transported to prison colonies in Australia, and escaped prisoners were hunted down ruthlessly.
Modern Usage:
We still use this term for people in prison, and society still struggles with how to treat ex-convicts trying to rebuild their lives.
Marshes
Wet, swampy land that's isolated and difficult to travel through. Dickens uses this setting to show Pip's loneliness and the dangerous, unpredictable world he lives in.
Modern Usage:
Like growing up in a rough neighborhood or isolated rural area - places where help is far away and danger can come from anywhere.
Class distinction
The rigid social hierarchy in Victorian England where your birth determined your entire life path. Working-class people like Pip's family had almost no chance of moving up in society.
Modern Usage:
We still see this in how zip code affects school quality, or how having connections opens doors that talent alone can't.
Moral compromise
Being forced to do something you know is wrong because circumstances leave you no choice. Pip must steal to save his life, even though he knows stealing is wrong.
Modern Usage:
Like lying on a resume when you're desperate for work, or not reporting workplace violations because you can't afford to lose your job.
Graveyard
A burial ground, but in literature often represents death, memory, and the past haunting the present. Pip learns about his family only through their tombstones.
Modern Usage:
Like trying to understand your family history through old photos and stories when the people who knew the truth are gone.
Characters in This Chapter
Pip
Protagonist
A seven-year-old orphan visiting his parents' graves when his safe world is shattered by a dangerous encounter. He's powerless, scared, but shows compassion even when threatened.
Modern Equivalent:
The kid who grows up fast because life forces hard choices on them early
The Convict
Antagonist/catalyst
An escaped prisoner who terrorizes Pip but is also desperate and human. He represents the dangerous world beyond Pip's sheltered existence and forces the boy's first moral compromise.
Modern Equivalent:
The desperate person who does scary things but isn't pure evil - like someone robbing a store to feed their kids
Mrs. Joe Gargery
Guardian figure
Pip's older sister who raised him after their parents died. Though not present in this scene, she represents the grudging care Pip receives as an unwanted burden.
Modern Equivalent:
The relative who takes you in but never lets you forget what a sacrifice it is
Joe Gargery
Father figure
The blacksmith who married Pip's sister. Referenced as the provider and protector in Pip's limited world, representing honest working-class values.
Modern Equivalent:
The stepdad or uncle who works with his hands and tries to do right by you
Key Quotes & Analysis
"I give Pirrip as my father's family name, on the authority of his tombstone and my sister"
Context: Pip introduces himself and explains how he knows about his dead parents
This shows how Pip's entire understanding of his identity comes from secondhand sources - a tombstone and a sister who resents raising him. He has no real connection to his origins.
In Today's Words:
Everything I know about my dad comes from his gravestone and what my sister tells me
"Keep still, you little devil, or I'll cut your throat!"
Context: The convict's first words when he grabs Pip in the graveyard
This brutal threat shows how quickly Pip's innocent world turns dangerous. The convict uses fear and violence to get what he needs, teaching Pip that power often comes through intimidation.
In Today's Words:
Don't move or I'll hurt you bad
"You bring me, to-morrow morning early, that file and them wittles. You bring the lot to me, at that old Battery over yonder."
Context: The convict gives Pip specific instructions for what to steal and where to bring it
This demand forces Pip into his first real moral crisis - steal from his family or face death. It shows how circumstances can trap good people into bad choices.
In Today's Words:
Tomorrow morning, bring me a file and some food to that old fort over there
Thematic Threads
Power
In This Chapter
The convict uses physical threat and Pip's isolation to force compliance, showing how power operates through vulnerability
Development
Introduced here
In Your Life:
You might recognize this when someone uses your financial need, family obligations, or social position to pressure you into uncomfortable situations
Class
In This Chapter
Pip's orphaned, working-class status makes him powerless against both the convict's threats and society's expectations
Development
Introduced here
In Your Life:
Your economic position often determines how much choice you really have when others make demands on you
Moral Compromise
In This Chapter
Pip must choose between stealing (wrong) and letting someone die (also wrong), showing how circumstances force impossible choices
Development
Introduced here
In Your Life:
You face this when job requirements conflict with your values, or when helping one person means disappointing another
Isolation
In This Chapter
Pip's physical isolation in the graveyard mirrors his social isolation as an orphan, making him vulnerable
Development
Introduced here
In Your Life:
When you lack support networks or advocates, you're more likely to be pressured into unfavorable situations
Identity
In This Chapter
Pip introduces himself through his dead family and his powerless position, defining himself by what he lacks
Development
Introduced here
In Your Life:
You might catch yourself defining who you are by your limitations rather than your capabilities and choices
You now have the context. Time to form your own thoughts.
Discussion Questions
- 1
Why does the convict choose to threaten Pip instead of just asking for help?
analysis • surface - 2
What does this scene reveal about how desperation changes people's behavior?
analysis • medium - 3
Where do you see this pattern of 'pressure flowing downhill' in your own workplace or family?
application • medium - 4
If you were in Pip's situation today, what options would you have that he doesn't?
application • deep - 5
How can recognizing transferred desperation help you respond with both compassion and boundaries?
reflection • deep
Critical Thinking Exercise
Map the Pressure Chain
Think of a recent situation where someone was demanding, unreasonable, or pushy with you. Draw or write out the chain of pressure: what crisis or pressure might that person be facing that led them to transfer it to you? Then identify where you have power to break the chain instead of passing it down to someone else.
Consider:
- •The person pressuring you might be facing their own impossible situation
- •Pressure often flows to whoever has the least power to say no
- •You can break the chain by addressing root causes or setting boundaries
Journaling Prompt
Write about a time when you felt backed into a corner and ended up pressuring someone else. What were you really afraid of, and what could have helped you handle it differently?
Coming Up Next...
Chapter 2: Living Under the Heavy Hand
The coming pages reveal fear can force children into deception and isolation, and teach us the dynamics of households where emotional abuse masquerades as care. These discoveries help us navigate similar situations in our own lives.