Great Expectations: Puffin Classics
Scurtat de Linda Jennings Autor Charles Dickens Introducere de Roddy Doyleen Limba Engleză Paperback – 18 sep 2019 – vârsta până la 18 ani
As a small boy at Joe Gargery's forge, Pip meets two people who will affect his whole life - an escaped convict he is forced to help, and the eccentric Miss Haversham, whose beautiful, cold-hearted ward Estella young Pip adores. But when a secret benefactor pays for him to go to London to become a gentleman, Pip never dreams he will meet the dreadful Magwitch again, nor just how wrong his expectations are.
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Specificații
ISBN-13: 9780241372357
ISBN-10: 0241372356
Pagini: 528
Dimensiuni: 129 x 178 x 31 mm
Greutate: 0.33 kg
Editura: Penguin Random House Children's UK
Colecția Puffin Classics
Seria Puffin Classics
Locul publicării:London, United Kingdom
ISBN-10: 0241372356
Pagini: 528
Dimensiuni: 129 x 178 x 31 mm
Greutate: 0.33 kg
Editura: Penguin Random House Children's UK
Colecția Puffin Classics
Seria Puffin Classics
Locul publicării:London, United Kingdom
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Notă biografică
Charles
Dickens
(1812-70)
is
one
of
the
most
recognized
celebrities
of
English
literature.
His
imagination,
wit,
mastery
of
the
language
and
huge
creative
output
single
him
out
as
one
of
the
few
people
who
genuinely
deserve
to
be
called
genius.
He
had
a
poverty-stricken
childhood
and
was
determined
to
improve
himself.
By
his
early
twenties
he
found
a
job
as
a
parliamentary
reporter
and
in
his
spare
time
wrote
sketches
of
London
life
for
newspapers
and
magazines.
The
publication
of
Pickwick
Papers
(1836)
brought
him
the
fame
and
fortune
he
craved.
He
wrote
many
other
famous
books
includingOliver
TwistandA
Tale
of
Two
Cities.
Recenzii
The
Puffin
Classics
series
is
a
perfect
marriage
of
the
old
and
the
new.
Enjoy
some
of
the
best
books
from
the
past
and
find
out
why
and
how
they
inspired
some
of
the
best
writers
of
the
present
Descriere
Descriere de la o altă ediție sau format:
Featuring beautiful cover art from artist Laci Fowler, this fine collector's edition of Charles Dickens's Great Expectations is a must-have for book lovers and literature fans. One of English literature's classic masterpieces—a harrowing novel that addresses issue of social class, human worth, and the importance of self-awareness.
Considered by many to be Charles Dickens's finest novel, Great Expectations follows the narrator, the orphan Philip Pirrip (Pip), as he leaves behind a childhood of misery and poverty after an anonymous benefactor offers him a chance at the life of a gentleman.
From its famous dramatic opening on the bleak Kentish marshes, the story abounds with some of Dickens's most memorable cast that has entered popular culture: the mysterious convict Abel Magwitch, the capricious Miss Havisham, the cold and beautiful Estella, the kind and generous blacksmith Joe, the sycophantic Uncle Pumblechook, Mr. Jaggers, Wemmick with his dual personality, and the wise friend, Herbert Pocket.
Whether you're buying this as a gift or for yourself, this remarkable edition features: a beautiful high-end hardcover featuring Laci Fowler's distinctive hand-painted art, perfect for standing out on any discerning fiction lover's bookshelf; embossed cover art and gold foiling; decorative interior pages featuring pull quotes distributed throughout; a matching ribbon marker; and gold page edges.
Featuring beautiful cover art from artist Laci Fowler, this fine collector's edition of Charles Dickens's Great Expectations is a must-have for book lovers and literature fans. One of English literature's classic masterpieces—a harrowing novel that addresses issue of social class, human worth, and the importance of self-awareness.
Considered by many to be Charles Dickens's finest novel, Great Expectations follows the narrator, the orphan Philip Pirrip (Pip), as he leaves behind a childhood of misery and poverty after an anonymous benefactor offers him a chance at the life of a gentleman.
From its famous dramatic opening on the bleak Kentish marshes, the story abounds with some of Dickens's most memorable cast that has entered popular culture: the mysterious convict Abel Magwitch, the capricious Miss Havisham, the cold and beautiful Estella, the kind and generous blacksmith Joe, the sycophantic Uncle Pumblechook, Mr. Jaggers, Wemmick with his dual personality, and the wise friend, Herbert Pocket.
Whether you're buying this as a gift or for yourself, this remarkable edition features: a beautiful high-end hardcover featuring Laci Fowler's distinctive hand-painted art, perfect for standing out on any discerning fiction lover's bookshelf; embossed cover art and gold foiling; decorative interior pages featuring pull quotes distributed throughout; a matching ribbon marker; and gold page edges.
Extras
Chapter I.
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 dykes
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 shivered, and glared and growled; and whose teeth chattered in
his head as he seized me by the chin.
"Oh! Don't cut my throat, sir," I pleaded in terror. "Pray don't do it,
sir."
"Tell us your name!" said the man. "Quick!"
"Pip, sir."
"Once more," said the man, staring at me. "Give it mouth!"
From the Trade Paperback edition.
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 dykes
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 shivered, and glared and growled; and whose teeth chattered in
his head as he seized me by the chin.
"Oh! Don't cut my throat, sir," I pleaded in terror. "Pray don't do it,
sir."
"Tell us your name!" said the man. "Quick!"
"Pip, sir."
"Once more," said the man, staring at me. "Give it mouth!"
From the Trade Paperback edition.
Textul de pe ultima copertă
In this unflaggingly suspenseful story of aspirations and moral redemption, humble, orphaned Pip, a ward of his short-tempered older sister and her husband, Joe, is apprenticed to the dirty work of the forge but dares to dream of becoming a gentleman. And, indeed, it seems as though that dream is destined to come to pass because one day, under sudden and enigmatic circumstances, he finds himself in possession of "great expectations." In telling Pip's story, Dickens traces a boy's path from a hardscrabble rural life to the teeming streets of 19th-century London, unfolding a gripping tale of crime and guilt, revenge and reward, and love and loss.
Written in the last decade of Dickens' life, "Great Expectations" was praised widely and universally admired. It was his last great novel, and many critics believe it to be his finest. Readers and critics alike praised it for its masterful plot, which rises above the melodrama of some of his earlier works, and for its three-dimensional, psychologically realistic characters characters much deeper and more interesting than the one-note caricatures of earlier novels."
Written in the last decade of Dickens' life, "Great Expectations" was praised widely and universally admired. It was his last great novel, and many critics believe it to be his finest. Readers and critics alike praised it for its masterful plot, which rises above the melodrama of some of his earlier works, and for its three-dimensional, psychologically realistic characters characters much deeper and more interesting than the one-note caricatures of earlier novels."
Cuprins
Introduction
Acknowledgements
A Note on the Text
Charles Dickens: A Brief Chronology
GREAT EXPECTATIONS
Appendices: Contemporary Documents
Appendix A. The Composition of the Novel
Map A: Estuaries of the Thames and Medway
Map B: City of London
Map C: Pip’s London
Illustration A. Smithfield Market
Illustration B. Barnard’s Inn
Illustration C. The River Front at Hammersmith
Illustration D. Covent Garden Market
Illustration E. The Royal Exchange
Illustration F. The Temple Stairs
Illustration G. London Bridge
Illustration H. Billingsgate Market
Select Bibliography
Acknowledgements
A Note on the Text
Charles Dickens: A Brief Chronology
GREAT EXPECTATIONS
- Volume I
- Volume II
- Volume III
Appendices: Contemporary Documents
Appendix A. The Composition of the Novel
- Dickens’s Working Memoranda
- Dickens’s Letters
- Athenaeum (13 July 1861)
- Examiner (20 July 1861)
- Saturday Review (20 July 1861)
- Atlantic Monday (September 1861)
- The Times (17 October 1861)
- British Quarterly Review (January 1862)
- Rambler (January 1862)
- Blackwood’s Magazine (May 1862)
- Temple Bar (September 1862)
- Charles Dickens, “Hard Experiences in Boyhood” in John Forster, The Life of Charles Dickens (1872-74)
- Charles Dickens, “Travelling Abroad” The Uncommercial Traveller (1861)
- Alexis deTocqueville, The Old Regime and the French Revolution (1856)
- Sir James Fitzjames Stephen, “Gentlemen” Cornhill Magazine (1862)
- William Sewell, “Gentlemanly Manners” Sermons to Boys at Radley School (1854-69)
- John Ruskin, “Of Vulgarity,” Modern Painters (1860)
- J.H. Newman, “Liberal Knowledge Viewed in Relation to Religion,” The Scope and Nature of University Education (1859)
- Thomas Carlyle, “Labour,” Past and Present (1843)
- Samuel Smiles, “Character: The True Gentleman,” Self Help (1859)
- Mrs. Craik, John Halifax, Gentleman (1856)
- Thomas Hughes, Tom Brown’s Schooldays (1857)
- Reports on the State of Popular Education in England (1861)
- Mrs. Trimmer, The Charity School Spelling Book (1818)
- Charles Dickens, “Criminal Courts,” Sketches by Boz (1839)
- Charles Dickens, “A Visit to Newgate,” Sketches by Boz (1839)
- Report from the Select Committee on Transportation (1838)
- Henry Savery, Quintus Servinton (1830-31)
- Marcus Clarke, His Natural Life (1870-72)
- “The Autobiography of a Convict,” The Voices of Our Exiles (1854)
- John Binny, “Thieves and Swindlers,” in London Labour and the London Poor (1861)
- Thomas Carlyle, Model Prisons (1850)
- Thomas Beard, “A Dialogue Concerning Convicts,” All the Year Round (1861)
- Charles Dickens, “The Ruffian,” The Uncommercial Traveller (1868)
Map A: Estuaries of the Thames and Medway
Map B: City of London
Map C: Pip’s London
Illustration A. Smithfield Market
Illustration B. Barnard’s Inn
Illustration C. The River Front at Hammersmith
Illustration D. Covent Garden Market
Illustration E. The Royal Exchange
Illustration F. The Temple Stairs
Illustration G. London Bridge
Illustration H. Billingsgate Market
Select Bibliography