Charles Dickens Created Many Characters in His Stories. Can You Match the Character to the Story Using the Clues Below?

Charles Dickens created many characters in his stories. Can you match the character to the story using the clues below? 1. My name is Oliver and I have no parents. I was born in a workhouse and as there’s never enough food I am always hungry. A. Oliver Twist B. David Copperfield C. Robinson Crusoe 2. I am the Ghost of Christmas Present and keep the spirit of Christmas alive all year round. A. Harry Potter and the Philosopher’s Stone B. The Snowman C. A Christmas Carol 3. My name is David and I go to a boarding school. A. David Copperfield B. Charlie and the Chocolate Factory C. Master Humphrey’s Clock 4. My name is Estella and I am a rich and proud lady who lives with Miss Havisham. A. The Mystery of Edwin Drood B. Great Expectations C. Charlotte’s Web 5. My name is Nell and I live with my grandad in a shop that sells everything. A. Bleak House B. The Old Curiosity Shop C. The Lion, the Witch and the Wardrobe 6. My name is Nicholas and I have a friend called Smike. I am very poor. A. Oliver Twist B. Gangsta Granny C. Nicholas Nickleby 7. My name is Amy. I was born and live in a debtors’ prison. I sell my sewing to make money. A. Matilda B. Little Dorrit C. Martin Chuzzlewit 8. My name is Mr Pickwick and I have set up a club where my friends and I go travelling. A. The Tale of Peter Rabbit B. The Pickwick Papers C. Sketches by Boz Guildhall Museum Rochester @Guildhallmuseum These next questions are all about stories Charles Dickens wrote. Do you know what happens next in the story? 9. In A Christmas Carol Ebenezer Scrooge asks a boy to buy the biggest turkey in the butcher’s. What does he do with it ? A. Looks at it B. Eats it all by himself C. Gives it to Bob Cratchit’s family so Tiny Tim can have a proper meal 10. In Oliver Twist The Artful Dodger is showing Oliver what naughty work he does . He goes up to an old gentleman and A. Asks him the way to London Bridge B. Steals from his pockets C. Sells him a handkerchief 11. In David Copperfield Aunt Betsey does not like donkeys riding across her front lawn. What happens when David’s stepfather arrives on a donkey to take him home? A. Aunt Betsey chases the donkey away B. Aunt Betsey let’s the donkey eat her grass C. Aunt Betsey rides on the donkey 12. In Great Expectations Pip, who is poor, meets Magwitch, an escaped prisoner, in the graveyard. He promises to help him by… A. Not helping him and running away B. Giving him food and drink C. Giving him all his money 13. In The Pickwick Papers Mr Pickwick is taking his first trip to Rochester but the horses’ coach driver gets angry with him. What does he do ? A. Forgets why he is angry and they become best friends B. Hits Mr Pickwick and gets a crowd of angry people around him C. Tells him to fly to Rochester as he will not drive him in a coach and horses 14. In A Christmas Carol Ebenezer Scrooge is about to open his door to his home on Christmas Eve but what happens next? A. Nothing B. The door won’t open because there is snow blocking it C. He sees the doorknocker turn into his old partner Jacob Marley’s face 15. In Great Expectations when Pip meets Miss Havisham for the first time, what is she wearing that is very strange to him? A. Trousers B. Her wedding dress C. A Halloween costume 16. In Nicholas Nickleby Wackford Squeers is a cruel schoolmaster to Nicholas Nickleby. He only has one what…. A. Eye B. Leg C. Friend Guildhall Museum Rochester @Guildhallmuseum.

Copy Link

Recommended publications

Great Expectations on Screen
UNIVERSIDAD AUTÓNOMA DE MADRID FACULTAD DE FILOSOFÍA Y LETRAS DEPARTAMENTO DE HISTORIA Y TEORÍA DEL ARTE TESIS DOCTORAL GREAT EXPECTATIONS ON SCREEN A Critical Study of Film Adaptation Violeta Martínez-Alcañiz Directoras de la Tesis Doctoral: Prof. Dra. Valeria Camporesi y Prof. Dra. Julia Salmerón Madrid, 2018 UNIVERSIDAD AUTÓNOMA DE MADRID FACULTAD DE FILOSOFÍA Y LETRAS DEPARTAMENTO DE HISTORIA Y TEORÍA DEL ARTE TESIS DOCTORAL GREAT EXPECTATIONS ON SCREEN A Critical Study of Film Adaptation Tesis presentada por Violeta Martínez-Alcañiz Licenciada en Periodismo y en Comunicación Audiovisual para la obtención del grado de Doctor Directoras de la Tesis Doctoral: Prof. Dra. Valeria Camporesi y Prof. Dra. Julia Salmerón Madrid, 2018 “It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of light, it was the season of darkness, it was the spring of hope, it was the winter of despair” (Charles Dickens, A Tale of Two Cities) “Now why should the cinema follow the forms of theater and painting rather than the methodology of language, which allows wholly new concepts of ideas to arise from the combination of two concrete denotations of two concrete objects?” (Sergei Eisenstein, “A dialectic approach to film form”) “An honest adaptation is a betrayal” (Carlo Rim) Table of contents ACKNOWLEDGMENTS 13 CHAPTER 1. INTRODUCTION 15 CHAPTER 2. LITERATURE REVIEW 21 Early expressions: between hostility and passion 22 Towards a theory on film adaptation 24 Story and discourse: semiotics and structuralism 25 New perspectives 30 CHAPTER 3.
[Show full text]
Various Locations in England Including Pip's Home in Kent, a Cemetery On
1. SETTING: Various locations in England including Pip’s home in Kent, a cemetery on the marshes, Miss Havisham’s estate a.k.a. Satis House, Joe Gargery’s forge, and Pip’s rooms in London. The time flows between the years 1812 and 1840. AT RISE: The ruined gardens of Satis House, 1840. ACTORS #3, #4, #5, and #6 enter. They look around the garden in wonder, then take the positions they will assume at play’s end. PIP enters and looks around at the disaster of what was once a grand estate. After a moment… PIP (To audience) My name is Philip Pirrip, but ever since I was a young lad I was known as… ACTOR #4 Pip… ACTOR #5 Pip… ACTOR #6 Pip… ACTOR #3 Pip… (ESTELLA enters.) ESTELLA Hello, Pip. (PIP turns to her, surprised. He takes a step towards her.) PIP Estella! (ESTELLA, ACTOR #6, and ACTOR #5 twirl off.) 2. PIP (cont.) (To audience) At the age of two I was orphaned, and was taken in by my brother-in-law, a kind-hearted blacksmith named Joe Gargery… (ACTOR # 4 steps forward and becomes JOE.) …and his wife, my much older sister, whom I have always referred to as “Mrs. Joe.” (ACTOR #3 steps forward and becomes MRS. JOE.) Mrs. Joe resented my presence in her household. MRS. JOE I did and I do and I don’t deny it. Left with a child such as this to raise up… (She shakes PIP.) Lazy and useless, that’s what you are! A trial to my very soul! JOE Now, there’s no need for that.
[Show full text]
Magwitch's Revenge on Society in Great Expectations
Magwitch’s Revenge on Society in Great Expectations Kyoko Yamamoto Introduction By the light of torches, we saw the black Hulk lying out a little way from the mud of the shore, like a wicked Noah’s ark. Cribbed and barred and moored by massive rusty chains, the prison-ship seemed in my young eyes to be ironed like the prisoners (Chapter 5, p.34). The sight of the Hulk is one of the most impressive scenes in Great Expectations. Magwitch, a convict, who was destined to meet Pip at the churchyard, was dragged back by a surgeon and solders to the hulk floating on the Thames. Pip and Joe kept a close watch on it. Magwitch spent some days in his hulk and then was sent to New South Wales as a convict sentenced to life transportation. He decided to work hard and make Pip a gentleman in return for the kindness offered to him by this little boy. He devoted himself to hard work at New South Wales, and eventually made a fortune. Magwitch’s life is full of enigma. We do not know much about how he went through the hardships in the hulk and at NSW. What were his difficulties to make money? And again, could it be possible that a convict transported for life to Australia might succeed in life and come back to his homeland? To make the matter more complicated, he, with his money, wants to make Pip a gentleman, a mere apprentice to a blacksmith, partly as a kind of revenge on society which has continuously looked down upon a wretched convict.
[Show full text]
Pip's Ego Oscillations in Charles Dickens's Great Expectations
AWEJ for Translation & Literary Studies, Volume 5, Number 1. February 2021 Pp.262 -278 DOI: http://dx.doi.org/10.24093/awejtls/vol5no1.19 Pip's Ego Oscillations in Charles Dickens's Great Expectations Bechir Saoudi English Department, College of Science and Humanities, Hotat Bani Tamim, Prince Sattam Bin AbdulAziz University, Al-Kharj, Riyadh, Kingdom of Saudi Arabia English Department, ISEAH, Kef, Jendouba University, Tunisia Correspondent Author: [email protected] Lama Fahad Al-Eid English Department, College of Science and Humanities, Hotat Bani Tamim, Prince Sattam Bin AbdulAziz University, Al-Kharj, Riyadh, Kingdom of Saudi Arabia Noura Mohammed Al-Break English Department, College of Science and Humanities, Hotat Bani Tamim, Prince Sattam Bin AbdulAziz University, Al-Kharj, Riyadh, Kingdom of Saudi Arabia Rahaf Saad Al-Samih English Department, College of Science and Humanities, Hotat Bani Tamim, Prince Sattam Bin AbdulAziz University, Al-Kharj, Riyadh, Kingdom of Saudi Arabia Tarfah Abdullah Al-Hammad English Department, College of Science and Humanities, Hotat Bani Tamim, Prince Sattam Bin AbdulAziz University, Al-Kharj, Riyadh, Kingdom of Saudi Arabia Received: 12/10/ 2020 Accepted: 2/2/2021 Published: 2/24/2021 Abstract This research project studies Pip's ego fluctuations in Charles Dickens's Great Expectations. Freud's division of the human psyche into id, ego and superego is appropriate for the analysis of the rise and fall of the hero in his pursuit to attain gentlemanhood. Four main questions have been addressed: First, what makes up Pip's id? Second, what are the main components of his superego? Third, does Pip's ego succeed or fail in striking a balance between his id and superego? In what ways does it fail? And fourth, how does Pip's ego eventually succeed in striking a balance between his id and superego? The study finds out that Pip's id is demonstrated through his fascination with high-class lifestyle and relinquishment of common life.
[Show full text]
Great Expectations
World Literature II Summer Work Great Expectations Part 5: Journal Directions You must have a spiral or marble notebook for this assignment. Each page of this journal guide incorporates three (3) to four (4) chapters. You must choose only one (1) question for each page. This will come out to 16 entries by the end of the book. (E.g. Page 1 has questions for Chapters 1, 2, and 4. You will choose only one of these prompts to complete). You must complete the wrap-up question at the end of the journal prompts. As you begin an assignment, make sure that you have clearly labeled the chapter question. Keep in mind that there are no right or wrong answers to these prompts, and there is no one direction in which you must go. C h a p t e r 1 In the opening of Great Expectations, the main character, Pip, visits the graveyard where his parents and siblings are buried. A very frightening man approaches Pip and makes demands of him. List at least five reasons why Pip is extremely afraid of him. C h a p t e r 2 We are introduced to Pip’s sister, Mrs. Joe, and her husband, Joe, and quickly realize that Pip’s sister treats Pip badly, whereas Joe looks out for Pip. Think of a person in your life who has been a menace to you or a person that has always helped you. Describe that person in one paragraph. In one or more paragraphs, describe at least one example where the person either treated you poorly or treated you well.
[Show full text]
A Tale of Four Cities a Bicentenary Traveling Conference
Dickens and the Idea of ‘The Dickensian’: A Tale of Four Cities A Bicentenary Traveling Conference Master Programme – Draft – January 11, 2011 Paris Dickens and the Idea of the ‘Dickensian’ City Hosted by University of Paris-Diderot, UFR d’Etudes anglophones 2-3 February 2012 The programme will take place at the University of Paris-Diderot, UFR d’Etudes Anglophones (10, Rue Charles V 75004 Paris) in the Marais District of Paris. Métro: Bastille, Sully-Morland or Saint Paul Thursday 2 February Conference Check-in and Registration Noon-1.00 pm – Room A50; 10, rue Charles V, 75004 Conference Welcome and Official Opening 1.00 pm – Room A50; 10, rue Charles V Sara Thornton - Université Paris-Diderot Jean-Marie Fournier, Head of the English Department - Université Paris-Diderot Session 1: The Romantic and Gothic City: twistings, labyrinths, wastelands 1.15 pm – Room A50; 10, rue Charles V Nightmares of Urban Life: The City as Frozen Deep Catherine Lanone Sorbonne-Nouvelle, Paris 3 (France) London as Labyrinth and/or Maze Marianne Camus Université de Bourgogne, Dijon (France) Criminal Geography in London: Dickens’s Twisted Underworld Cécile Bertrand Université Paris-Diderot (France) Session 2: The Poetics of Urban Space: Tropes of Flow or Restriction 3.15 pm – Room A50; 10, rue Charles V ‘One Hundred and Five North Tower’: Writing the City as a Prison Narrative in Dickens’s A Tale of Two Cities (1859) Divya Athamamthan Nanyang Technological University (Singapore) The Role of Hypallages in Dickens’s Poetics of the City Françoise Dupeyron-Lafay
[Show full text]
Great Expectations: Pip's Moral Journey As a Message for America
Great Expectations: Pip’s Moral Journey as a Message for America “We spent as much money as we could, and got as little for it as people could make up their minds to give us. There was a gay fiction among us that we were constantly enjoying ourselves, and a skeleton truth that we never did” (340). When Charles Dickens penned these words to describe Pip’s mindset in Great Expectations, he couldn’t have known how they would apply to the world in 2009. But the ideals put forth in Great Expectations are just as poignant and relevant in the midst of the American economic crisis as they were in the 19th century. Pip’s moral journey, from his “great expectations” to his downfall and the reshaping of his values, mirror America’s realization that our own “great expectations” were also based on misguided notions and falsities. Just like Pip, we were so intent on achieving our American Dreams—our “great expectations—that we became completely self-centered and lost sight of what was truly important. Even in today’s radically different social climate, Pip’s story presents a valuable message—that genuine relationships and compassion, not self-indulgence and social status, provide the path to true happiness. Pip’s desire to attain gentility so that he can impress Estella mirrors the recent American path toward self-centeredness and a sense of entitlement. Dickens portrays Pip as motivated by shame, by a desire to impress Estella, even during their first meeting, when Pip cries after she criticizes him as “coarse and common.” Dickens illustrates Pip’s shame of his own commonness and simplicity when he writes: “ …My coarse hands and my common boots…had never troubled me before, but they troubled me now, as vulgar appendages.
[Show full text]
The Analysis of Pip's Characteristics in Great Expectations
Sino-US English Teaching, June 2016, Vol. 13, No. 6, 499-504 doi:10.17265/1539-8072/2016.06.007 D DAVID PUBLISHING The Analysis of Pip’s Characteristics in Great Expectations LUO Jian-ting Sichuan University of Arts and Science, Dazhou, China Great Expectations can be said to have broken Dickens’ character which has always been the perfect. As a realistic writer, Charles Dickens is through the description of the ordinary people, reflecting the reality in his life time. No one is perfect, and everyone has its markers. Seeing from the novel the hero Pip, we still even have a lot to learn. Individual growth is a process of growing to be a perfect oneself. In order to achieve our goal in the future, whether big or small, success or failure, one should depend on himself/herself, relying on his or her own ability to realize the great expectations. Keywords: Great Expectations, Pip, characteristics Introduction Charles Dickens is said to be as central to the Victorian novel as Tennyson is to Victorian poetry. Great Expectations (1860–1861) is an important work in his late years and its story is not complicated. It tells how the poor country boy Philip Pirrip (shortened as Pip) grows up with false expectations to finally return to a rather cruel exposure of reality. Pip is an orphan, who lives in the lower class, and has been brought up by his sister. His sister is a rude woman, and is so easy to lose her temper that all the family members will be received by her bad languages.
[Show full text]
The Representation Ofcharlesdickens'lifeas
THE REPRESENTATION OF CHARLES DICKENS’ LIFE AS REFLECTED IN PIP IN THE GREAT EXPECTATIONS: A BIOGRAPHICAL STUDY AN UNDERGRADUATE THESIS Presented in Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra in English Letters By Karisma Kurniawan Wijayanto Student Number : 044214112 ENGLISH LETTERS STUDY PROGRAMME DEPARTEMENT OF ENGLISH LETTERS FACULTY OF LETTERS SANATA DHARMA UNIVERSITY YOGYAKARTA 2009 i ii iii It is better to be a lion for a day than a sheep all your life (Sr. Elizabeth Kenny) iv Imagine there‘s no heaven It’s easy if you try No hell bellows us Above us only sky Imagine all the people Living for to day Imagine there’s no country It’s hard to do Nothing to kill or die for And no religions too Imagine all the people Living life in peace You may say I’m a dreamer, but I’m not the only one I hope some day you’ll join us, and the world believed as one Imagine no possession I wonder if you can No need, no greed, no hungry A brotherhood of men Imagine all the people Sharing all the world (John Lennon) v ACKNOWLEDGEMENTS First of all, I would like to express my deepest gratitude to my Almighty Allah SWT who gives me the chance to enjoy this beautiful world and for all of the uncountable blessing which are given to me. I also thank Him for the excellent guidance along my way in finishing this undergraduate thesis. Then, I would thank the greatest prophet Muhammad SAW for being my ‘great tauladhan’.
[Show full text]
Pip's Forward Thinking: Dickens' Message of Moral Progression by Ruth Li “No Story in the First Person Was Ever Better T
Pip’s Forward Thinking: Dickens’ Message of Moral Progression By Ruth Li “No story in the first person was ever better told.” –George Gissing As a story told in the first person, Great Expectations triumphs because of the significance in Pip’s present voice narrating the entirety of his life with its realizations and changes. Pip’s narrative guides our psychological journey as readers: as the story unfolds we are at first helpless and shameful like the youthful Pip, then longing and discontent as the plot progresses, and ultimately mature and reconciled because Pip makes it so. Through a person’s voice and thoughts Dickens illustrates the struggle of the individual within society; Pip’s discontent and his pains, faults, and successes in becoming a successful and moral gentleman are embedded in Dickens’ message that individuals have the burden to face their own faults in order to enlighten themselves in a flawed society. By reading, we must realize our own roles as part of today’s world. That bleak page on which Dickens opens Great Expectations etches a lucid scene into our minds. The barren landscape of the churchyard, the marsh with “dykes and mounds and gates,” and the wretched convict chained by iron, “soaked in water and smothered in mud,” illustrate the utter depravity and ancient ways that expose the most haunting nightmares of Victorian England. To young Pip, a pale observer, society has dictated fate with a cruel and suffocating grasp. Magwitch is chained literally to iron, but Pip is chained figuratively to orphanage, Mrs. Joe’s bringing-up “by hand,” and limited education.
[Show full text]
Great Expectations
GREAT EXPECTATIONS Selected Bibliography Compiled by Rachael Scarborough King for the 2011 Dickens Universe The recommended text is the most recent Penguin Classics edition. Faculty and graduate students are asked to read the indicated required readings. The list of selected secondary readings concentrates on recent (post-1990) work, but many of the critical editions, bibliographies and anthologies include older studies. Starred texts indicate works by Dickens Project faculty. Required readings: Brooks, Peter. “Repetition, Repression, and Return: The Plotting of Great Expectations.” Reading for the Plot: Design and Intention in Narrative. New York: Knopf, 1984. 113- 142. *Gallagher, Catherine, and Stephen Greenblatt. “The Novel and Other Discourses of Suspended Disbelief.” Practicing New Historicism. Chicago: University of Chicago Press, 1997. 163-210. Marcus, Sharon. “The Female Accessory in Great Expectations.” Between Women: Friendship, Desire, and Marriage in Victorian England. Princeton: Princeton University Press, 2007. 167-190. Moynihan, Julian. “The Heroʼs Guilt: The Case of Great Expectations.” Essays in Criticism 10 (1960): 60-79. Rosenberg, Edgar. “Putting an End to Great Expectations.” Great Expectations (A Norton Critical Edition). New York: W.W. Norton & Company, 1990. 491-527. Van Ghent, Dorothy. “On Great Expectations.” The English Novel, Form and Function. New York: Rinehart, 1953. *Woloch, Alex. “Partings Welded Together: The Character-System in Great Expectations.” The One vs. the Many: Minor Characters and the Space of the Protagonist in the Novel. Princeton: Princeton University Press, 2003. 177-243. Critical Biographies and Letters: Ackroyd, Peter. Dickens: A Biography. London: Sinclair-Stevenson, 1990. Dickens, Charles. The Letters of Charles Dickens. General eds. Madeline House, Graham Storey, and Kathleen Tillotson.
[Show full text]
Great Expectations Great Expectations
GREAT EXPECTATIONS __________________________ A full-length drama by Rocco P. Natale Adapted from the Charles Dickens novel for the stage This script is for evaluation only. It may not be printed, photocopied or distributed digitally under any circumstances. Possession of this file does not grant the right to perform this play or any portion of it, or to use it for classroom study. www.youthplays.com [email protected] 424-703-5315 Great Expectations © 2007 Rocco P. Natale All rights reserved. ISBN 978-1-62088-424-9. Caution: This play is fully protected under the copyright laws of the United States of America, Canada, the British Commonwealth and all other countries of the copyright union and is subject to royalty for all performances including but not limited to professional, amateur, charity and classroom whether admission is charged or presented free of charge. Reservation of Rights: This play is the property of the author and all rights for its use are strictly reserved and must be licensed by his representative, YouthPLAYS. This prohibition of unauthorized professional and amateur stage presentations extends also to motion pictures, recitation, lecturing, public reading, radio broadcasting, television, video and the rights of adaptation or translation into non-English languages. Performance Licensing and Royalty Payments: Amateur and stock performance rights are administered exclusively by YouthPLAYS. No amateur, stock or educational theatre groups or individuals may perform this play without securing authorization and royalty arrangements in advance from YouthPLAYS. Required royalty fees for performing this play are available online at www.YouthPLAYS.com. Royalty fees are subject to change without notice.
[Show full text]