There end you stumble upon a revelation of truth

There are other techniques of writing that Charles Dickens constantly demonstrates in his novel Great Expectations. These include emotinal dialogue, suspense and the use of imagery and symbolism. As seen in the expert above, Dickens loves detail and spinning elegant language, and sometimes those two meet to create whole new worlds within his overarching story. His wordiness creates for long overdrawn sentences, yet at the end you stumble upon a revelation of truth or piecey juice of gossip. His use of elegant language and detail draws in the reader and futher creates a sense of suspense. Great Expectations sustains a marvelous atmosphere of suspense. The most memorable opening scene in which the orphaned Pip, alone in the cemetery, kneeling and weeping over his parents’ graves, is frightened by a figure emerging from the mists. It is the runaway convict Magwitch. From this moment onward, the sinister note of criminality taints every major character. The pervading mood of the entire novel is one of mystery, tension, and thrilling suspense. Part of the poetry of Dickens’s work lies in its vitality, its supercharged emotional atmosphere. Yet Dickens knew the value of comic relief and amuses the reader with many fine touches of humor. Among the most amusing of the characters are the flirtatious Wemmick, the outlandish and grotesque Old Bill Barley, and the self-righteous, hypocritical Mr. Pumblechook. His wordiness is often used to create humor as are his characters’ names. Dickens uses intense, emotional dialogue to draw readers into the story. For example, a wealthy spinster, Miss Havisham, goes crazy after being defrauded and left at the alter by her lover. Years later, she finds emotional satisfaction by instructing her stepdaughter Estella to manipulate Pip and toy with his emotions. Miss Havisham insincerely tells Pip, “Love her, love her, love her! If she favours you, love her. If she wounds you, love her. If she tears your heart to pieces — love her, love her, love her!” Furthermore, Charles Dickens uses a unique format of narration. The narrator of Great Expectations is an adult who relates the narrative in his own voice, but he tells the story from his memory rather than as it happens.  Unique to this novel, also, is the narrator’s memory is very selective, recalling copious details of a young boy’s fear and unhappiness, but there is also the omission of other details such as those of the beatings that Pip receives from Mrs. Joe. The story gains its depth from the back-and-forth motion between describing the experience of the young child and mediating it through the lens of the adult. What seems to be the straightforward first-person account of a naive young boy and, later, a snobbish young adult male learning to appreciate what is most important in life, reveals control and great artistry. “Pip,” in fact, arranges his narrative for the greatest effect. For example, though he could have poured out early on that it is Magwitch to whom he owes his great expectations, he withholds that bit of information until the crucial moment, so that we can feel the shock he experienced. Moreover, Charles Dickens utilizes dirt and filth imagery to symbolize the imortality of society and dsiplay the differeniation between Pip’s previous life and his life in London. When Pip first comes to London with his percieved ideas of a rich and flashy city, he sees rather the opposite “I think I might have had some faint doubts wether it was not rather ugly, crooked, narrove, and dirty” (151). Between London’s dirtiness and Mrs.Joe’s profuse cleaning of the house, the apparent opposition indicates the imminent feeling of differnces in expectation of the city of London and future for Pip. After seeing it for himself, he receievs the actuality with diasppinement and disgust, and later, he often affliates the dirt and flith with criminals. In evidence, as he waits in Mr.Jagger’s office, Pip observes that “the clients seemed to have had a habit of backing up against the wall, being greasy with shoulders” (151). These greasy shoulders not only symbolize