Great Expectations: The First Edition, 1861: Cambridge Library Collection - Literary Studies
Autor Charles Dickensen Limba Engleză Paperback – 7 noi 2011
Din seria Cambridge Library Collection - Literary Studies
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Specificații
ISBN-13: 9781108040068
ISBN-10: 1108040063
Pagini: 360
Dimensiuni: 140 x 216 x 20 mm
Greutate: 0.46 kg
Editura: Cambridge University Press
Colecția Cambridge University Press
Seria Cambridge Library Collection - Literary Studies
Locul publicării:Cambridge, United Kingdom
ISBN-10: 1108040063
Pagini: 360
Dimensiuni: 140 x 216 x 20 mm
Greutate: 0.46 kg
Editura: Cambridge University Press
Colecția Cambridge University Press
Seria Cambridge Library Collection - Literary Studies
Locul publicării:Cambridge, United Kingdom
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Cuprins
Chapters 20-39.
Descriere
A reissue of the three-volume first book edition (1861) of one of Dickens' greatest novels.
Notă biografică
Over the past 25 years, Tanika Gupta has written over 25 stage plays that have been produced in major theatres across the UK and has written extensively for BBC Radio drama. Some of her theatre credits include: A Doll's House (Lyric Hammersmith) Red Dust Road - adaptation of Jackie Kay's memoir (NT Scotland); Bones (Central School for Speech and Drama) Hobson's Choice (Manchester Royal Exchange); Lions And Tigers (Globe Theatre); A Short History of Tractors in Ukrainian (Hull Truck Theatre); Midsummer Night's Dream (Globe Theatre -Dramaturg); Anita and Me (Birmingham Rep); Love N Stuff (Theatre Royal Stratford East); The Empress (Royal Shakespeare Company); Wah! Wah! Girls - A British Bollywood Musical (Sadler's Wells); Mindwalking (Bandbazi Theatre); Great Expectations (Watford Palace Theatre/English Touring Theatre); Meet The Mukherjees (Bolton Octagon Theatre); White Boy (National Youth Theatre/Soho Theatre); Sugar Mummies (Royal Court Theatre); Gladiator Games (Sheffield Crucible Theatre); Hobson's Choice (Young Vic); Fragile Land (Hampstead Theatre); Inside Out (Clean Break); Sanctuary, Brecht's The Good Woman Of Setzuan and The Waiting Room (National Theatre); Skeleton (Soho Theatre); and A River Sutra (Indoza). Some of her Television credits include: Doctors, London Bridge, All About Me, EastEnders, Grange Hill, The Bill, Flight, Banglatown Banquet, Our Lives As Animals ,The Fiancee and Bideshi. Some of her Radio credits include: Trumpet, A Passage To India, Death of a Matriarch, The Home and The World, Emma, Writing The Century, Bindi Business, Song Of The Road, The God Of Small Things, Baby Farming and Ibsen's A Doll's House. In 2008 Tanika was awarded an MBE for Services to Drama and in 2016 was made a Fellow of the Royal Society of Literature. Tanika has an honorary doctorate in the Arts from Chichester University and is an Honorary Fellow at Rose Bruford College and Central School of Speech and Drama. She won the James Tait Black award in 2018 for her play Lions and Tigers.
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.
Recenzii
"No story in the first person was ever better told.""From the Trade Paperback edition."
"He's a marvellous writer . . . He's very, very good." --William Trevor, author, "Cheating at Canasta"
"A story of the traumas of sex and class. My favourite moment is the one where Magwitch makes his stumbling way up the shadowy staircase towards an unnerved but unsuspecting Pip: the halting but inexorable rise of the repressed 'from the darkness beneath." Sarah Waters, author, "Fingersmith""
"There is no one Dickens novel I could pick over all the others. Dickens is huge like the sky. Pick any page of Dickens and it s immediately recognizable as him, yet he might be doing social satire, or farce, or horror, or a psychological study of a murderer or any combination of these." Susanna Clarke, author, "Jonathan Strange and Mr. Norrell""
"I would always prefer to go get another Dickens off the shelf than pick up a new book by someone I've not read yet . . . I love the tradition of Dickens, where even the most minor walk-on characters are twitching and particular and alive." Donna Tartt, author, "TheLittle Friend""
"He's a marvellous writer . . . He's very, very good." --William Trevor, author, "Cheating at Canasta"
"A story of the traumas of sex and class. My favourite moment is the one where Magwitch makes his stumbling way up the shadowy staircase towards an unnerved but unsuspecting Pip: the halting but inexorable rise of the repressed 'from the darkness beneath." Sarah Waters, author, "Fingersmith""
"There is no one Dickens novel I could pick over all the others. Dickens is huge like the sky. Pick any page of Dickens and it s immediately recognizable as him, yet he might be doing social satire, or farce, or horror, or a psychological study of a murderer or any combination of these." Susanna Clarke, author, "Jonathan Strange and Mr. Norrell""
"I would always prefer to go get another Dickens off the shelf than pick up a new book by someone I've not read yet . . . I love the tradition of Dickens, where even the most minor walk-on characters are twitching and particular and alive." Donna Tartt, author, "TheLittle Friend""
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."
Caracteristici
This edition was published to coincide with the production by Tamasha in September, 2023.