Bildungsroman Novels Great Expectations example essay topic

S U M M A R Y INTRODUCTION... 1- BILDUNGSROMAN NOVELS... 2- TWO BILDUNGSROMAN NOVELS... 3.1- Great Expectations...

3.2- Emma... CONCLUSION... BIBLIOGRAPHY... INTRODUCTION A novel is a prose narrative of a certain length and complexity that deals imaginatively with human experience usually through a connected sequence of events. Most novels involve many characters and tell a complex story by placing the characters in a number of different situations.

One theme commonly present in British novels is the theme of "growing up". Even before psychology was well developed as an academic field, the bildungsroman novels, or education novels explored people's emotions and the process of maturing. The bildungsroman is a class of novel that arouse in German literature but later became a worldwide genre. It deals with the theme of someone's growth as a person from childhood to maturity. The relevance of such a genre is clear if one notices that much of the most significant fiction in the last two centuries has taken this form and, therefore, constitute part of the history of the novel in the world. Great Expectations (1860-1861), written by the English author Charles Dickens, and Emma (1926), by another English author, Jane Austen, can be analysed under this perspective.

Throughout Dickens' novel, Pip, the main character, goes through many changes in his personality to eventually coming to terms with his own actions. Austen's novel deals with a female character, Emma, a rich young woman who learns how to balance power and propriety. The purpose of this paper is to analyze these two novels as pertaining to the bildungsroman genre and how and why it applies to them. Another issue which will be discussed is that in one of the novels the main character is a male and, in the other, it is a female, therefore, it is interesting to see how Dickens and Austen dealt with the issue of genre, especially the ways in which social opportunities and constraints shape the lives of the protagonists. Some definitions of the bildungsroman novel and its characteristics will be presented in the first section of this paper. Then, in the second section, the two novels cited above will be analyzed separately.

The elements which make them be considered bildungsroman e will be pointed out. Finally, to conclude, the differences and similarities between them will be dealt with so that it will be clear in what ways the bildungsroman differ in the two novels. 1- THE BILDUNGSROMAN NOVEL This German term began to be used in the second half of the 18th century by the critic and philosopher Wilhelm Dilthey. He stressed five main points about the bildungsroman novels:" (1) the idea of Bildung, or formation, cultivation, education, shaping of a single main character, normally of a young man; (2) individualism, especially the emphasis on the uniqueness of the protagonist and the primacy of his private life and thoughts, although these are at the same time representative of an age and culture; (3) the biographical element, usually supplied from the author's own life in what Dilthey calls the " conscious and artistic presentation of what is typically human through the depiction of a particular individual life"; (4) the connection with psychology, especially the then-new psychology of development; and (5) the ideal of humanity, of the full realization of all human potential as the goal of life". 1 On his essay on H"older lin, he comments:" [The Bildungsroman] examines a regular course of development in the life of the individual; each of its stages has its own value and each is at the same time the basis of a higher stage. The dissonances and conflicts of life appear as the necessary transit points of the individual on his way to maturity and harmony.

And the 'highest happiness of humankind' is the development of the person as the unifying, substantial form of human existence" 2 Some other authors have a more extended definition. They consider this kind of novel as a genre in which na individual's growth and development happens within a context and there is a quest for meaning in life (and, sometimes, search for a vocation). This quest is generally painful and arduous but, eventually, the values of the social order become manifest in the protagonist, who is then accommodated into society. Therefore, another aspect of a bildungsroman is that it has a positive ending. In nineteenth-century England, the bildungsroman, also called the novel of development or apprenticeship, was frequently the equivalent of the Renaissance conduct book, insofar as one of its recurrent themes is the making of a gentleman.

Many bildungsroman novels have been written so far. The first famous bildungsroman novel is Goethe's Wilhelm Meister, which is considered the prototypical bildungsroman. Other examples of this genre followed, such as Charles Dickens's David Copperfield, Henry Fielding's Tom Jones, Elizabeth Barrett Browning's Aurora Leigh, Graham Swift's Waterland, Emily Bronte's Jane Eyre among others. 2 - TWO BILDUNGSROMAN NOVELS 3.1 - Great Expectations Through Pip, the main character and narrator of this novel, Charles Dickens illustrated the theme of a character who underwent several major changes throughout the story and eventually became a genuinely good man, therefore, in this sense, it can be considered a typical bildungsroman novel.

The plot develops as its main character does. Pip is an orphan who was brought up "by hand" by his much older sister and his brother-in-law, Joe Garg ery, who was Pip's friend. The odds were that he would not have much of a future, being destined to become Joe's apprentice and eventually a blacksmith. But Pip thought himself too good for his surroundings.

Pip's destiny started to change when he was introduced to Miss Havisham, a queer old woman who asked for Pip to come to her house and play with her step daughter, Estella. His introduction to Miss Havisham and her world determined the other half of his story and changed his character forever. After having tasted a "slice" of the upper class lifestyle, Pip felt uncomfortable with the "common people". He, then, started to change and acquired new dreams: he wanted to be a gentleman and be more acceptable by Estella, whom he loved. Pip's personality and outlook on his life began to change, as he said, "That was a memorable day to me, for it made great changes in me" (page 67) 3. This is the first step of his growth as a man.

His visits to the Satis House came to an end he was apprenticed to Joe. Pip got even more ashamed of his position in society because he believed that would ruin his hopes towards Estella. Then, Mr. Jagger's, a lawyer, told him he had a benefactor and that he would live in London. Pip thought "Miss Havisham was going to make my fortune on a grand scale" (p. 139) 4. He also began to believe that Miss Havisham had destined him to Estella.

His ego grew tremendously, and he became more arrogant towards the "common people". An example of that happened when he was ready to depart for London, he told Joe that he "wished to walk away all alone" (page 150) 5 because he privately fears the "contrast there would be between me and Joe if we went to the coach together". Here, his change became more visible. The same feeling would repeat during joe's visit to him some time later and when Pip went back to his hometown, visited Miss Havisham, not Joe.

This negative trait Pip developed was portrayed in ways other than his view of his past life. In London, while living as a "gentleman", Pip had trouble managing his new way of life. Both he and Herbert "went on from bad to worse, in the way of increasing our debts, looking into our affairs, leaving margins, and the like exemplary transactions" (p. 273) 6. He did not know how to deal with money issues yet. He was more like a boy inside for he had not matured yet. It is interesting to point put that Dickens' presentation of Pip as a person changed as well as the character had grown.

When Pip was a child, his descriptions emphasized his paltry ness and confusion, however, after he became a teenager, the descriptions emphasized his moral and emotional bedlam. Pip became more aware of the qualities and characteristics of the people around him. At the age of twenty-one Pip officially enters adulthood, but he is not grown yet. This is clear in the episode which Magwitch, the convict who had dedicated his life helping him, was not welcomed by Pip. At this point of his growth, all Pip cared about was himself and getting together with Estella. However, he realized that Magwitch had tried to repay him for the almost insignificant favor that Pip had done as a child.

Over time, Pip's learned to love Magwitch. This time, the change Pip underwent was positive. Another example of his change was that, during a visit to Miss Havisham, he was not only able to forgive her but also managed to guarantee the future of his friend, Herbert. One can see that just as Pip's feelings toward Magwitch softened, so did his attitude toward his old friends.

His learning was gradual. The attempt to free Magwitch through the river that fact that the nervous, ambiguous child was then a confident adult in action. The extent to which Pip had grown throughout the novel is highlighted when, after losing Miss Havisham and Magwitch, Pip finally realized that goodness did not come from material possessions, and social standing, but from inside a person. Soon after Magwitch's death, Pip became seriously ill. When he recovered, he learned that Joe had traveled to London to nurse him.

During that period, Joe remained formal and awkward around Pip, as he had acted while visiting Pip in London several years earlier. On the other hand, Pip began to feel as if he had never left his hometown. He realized and appreciates that "there was no change whatever in Joe. Exactly what he had been in my eyes then, he was in my eyes still; just as simply faithful, just as simply right" (p. 443) 7.

When Joe returned to the forge, Pip followed him. At the forge, Pip no longer had any feelings of shame or arrogance. He even requested, "Now let me go up and look at my old room". (p. 455) 8. At the conclusion of Great Expectations, the reader an see that Pip had changed from an innocent, caring boy into an arrogant young man and then he became a grown and truly good-natured person, complete ing his maturing process. He learned that social class is not a criterion for happiness and that his treatment of his loved ones must be the most important value in his life.

Although his self-description as a narrator showed that he continued to judge himself harshly, he had forgiven his enemies and reconciled with his friends. It really does not matter which of the two endings you choose for his story. The important fact is that he found a happy ending for himself. Pip had really (and at last) grown up.

All this makes of Great Expectations a typical bildungsroman novel, featuring almost all elements that make it a novel pertaining to this genre (see definition of bildungsroman novels): it has contains the i dae of formation (Pip's), individualism (emphasized in Pip's uniqueness. or desire to be not "common"), connection with psychology (seen in Pip's psychological changes throughout the novel). Since it is open if Pip and Estella were really together, it is not clear if he achieved his "goal in life" (which was Estella), but it is obvious that he achieved something better. 3.2 - Emma Emma was written in three volumes. It tells the story of Emma Woodhouse, a twenty-one-year-old mollycoddled country girl used to always having her way.

Although Emma's viewpoint predominated throughout the novel Austen gave her perspective through the character of Mr. Knightly. The plot sets off when Miss Taylor, her governess, had just left her because she got married. Emma tried to take credit for the it, claiming that she matched Miss Taylor and Mr. Weston. One can see here that Emma was less concerned with Miss Taylor's new happiness than her own loss of a companion, which leads to the main "problem" of the book: Emma must learn to be a better person with greater respect for others and really grow up. In chapter three, the reader is introduced to Harriet Smith, a young girl whom Emma took under her wing. The best and worst of Emma Woodhouse is revealed here, i. e., in her attempts to improve Harriet Smith.

Emma introduced Harriet Smith into her social circle, and, to her disc on tempt, began to realize that among the Martins there was a son who had a romantic interest in Harriet. Seeing Harriet's interest in Mr. Martin, she did all she could to dissuade her from maintain a relationship with him (this would repeat throughout the novel). Emma decided to match Harriet and Mr. Elton, the local vicar. Although she had good intentions towards Harriet, it is clear how controlling Emma was.

It is also clear the contrast between Emma and Mr. Knightly, who, differently from Emma, was mature and did not judge people for the status in society. Even when Mr. Martin sent a proposal of marriage to Harriet Smith, dissuaded her from accepting the proposal. Harriet was disappointed for "having to" turn Mr. Martin down. Mr. Knightly learned what Emma had done and reprimanded her, serving as Austen's tool for importing Emma. This first mistake lead to others, as in chapter 9, when Mr. Elton gave Emma a poem seemingly intended for Harriet, but in fact it was for her (page 71) 9.

This convinced Emma of Mr. Elton's intentions toward Harriet and Emma continued to induce Harriet telling her to not betray her feelings to Mr. Elton. When talking about marriage, Emma said she intended to keep single if she did not find someone superior. The reason for this is clear. As an independent woman who did not need to marry, she resolved only to marry for love and only to marry when she found someone superior, a condition that, considering Emma's own vanity till then, was unlikely to be fully satisfied. Tem, she was introduced to Jane Fairfax, a young lady of whom everyone spoke highly. Emma did not like her, obviously.

This gives some dimension to Emma's vanity: with all of the praise that others afford Jane, she is the equal of Emma. Therefore, Emma could not bear to hear her name mentioned, for she is equal to Emma in most respects. Mr. John Knightly commented to Emma how Mr. Elton seemed infatuated with her. Emma was displeased and eventually realized he had no interest in Harriet Smith and instead, was infatuated with Emma herself. She was so concentrated on playing a matchmaker that she pay attention to (and respect) others feelings. Her opinion of Mr. Elton decreased and, when she heard about Frank Churchill, she considered marrying him for he would be a good match (his social position, age, character and condition suited her aspirations).

At this point, it is clear she had not yet matured. She still thought that social status and other external features were reasons for marrying, not love. In chapter 15, when Emma found herself in the same carriage as Mr. Elton, he professed his love for her. She tried to bring up Harriet, but he said he never considered marrying her because of her position.

This quick dismissal recalls similar objections that Emma herself made in regards to Harriet and Robert Martin. The qualities that Emma found objectionable in Mr. Elton - he is 'proud, assuming, conceited; very full of his own claims' (page 135) 10 - are the very qualities that she instills in Harriet. The next day, Emma was miserable that she was so deceived by Mr. Elton, and realized how she failed to see Mr. Elton's obvious attraction to her. Emma realized that the situation was her fault, for she tried to encroach Harriet's and Mr. Elton's affairs. Once Emma had talked to Harriet about the issue, she compared herself to Harriet and this caused her to question her own value.

This is not a minor point: for the first time Emma began to realize that she might lack some qualit and began to consider her own faults and attempted to improve them. When she visited the poor Bates es, it was an attempt to correct one of these faults. Harriet told Emma she met the Martins, but she did not like the idea of Harriet meeting them. Despite how kind the Martins remained to Harriet even after her refusal, Emma was still pre judicious against them and was relieved that they were unlikely to have much contact with Harriet. A letter arrived from Mr. Churchill to urge his nephew's instant return (Frank), for Mrs. Churchill was sick. This ruined the preparations for the ball.

When he leaves, Emma is certain that he almost told her that he loved her. Emma found herself believing that Frank might love her and convinced herself that she might be in love with him. Emma, who has previously thought of romance in practical terms, finds herself considering actual love. Nonetheless, she had no concrete idea what love actually entails. After Later, in chapter 3 (part II), she realized that she did not in fact love him. Her realization shows a practical reasoning and introspection previously uncharacteristic of Emma and another step in her maturing process.

Although she had realized that, she liked Frank's attentions to her. It boosted her ego to know that a man such as Frank was so attentive to her. Also, she continued to make the same errors that earlier caused her so much trouble. She had not learned the lesson of Mr. Elton, and fancied the idea of making a match between Frank and Harriet. What Emma did realize with regard to Harriet Smith is how unfortunately obsessive Harriet was with regards to Mr. Elton. This flurried Emma for it was a reminder of Emma's mistake in judgment.

Emma's dislike for Mrs. Elton grew as the novel developed. However, this mutual feeling served to show that Emma herself had harmed others socially: Jane Fairfax had become friends with Mrs. Elton primarily because only Mrs. Elton paid attention to her. This implied that Jane was an outcast in society, likely because Emma had caused it. Emma attempted to remedy the situation by inviting Jane Fairfax to her house with one simple motive: she wished to right her earlier wrongs. Emma's attachment to Frank Churchill had receded, but she worried that he was in love with her. When Frank returned, he visited her only once in ten days.

Then, she was convinced that he no longer was infatuated with her - if he ever was. For the reader, though, Mr. Knightly's feelings toward Emma become clearer. He dismisses the idea that Emma and he are like siblings but she did not take the hint. Harriet told Emma about her interest in one unnamed man. Once again, Emma got the wrong impression that it was Frank Churchill, while it was, in fact, Mr. Knightely. During a picnic, Emma saw Mr. Knightly and Harriet together, which she found odd.

This is a reminder of Harriet's earlier claim that she was in love with a man of great status. Harriet had shown no interest in Frank Churchill, so it must be assumed that Emma was mistaken and Harriet has fallen for Mr. Knightly. On the same occasion, Mr. Knightly, wanting to improve Emma, reminded her of how bad she had treated Mrs. Bates earlier and of her duty to treat those of a lesser hank with kindness. It was the first time she is impolite.

Emma was appropriately ashamed of her behavior, and her attempts to remedy her situation with Miss Bates were authentic and praiseworthy. In chapter 10 (part ), Emma was determined to right her wrongs towards Jane, strenuously attempting to visit her and wish her better health. Emma acted with a newfound modesty. This shows that her maturing process was about to be complete. Frank and Jane's engagement became public and Emma realized that Harriet might have been upset by the turn of events, for that was the second time that Emma has suggested that someone might be interested in the poor woman. Mr. Knightly's words to Emma, 'you have been no friend to Harriet Smith' (page 402, chapter 11 part ) 11 proved to be right.

Emma realized that part of her vanity was in believing to know the secrets of everybody else's feelings. She had viewed the world as she would like it to be. She assumed that Mr. Elton loved Harriet because she wanted it to be so. As her own feelings for Frank Churchill grew, she was convinced that he loved her. Emma has thus far been completely satisfied with the condition of her life. In her mind she had everything a girl could want - fortune, status, and a comfortable social circle.

Yet, in this chapter (Chapter 13, part ), she realized that an integral part of her happiness depended on Mr. Knightly's affections. Realizing that she might lose this position to Harriet Smith made Emma aware of how deeply she cared for him. Mr. Knightely declared his love to her and after their two obstacles (Harriet Smith and her father) were removed, they married. Emma was spoiled and selfish in the first volume of the novel, but Emma's character gained stature, especially under the influence of Mr. Knightly, what justifies the happy ending. Unlike Great Expectations, Emma is not a typical bildungsroman novel for (according to Marianne Hirsch) a bildungsroman novels has a quest involved and Emma is a domestic novel. Emma never leaves her hometown.

However, this novel has some of the features which can lead one to the conclusion that it fits this genre. First, the theme of the "making of a lady" is recurrent in the novel. And as typical in many female bildungsroman e, Emma's education culminates in a personal comprehension or perception of reality by means of a sudden intuitive realization, instead of a progressive process of formal schooling. She learned to treat others with tenderness and to respect their personal privacy and autonomy and to balance power and propriety, reflecting Austen's ideal of a lady as a woman who is strong but not manipulative. CONCLUSION This paper presented two different kinds of bildungsroman novels. While one is a typical representative (Great Expectations), the other can better classified as an alternative to the traditional male novel of self development because it portrays an intelligent protagonist seeking personal growth by embarking on a quest.

Pip, on the other hand is not seeking that growth, he is rather worried about full filling his romantic aspirations towards Estella by becoming a gentleman. Although many people consider becoming a gentleman his main aim in life, this is not true, that was more a means of getting Estella than a real desire. Concerning how the novels were structured, we can conclude that, while the division in three parts of Great Expectations clearly highlights three different stages of Pip's maturing process, in Emma this is not so evident, the changes were not exactly gradual for the character of Emma, it all came to her in the end. One theme which is common in the novels is that Emma and Pip learn basically the same lesson: what should be the criterion when "judging" people. However, Emma also learned that she should respect other people's feelings and their right to run their own lives. Another similarity is in the fact that both authors criticized the and values of Victorian society.

That leads to a great difference in the novels, Austen's novel show her critique of a social system that required female subjection. Dickens did not seem to worry about ther issue. Rather, he was more concerned with the issue of classes. Also, while Pip seemed to be taken by the stream of occurrences, Emma was active and tried to control the course of events. Therefore, the novels seem to present two distinct kinds of bildungsroman. Great expectations is the typical epitome of the genre, Emma brings to life a domestic (and perhaps feminist) bildungsroman novel.

However, no matter what kind of bildungsroman these novels can be c seen as, they deal with something each one of us goes through those struggles. Finding one's self can be a long tedious process, but rewarding.

Bibliography

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Available at web / bildungsroman. htmlFUDERER, Laura Sue. The Female bildungsroman in English: An Annotated Bibliography of Criticism. 1. Ed. New York: MLA, 1990.
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Online. Availabe at web LANDO W, George P. Austen, Dickens, and Male-Female Relations. Available at web MINN IS, Julie. Victorian England: Background to Great Expectations. Available at web Brian Great Expectations. Available at web com / lit /greatexSHELSTON, Alan. Charles Dickens... Available at web Atlantic Monthly. Daily. On line. Available at web Gary. Parents in Austen and Dickens. Available at web 'I LIAN COSTA MAGA LH~AES READING GREAT EXPECTATIONS AND EMMA AS BILDUNGSROMAN NOVELS Trabalho apresentadoNo cur so de Letras ao professor Rog " er iona discipline LiteraturaInglesa II. JUI Z DE FORA 2000.