Charles Dickens. (2003). Chapter 11. In: Charlotte Mitchell 'Great Expectations'. 2nd ed. London: Penguin Classics. p129.
Charles Dickens. (2003). Chapter 49. In: Charlotte Mitchell 'Great Expectations'. 2nd ed. London: Penguin Classics. p586-593.
Evidence from the novel of the concept of a half life, her presence is so trapped within her own realm that to the childlike mind of Pip she represents a figure that is in-between spirit and woman. The below image is my notes and ideas taken from my notebook of how I will develop my character of Miss Havisham through concepts surrounding her description, critical evaluations and historical realities.
When going through the process of creating Miss Havisham regardless of whether it is for tv, film or photographic work it is important to take into account the key descriptions of her character within the novel. Dickens's work is famous for its in-depth details regarding his key characters, Miss Havisham is a wonderful example of this whereby even the texture of her gown is articulated. It is from these descriptions and the consideration of Miss Havisham's age (which is around her early 30's when she meets Pip) that I feel previous adaptations of her as a haggard old woman are inaccurate, I will be basing my Miss Havisham between the time of her jilting and her first meeting of Pip therefore making her between the ages of 21 -31 (ideally 26 in my adaptation). Indeed she is distressing to look upon however the elements of her skin portrayed as a "waxwork" create a haunting mental image of self preservation, as if she has become cocooned in her bridal state through her lack of participation in the world outside thus influencing her structured form of insanity. Critics such as Mervyn Nicholson have compared her detachment from life itself as "like a nun, into a sex hostile realm of lost identity, where time has ceased, and with time, life itself". Although some may argue that this connection of Miss Havisham to that of the behaviours of a nun is rather distant there is actually significant biblical imagery both within her physical and mental descriptions that supports this. Firstly is that of her behaviour which I feel is the most prominent connection of herself to that of a religious dedication. Although she has not renounced her body to God as such, by her removing herself from the developments of society and establishing herself as a phantom of male ridicule. Miss Havisham has essentially become a committed woman to her own suffering, married not to God but to a past life of broken trust. Nicholson's comparison of Miss Havisham with that of a nun like detachment from conventional social behaviours and extreme celibacy is probably the most accurate interpretation of how a woman in her position would fit within Victorian society when the fairytale associations of a fairy godmother image are removed leaving her merely an abandoned spinster.
In addition to this concept of how she would behave morally is that of her physical appearance and within Dickens's descriptions there is a significant amount of bridal imagery that connotes a biblical connection. Features such as the "prayer book", "veil" and repetition of the colour "white" emphasise not only the connection to marriage but also a sense of purity, as Miss Havisham was never married that cultural standards of the time would render her still a virgin. This concept is enhanced further by the desire of her husband to reappear, she remains preserved as the virginal bride all these years in case of that one scenario. White carries a number of connotations that connect heavily with biblical imagery, it is a pure colour that suggests innocence and is therefore associated frequently with angels and divine spirits. It could be argued that this is why Dickens reinforces that she is "(unfit) for this earth" to enhance the angelic concept that surrounds a pure woman dedicated to a broken hearted miniature society, bringing us back again to Nicholson's concept of the nun trapped in a "sex hostile realm of lost identity", Miss Havisham is the bride to her own misery.
Continuing on from this is the development of her character from abandoned bride to spinster madwoman and how through Pip's acknowledgement of her changing costume the concept of her decay is created. Originally Pip notices her dressed in "bridal flowers" and "white" however from then on realises how the gown had "lost its lustre" becoming "faded and yellow". The imagery created through this depiction enhances a sense that Miss Havisham has somewhat lost her purity as a result of her hatred for men and determination for the punishment of love through her puppet Estella. Like the dress her purity has become muddied with jealousy, the "confused heap" of her prayer books and belongings much embodies her mind, reflecting a sense of confusion and madness that heavily effects her mind. As a result her eyes have "no brightness left" expressing how her darker purpose has consumed her internally, all hope has been lost and now she resembles "the witch of the place" set on punishing others for her own misfortune. In many respects Miss Havisham is like a fallen angel, her purer purpose becoming corrupted by the sins of others resulting in her own envy and decay. In many respects she is unfit for this earth in both emotional and physical form as the release of death would be her only escape from the unrelenting misery of her mind.
Miss Havisham's character is undoubtably tricky to pinpoint as either a villain or heroin, in many aspects she is both a wicked witch and godmother to Pip and Estella. Although she cares for both children, in particular Estella, she uses them a toys within a game of her own creation. To the reader although her motives are cruel by the time of her death we feel sympathy as even her most prized possession, Estella, cannot love her as a result of her corruption for she "stole away her heart and put ice in its place". Within her final scene Pip acts as a mirror for Miss Havisham to repent her sins, his love for Estella embodies that of hers for Compeyson and it is this realisation that opens her eyes to the wrongdoings of her insanity. Infact Miss Havisham's dramatic death at the hands of the flame carries many connotations both symbolic of her association with witchery and biblical repent of her sins as historically both within the reign of Mary I and the late Elizabethan period burning was considered the ultimate punishment for those charged with unholy beliefs and witchcraft. In a sense through her burning and repenting of her sins against Pip Miss Havisham is restored to the purity she is originally portrayed within upon the day of her wedding .
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