Social Class in Great Expectations: A Story of Aspiration, Disillusionment, and Reflection
- Vishal Gupta
- May 5
- 6 min read
Charles Dickens, born in 1812 in Portsmouth, England, was more than just a novelist. He was a social commentator with a flair for storytelling. Throughout his literary career, Dickens captured the grim realities of Victorian England with a sharp eye and a tender heart. His novels, from Oliver Twist to David Copperfield, offered a mirror to society, reflecting its injustices, hierarchies, and hopes.
Social class in Great Expectations is not just a backdrop, it actively shapes Pip’s journey, ambitions, and self-worth.
First published in 1861, remains one of his most powerful explorations of class, ambition, and personal growth. And in many ways, the story still hits home today.
Social Class and the Victorian Context
During the Victorian period, social class was not merely a marker of one’s income or job—it shaped education, behaviour, marriage prospects, and one’s entire place in the world.
Dickens, who had experienced poverty firsthand and later achieved literary fame, understood these class dynamics intimately. Great Expectations, like many of his works (Oliver Twist, David Copperfield), uses fiction as a platform to interrogate the ideals of upward social mobility, self-improvement, and the illusion of meritocracy.
Social class in Great Expectations: Pip’s Aspirations and Struggles
Pip’s journey from the marshes to the manor houses of London is a classic story of social mobility. But it’s far from glamorous. Dickens presents a complex view of ambition, one that is laced with shame, pride, and eventually, regret.
“I wished Joe had been rather more genteelly brought up, and then I should have been so too.” – Pip
This quote reveals a turning point in Pip’s consciousness. Meeting Estella and Miss Havisham introduces him to a world of wealth and refinement, but it also breeds insecurity. Pip becomes ashamed of his roots, especially of Joe, the blacksmith, who raised him with love and honesty.
In today’s world, Pip’s dilemma echoes in the quiet shame some may feel about modest backgrounds or non-prestigious jobs, especially in an era where social media constantly broadcasts curated lives. Just as Pip compares himself to the wealthy class he longs to join, many of us find ourselves measuring success by external markers, titles, brands, likes, or luxury.
The Role of Wealth in Shaping Identity
Wealth, in Great Expectations, isn’t just about comfort. It’s tied to identity, perceived value, and one’s place in society. When Pip receives news of his mysterious inheritance, he assumes it’s from Miss Havisham, a sign that he’s been “chosen” for greater things. But the revelation that his benefactor is Magwitch, a convict, shatters his illusions.
“The abhorrence in which I held the man... could not have been exceeded if he had been some terrible beast.” – Pip
This reaction shows how deeply Pip internalized the class prejudices of his time. The idea that money, even if earned or gifted, is somehow ‘tainted’ by lower-class origins reflects a harsh social truth: mobility might be possible, but class prejudice is stubborn.
This moment is critical. It forces Pip and readers, to question the true source and morality of wealth. Can social class be considered noble if it is built on criminality or manipulation? Dickens uses this revelation to undermine the Victorian obsession with status and to highlight how social class in Great Expectations is often built on illusion rather than merit.
Fast-forward to now, and we still see these dynamics. Whether it's questioning the legitimacy of "new money" tech entrepreneurs or gatekeeping elite universities, wealth may offer access, but class-coded respectability still creates invisible barriers.
Education, Manners, and the Making of a ‘Gentleman’
In Victorian society, being a gentleman wasn’t just about wealth, it was about education, behaviour, and refinement. Pip’s transformation includes learning how to dress, speak, and carry himself in high society. His friendship with Herbert Pocket becomes a critical part of this development.
“He taught me how to... adapt myself to all sorts of people, and to speak to them in their own tone and manner.” – Pip (referring to Herbert Pocket)
Education here is both a tool and a trap. It opens doors for Pip, but also distances him from his authentic self. Dickens raises an important question: Is self-improvement truly about becoming better, or just about fitting in? The theme of self-improvement in Great Expectations evolves, from the pursuit of external polish to a deeper, internal moral awakening.
This feels especially relevant today. The idea of “code-switching” or changing one’s behaviour to fit into different social or professional environments is a modern reflection of Pip’s struggle. We’re still navigating the balance between authenticity and social acceptance.
Joe and Biddy: Anchors of Authenticity
Joe Gargery and Biddy stand in quiet contrast to Pip’s restless ambition. They live simple, honest lives and embody values of loyalty, humility, and kindness. While Pip climbs the social ladder, he pushes them away,only to realise much later what he lost in the process.
“But, sharpest and deepest pain of all,it was for the convict... that I had deserted Joe.” – Pip
This moment is heartbreaking. It shows Pip’s deep regret not just for his actions, but for the values he abandoned. Joe, despite being looked down upon by upper-class standards, remains one of the most noble characters in the book.
Biddy, likewise, represents the quiet strength of working-class wisdom. Her character contrasts with the artifice Pip finds in upper-class London. Together, Joe and Biddy show that authenticity and compassion hold more value than social ambition.
In a world obsessed with upward mobility, Joe and Biddy remind us that success isn’t just about status, it’s about integrity, relationships, and inner peace. Many people today, burnt out by hustle culture, are rediscovering these truths in minimalism, slow living, and mental health movements.
Miss Havisham and Estella: The Illusion of Class Superiority
While Pip idealises the upper class, Dickens shows its dark side through Miss Havisham and Estella. Miss Havisham’s wealth hasn’t brought her joy, only bitterness. Estella, raised to be cold and unfeeling, becomes a tragic product of this toxic upbringing.
“I am what you have made me. Take all the praise, take all the blame... I am your blade.” – Estella
Estella’s upbringing under Miss Havisham mirrors how women were often shaped by class expectations rather than personal agency — not unlike Austen’s female characters who navigated social rank through marriage and manners. (Read Women’s Roles in Pride and Prejudice).
Estella’s words reveal the cost of being moulded to fit an ideal of class and control. She may be beautiful and refined, but she’s emotionally stunted and disconnected. In the end, neither she nor Miss Havisham finds peace.
Their story warns against the emptiness of social superiority without emotional growth. Estella’s beauty and refinement cannot mask her inability to love. Pip’s infatuation with her fades as he matures and begins to value moral worth over social class.
This mirrors the emptiness many people report after chasing surface-level success, when appearances are prioritised over emotional well-being. Whether it's family pressure, rigid traditions, or the performance of perfection, the consequences of neglecting one’s true self can be lasting.
Like Estella, many literary characters are shaped, and often damaged by the ideals society imposes on them. Morrison’s The Bluest Eye, though set in a different time and place, explores this through the devastating impact of Eurocentric beauty standards.
Conclusion: Social Class Then and Now
Great Expectations is not a rags-to-riches fairy tale. It’s a nuanced examination of what it means to rise in society, and what it might cost. Through Pip’s journey, Dickens shows us that while class mobility is possible, it’s often riddled with internal conflict, loss, and moral compromise.
Charles Dickens masterfully critiques the obsession with class and upward mobility that defined Victorian England. Through Pip’s journey, from shame to self-realisation, Dickens dismantles the notion that class equates to character. The novel does not reject self-improvement, but it does question its motives and outcomes. True growth, Dickens suggests, lies not in money or manners, but in empathy, humility, and moral courage.
Today, the conversation around social class has changed, but not disappeared. Economic inequality, access to education, and cultural capital still shape how we move through the world. Pip’s story invites us to ask: What does success really mean? Is it about wealth and recognition, or about becoming the best version of ourselves, without losing our roots?
In the end, Dickens doesn’t condemn ambition, but he warns us to be careful what we wish for. Great Expectations encourages a different kind of growth: one that balances aspiration with authenticity.
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