We’ve all been there, haven’t we? That gnawing feeling in the pit of your stomach when someone else seemingly catches a break, gets the promotion, or finds their happily ever after, and you’re left wondering, “Why not me?” It’s a bitter pill, that feeling, and it’s surprisingly universal. I remember a time, early in my career, when a colleague, seemingly overnight, was elevated to a position I’d been quietly working towards for years. The initial shock gave way to a persistent, uncomfortable jealousy – not of *him*, per se, but of the *opportunity* he received, and the perceived ease with which it came to him. It taught me a lot about the insidious nature of envy, and how it can subtly twist perceptions, even among people who might otherwise get along.
This human tendency, this raw, often unspoken emotion, is at the very heart of Charles Dickens’s masterpiece, *Great Expectations*. Our protagonist, Pip, a humble orphan boy from the marshes, suddenly finds himself propelled into a world of wealth and refinement. This dramatic shift, his “great expectations,” acts like a catalyst, stirring up a complex brew of emotions in those around him. So, to answer the question directly: **Several characters are jealous of Pip, most notably Joe Gargery, Bentley Drummle, and Orlick, each for vastly different and deeply personal reasons.** Beyond these, one could argue that even Estella and Miss Havisham exhibit forms of envy rooted in their own suffering and twisted circumstances. This isn’t just about who wants what Pip has; it’s a profound exploration of human nature, class, ambition, and the corrosive power of envy itself.
The Unseen Green-Eyed Monster: Understanding Envy in Great Expectations
Dickens, with his unparalleled insight into the human condition, masterfully uses the emotion of envy to drive much of the narrative and character development in *Great Expectations*. It’s a powerful undercurrent, subtly shaping relationships and, in some cases, leading to outright malice. Envy, as portrayed in the novel, isn’t a monolithic emotion; it manifests in various forms:
* **The Envy of Loss:** Where one grieves the distance created by another’s advancement, feeling left behind.
* **The Envy of Status:** Resentment over someone’s improved social standing or wealth.
* **The Envy of Affection:** Desiring the love or attention another receives.
* **The Envy of Opportunity:** Bitterness over perceived unearned advantages.
* **The Envy of Innocence/Hope:** A darker, more twisted form, where one resents another’s capacity for joy or a future they themselves can’t have.
Pip’s journey from a blacksmith’s apprentice to a gentleman of fortune dramatically alters his place in the world, and in doing so, inevitably ignites these different kinds of envy in the people who knew him before, during, and after his ascent. Let’s delve into the specific individuals who harbored these feelings towards Pip, dissecting their motivations and the impact of their jealousy on the story.
Joe Gargery: The Heartbreaking Simplicity of His Envy
It might seem almost sacrilegious to suggest that the kind, gentle, and utterly devoted Joe Gargery could feel jealousy towards Pip. After all, Joe is the epitome of unconditional love and loyalty, a man who truly embodies the “good heart” that Pip initially fails to appreciate. However, to deny a flicker of human envy in Joe would be to deny his very humanity, and it’s precisely this subtle, painful form of envy that makes his character so profoundly poignant.
From the outset, Joe is Pip’s protector and friend. He loves Pip with a simple, guileless affection that is unwavering, even in the face of Mrs. Joe’s harshness. When Pip’s “great expectations” are revealed, Joe genuinely rejoices for him. He believes it’s Pip’s good fortune, and he wishes him every happiness.
However, as Pip begins his transformation into a gentleman, a chasm inevitably opens between them. Pip becomes refined, educated, and accustomed to a different social sphere. Joe remains a simple blacksmith, content in his honest labor but increasingly aware of his own lack of polish when compared to the emerging Pip. The jealousy Joe feels isn’t born of malice or a desire to *harm* Pip; rather, it’s a quiet, aching sense of loss and inadequacy. He sees Pip drifting further away, not just geographically, but socially and intellectually.
Consider their visit when Pip is in London. Joe comes to visit, dressed in his Sunday best, but is visibly uncomfortable in Pip’s grand new lodgings. He struggles to adapt to Pip’s new world, feeling out of place and unable to communicate with Pip’s new acquaintances, like Herbert. Joe’s awkwardness isn’t a performance; it’s genuine distress, a quiet acknowledgment of the growing social distance between him and the boy he raised. He addresses Pip as “Sir,” a heartbreaking shift from their former familiarity, which Pip, in his youthful snobbery, actually encourages.
Joe’s envy is essentially an envy of the *distance* between them. He misses the old Pip, the boy he could simply understand and share a pie with. He envies Pip’s newfound ease in a world that is utterly alien to him. It’s the envy of a loving parent who sees their child grow up and move into a life they can no longer fully share or comprehend. It’s an envy rooted in love, and that’s what makes it so tragic and uniquely Joe. He doesn’t want Pip’s money or status for himself, but he mourns the loss of the shared world they once inhabited. His final departure from Pip’s London home, leaving a message that he should not be seen off, underscores his deep sensitivity and the quiet pain he feels about this growing separation. He wishes Pip well, but he also accepts their inevitable parting, carrying a burden of silent sorrow that borders on a mild, mournful envy of Pip’s new life.
Bentley Drummle: The Ugly Face of Malicious Envy
If Joe’s envy is a silent, loving ache, Bentley Drummle’s is a loud, venomous roar. Drummle represents the most overt and spiteful form of jealousy directed at Pip, and indeed, at almost anyone he perceives as a rival or a social inferior. From their first meeting at Mr. Pocket’s, where both are students, Drummle establishes himself as a brutish, arrogant, and thoroughly unpleasant character.
Drummle, despite his family’s wealth and position, is deeply insecure. He seems to derive satisfaction only from asserting his dominance and making others feel small. He is introduced to us as “the spider,” a telling moniker that captures his predatory and unpleasant nature. His jealousy of Pip stems from several sources:
* **Rivalry for Estella:** This is perhaps the most significant catalyst for Drummle’s intense animosity. Pip is deeply, hopelessly in love with Estella, and Drummle is acutely aware of this. Drummle, who wishes to possess Estella more as a trophy than a loved one, enjoys tormenting Pip by flaunting his courtship of her. He deliberately makes sure Pip sees them together, uses his superior social standing to overshadow Pip, and eventually marries Estella, knowing full well the pain it will inflict on Pip. His marriage to Estella is not merely for her, but partially as a direct strike against Pip.
* **Social Status and Ambition:** While Drummle comes from an old, established family, Pip’s sudden, mysterious elevation to “gentleman” status irks him. Drummle, in his snobbery, believes Pip to be an upstart, undeserving of his fortune. He sees Pip as an intruder in his social circle, and he resents the attention Pip receives or the potential for Pip to surpass him in any way. He constantly tries to put Pip in his place, to remind him of his humble origins, and to belittle his aspirations.
* **General Ill-Nature:** Beyond specific rivalries, Drummle simply seems to envy anyone who possesses a modicum of decency, kindness, or happiness. His character is so fundamentally flawed that he cannot tolerate others’ good fortune or good spirits. He is a personification of pure, unadulterated envy, manifesting as cruelty and arrogance.
Dickens uses Drummle to highlight the destructive power of class prejudice and the moral decay that can accompany inherited privilege when not tempered by character. Drummle’s jealousy is not about what he lacks, but about what he believes Pip, an “inferior,” has. His actions are consistently designed to undermine Pip, and his eventual brutal treatment of Estella is a chilling testament to the kind of person he is, a person whose life is largely fueled by a desire to dominate and degrade those he envies.
Orlick: The Dark Shadow of Resentment and Class Envy
Of all the characters who harbor jealousy towards Pip, Orlick’s is perhaps the most visceral, dangerous, and deeply rooted in class resentment. Orlick, a journeyman at Joe’s forge, is introduced as a surly, malevolent figure with a deep-seated sense of injustice. His envy of Pip is fueled by a volatile mix of social grievance, personal slights, and a twisted desire for revenge.
Orlick’s initial resentment stems from Pip’s favored position. When Pip is apprenticed to Joe, Orlick sees Pip as having an easier, more privileged path than himself, despite both being workers at the forge. He views Pip as pampered, someone who gets opportunities he doesn’t, simply because of his relationship to Joe and Mrs. Joe. This feeling is exacerbated when Mrs. Joe consistently favors Pip, making Orlick feel undervalued and overlooked.
His jealousy, therefore, is primarily:
* **Class-Based Resentment:** Orlick embodies the festering bitterness of the working class against those who ascend the social ladder, especially if he perceives that ascent as undeserved or at his own expense. Pip’s “great expectations” only amplify this feeling, confirming to Orlick that the world is unfair and that some are chosen while others are condemned to toil.
* **Personal Grudges:** Orlick nurses old grudges. Pip once called him a “toad,” and Orlick never forgets it. He perceives Pip’s attempts to assert himself or even just exist as personal insults. This builds up over time into a violent animosity.
* **Envy of Pip’s Associations:** He resents Pip’s connection to Miss Havisham and Satis House, sensing that these are pathways to a better life from which he is excluded. When Pip is given a half-holiday, Orlick, always looking for a reason to complain, demands one too, feeling entitled to the same privileges Pip receives.
The escalation of Orlick’s envy is terrifying. It isn’t just a feeling; it translates into horrifying actions. He is strongly implicated, and later confesses, to the brutal assault on Mrs. Joe, an act clearly driven by his hatred for her and, by extension, Pip. This act, committed with a convict’s leg-iron, is a symbolic lashing out against the very structure of their lives, and Pip’s part in it.
Later, Orlick’s malevolent jealousy culminates in a terrifying attempt on Pip’s life. He lures Pip to the lime kiln, intending to murder him and set fire to his body. During his chilling confession, he explicitly states his reasons, laying bare his seething resentment: “I’ve waited for you, Pip, him and you, and long and long I’ve waited for you both. I’ve been a-waiting for you up-town and down-town, a-waiting for you to come to this place, here. At last I’ve got you.” He blames Pip for his misfortunes, for Miss Havisham dismissing him, and for his general unhappiness. Orlick is the embodiment of how unresolved envy, coupled with a dark nature, can lead to violence and pure, unadulterated evil. His character serves as a stark warning about the destructive potential of resentment born from perceived social inequality.
Estella: A Peculiar Kind of Envy or Rivalry?
Estella’s relationship with Pip is perhaps the most complex and tragic in *Great Expectations*. While not exhibiting direct jealousy of Pip’s fortune or standing, her feelings towards him, and indeed towards herself, contain elements that could be interpreted as a peculiar form of envy or a manifestation of her own suffering that reflects upon Pip.
Estella is raised by Miss Havisham to be a weapon of revenge against the male sex, instructed specifically to “break hearts.” Consequently, she is cold, distant, and seemingly incapable of genuine affection or empathy. Pip, however, loves her with an unwavering devotion that she struggles to comprehend.
Could Estella be jealous of Pip’s capacity for genuine feeling?
* **Envy of Emotion:** Estella herself confesses, “I have no heart… I have no softness there, no sympathy—all stone.” She recognizes this as a deficit within herself. When Pip expresses his profound love and suffering for her, she sees something in him that she lacks. Perhaps she envies his ability to feel, to love so deeply, even if that love causes him pain. She is perpetually trapped by her upbringing, unable to connect in the way Pip longs to. This isn’t a desire to *have* what Pip has in terms of his love for *her*, but perhaps to *be capable* of the pure, unadulterated emotion that he displays.
* **Envy of Freedom from Miss Havisham’s Influence:** While Pip, too, is manipulated by Miss Havisham, he eventually breaks free from her psychological hold and builds his own moral compass. Estella, for a long time, remains a prisoner of her past, her character molded by Miss Havisham’s trauma. She might unconsciously envy Pip’s eventual ability to transcend his “expectations” and choose his own path, free from the crushing weight of another’s bitterness.
* **A Twisted Reflection:** Her coldness is a barrier, but it also reflects a deep internal pain. When Pip suffers for her, she sees a mirror of the suffering she causes and, in turn, the suffering she has endured. It’s less jealousy and more a tragic mirroring, where Pip’s capacity for love shines a light on her own emotional void, and that light might sting.
It’s not an envy of his material possessions or social standing; Estella is far above such concerns, being disdainful of almost everyone. Instead, it’s a more profound, existential envy—a longing, perhaps unconscious, for the emotional wholeness or the pure, uncorrupted spirit that Pip possesses, and that she has been deliberately denied. Her eventual softening, her acknowledgment of her own suffering and Pip’s, suggests a recognition of what she missed out on, a quiet lament that borders on a regretful envy of a life she could never lead.
Miss Havisham: The Echoes of Her Own Misery
Miss Havisham, the jilted bride frozen in time, doesn’t directly envy Pip’s personal possessions or immediate happiness in the way Orlick or Drummle do. Her envy is far more complex, corrosive, and deeply pathological, stemming from her own immense betrayal and suffering. She manipulates Pip and Estella, using them as tools for her revenge against men, but her motivations also reveal a twisted form of envy.
Miss Havisham envies:
* **Youth and Hope:** Pip, upon his initial visits to Satis House, represents youth, innocence, and the potential for a future full of love and happiness—all things that were brutally snatched away from Miss Havisham on her wedding day. She can’t bear to see anyone experience the joy she lost. Her attempts to crush Pip’s spirit and make him suffer for Estella are, in part, a projection of her own pain and a desire to see others share in her misery. It’s a “misery loves company” approach, but taken to an extreme.
* **The Capacity for Love:** She observes Pip’s pure and unconditional love for Estella, a love untainted by her cynical machinations. This pure affection is a stark contrast to the betrayal she experienced and the emotional wasteland she has cultivated within herself. She envies this capacity for genuine, untainted affection that she, due to her trauma, can no longer possess or believe in. She wants to prove to herself that such love is a lie, and if she can destroy it in Pip, it perhaps validates her own cynicism.
* **Pip’s “Expectations”:** Initially, Miss Havisham might have enjoyed the power she held over Pip, the boy who looked forward to a grand future which she seemed to control. It was a vicarious thrill. However, as Pip genuinely moves forward, becoming independent and increasingly disillusioned with her influence, her control wanes. This loss of control and the sight of Pip moving on with a life she engineered but can no longer dictate, could also spark a subtle envy of his emerging autonomy.
Her jealousy is a symptom of her deep psychological wounds. She resents the world for moving on, for offering others the possibility of love and fulfillment that was denied to her. Pip, as a young man with a hopeful future, inadvertently becomes a target for this deeply ingrained bitterness. Her final desperate plea for Pip’s forgiveness, and her realization of the horror she inflicted, mark a shift, but for years, her actions were driven by a chilling envy of a life she could never reclaim.
Herbert Pocket: A More Subtle Nuance of Ambition and Friendship
Herbert Pocket, Pip’s dear friend and roommate in London, represents a different, far less malicious shade of potential envy. Herbert is kind, supportive, and genuinely wishes Pip well. Their friendship is one of the most heartwarming aspects of the novel, built on mutual respect and affection.
However, it would be disingenuous to suggest that no human being, however good-natured, could feel a fleeting pang of something akin to envy when a friend suddenly receives an immense, mysterious fortune, while they themselves struggle.
* **Envy of Sudden Fortune:** Herbert, like Pip, has “expectations,” though his are less grand and more hard-won. He dreams of becoming an “insuranceman” and working his way up. He toils diligently, but slowly. Pip, on the other hand, receives a massive, unearned inheritance that immediately sets him up as a gentleman. While Herbert never expresses this explicitly, and certainly never acts on it maliciously, it’s plausible that a brief, human thought of “Why not me?” might cross his mind. This isn’t a desire to take Pip’s money, but perhaps a wish for an easier path to his own modest ambitions.
* **Envy of Pip’s Social Access:** Pip’s fortune immediately grants him access to certain circles and a lifestyle that Herbert, despite his good family connections, can’t afford. This isn’t resentment, but more a recognition of the sheer luck Pip has stumbled into, something Herbert has to strive for daily.
This is a very minor, humanized form of envy, quickly superseded by Herbert’s true joy for his friend. It underscores the pervasive nature of the emotion, suggesting that even the best of us might feel it in a fleeting moment, especially when faced with dramatic disparities in fortune. But unlike others, Herbert’s character is strong enough to channel any such feelings into renewed determination for his own success, and unwavering support for Pip. Indeed, Pip later uses his own resources to secretly help Herbert, showing a beautiful reversal of the power dynamic and a testament to true friendship.
The Broader Implications: Envy as a Social Commentary
Dickens wasn’t just telling a story about a boy and his fortune; he was also providing a powerful social commentary on Victorian England. The jealousy directed at Pip, and indeed Pip’s own misguided ambitions and occasional envy (particularly of Drummle and his position relative to Estella), serves to illuminate several societal issues:
* **Class Mobility and Resentment:** Pip’s journey from the forge to London society highlights the rigid class structure of the time. His ascent stirs resentment in those “below” him (Orlick) and disdain from those “above” him (Drummle), who view him as an undeserving upstart. This tension showcases the anxieties and prejudices surrounding social mobility.
* **The Corrupting Influence of Wealth:** The novel questions whether “great expectations” truly bring happiness. For Pip, his new wealth and status bring a different set of problems, including attracting the wrong kind of people (Drummle) and alienating the right ones (Joe). The envy directed at him underscores the idea that wealth, far from being a universal blessing, can be a source of discord and moral corruption.
* **The Nature of True Value:** Through the contrast between Joe’s steadfast love and the malicious envy of others, Dickens subtly argues that true value lies not in material possessions or social standing, but in integrity, kindness, and genuine human connection. The characters who envy Pip for superficial reasons are ultimately shown to be morally bankrupt.
The Cost of Envy: Its Destructive Power in Great Expectations
The pervasive presence of envy in *Great Expectations* is not merely an incidental plot device; it is a central theme that drives much of the narrative’s tragedy and ultimately contributes to Pip’s profound character development. The destructive power of envy manifests in several critical ways throughout the novel:
* **Corrosion of Relationships:** Pip’s own internal struggles, fueled by his social ambition, lead him to distance himself from Joe and Biddy, two of the most genuinely loving people in his life. The envy others feel for Pip further strains relationships, turning affection into resentment (Joe’s quiet pain), or friendship into bitter rivalry (Orlick’s hatred).
* **Fueling Violence and Malice:** Orlick’s envy escalates from petty grievances to attempted murder, demonstrating the darkest potential of this emotion. Drummle’s jealousy manifests as psychological and physical cruelty, ultimately leading to a miserable life for Estella.
* **Hindering Self-Actualization:** For Miss Havisham, envy of others’ happiness and her own self-pity freeze her in a state of arrested development, preventing her from moving on and finding any form of peace. Her life becomes a monument to her own trauma, perpetuated by her inability to overcome her bitterness.
* **Distorting Perception:** Envy blinds characters to the true nature of people and situations. Orlick sees Pip as a tormentor, not a fellow human. Drummle sees Pip as a mere obstacle, not a person worthy of respect. Even Pip, in his own phase of snobbery, misjudges Joe through the lens of his new “gentlemanly” aspirations, a form of inverse envy where he envies the ease of others’ refinement compared to his own crude beginnings.
Ultimately, Pip’s journey is one of learning to recognize and reject the corrupting influences of ambition and the envy it can foster, both in himself and in others. He learns to appreciate the genuine, unpretentious love of Joe and Biddy, understanding that the true “great expectations” lie not in wealth or social status, but in integrity, humility, and authentic human connection. The characters who were jealous of him, each in their own way, served as mirrors reflecting the dangers and moral failings associated with such an insidious emotion.
Frequently Asked Questions (FAQs)
Was Pip ever jealous of anyone?
Yes, Pip absolutely experienced moments of jealousy, which is part of what makes his character so relatable and complex. His most prominent jealousy was directed towards Bentley Drummle, particularly regarding Estella. Pip was hopelessly in love with Estella, and Drummle’s arrogant and successful courtship of her, culminating in their marriage, was a source of intense pain and envy for Pip. He resented Drummle’s privilege and his ability to win Estella’s hand, despite Pip believing Drummle was utterly unworthy of her.
Beyond Drummle, Pip also showed a form of social envy in his early days in London. He was often self-conscious of his own “coarse hands and common boots,” and initially looked down on Joe and Biddy for representing the humble life he was trying to escape. This wasn’t necessarily a malicious envy, but rather a profound insecurity that led him to envy the ease and refinement of others, and to wish he had always belonged to the upper classes.
How does Pip’s “great expectations” fuel jealousy in others?
Pip’s sudden and mysterious elevation to a gentleman of fortune acts as a massive disruptor in the lives of those around him, inevitably fueling jealousy for several reasons:
- Unearned Advantage: For characters like Orlick, Pip’s fortune is seen as an unearned stroke of luck, a perceived injustice that highlights their own difficult, laborious lives. It magnifies their sense of being overlooked or unfairly treated.
- Social Disruption: Pip’s newfound status allows him to move into a higher social sphere, creating distance and a sense of abandonment among those he leaves behind, such as Joe. This distance can breed a quiet, sorrowful envy of his new world.
- Rivalry and Competition: His expectations make him a more prominent figure, attracting the attention of people like Miss Havisham (in her manipulative schemes) and making him a direct rival to others, most notably Bentley Drummle for Estella’s affections. The perceived access to wealth and influence makes him a target for those who seek to dominate or to claim what they believe is theirs by right.
- Perceived Snobbery: As Pip adapts to his new life, his initial attempts to shed his old identity and embrace his new one are sometimes interpreted as snobbery or abandonment, further alienating those who knew him before and inviting their resentment.
What’s the difference between Joe’s jealousy and Orlick’s jealousy?
The difference between Joe’s and Orlick’s jealousy of Pip is stark and profoundly illustrative of Dickens’s characterization:
Joe’s Jealousy: This is a quiet, almost imperceptible form of jealousy, deeply rooted in love and a sense of loss. Joe doesn’t envy Pip’s money or status for himself. Instead, he mourns the growing social and emotional distance between them. His jealousy is born from the pain of seeing his beloved “Pip” change and move into a world where Joe can no longer comfortably follow or fully participate. It’s a sad, self-effacing envy of a lost connection, characterized by gentle regret and an enduring, selfless love. He simply misses the old Pip and their shared, simple life. His feelings are pure, lacking any malice or desire to harm Pip.
Orlick’s Jealousy: In stark contrast, Orlick’s jealousy is malicious, vengeful, and fueled by deep-seated resentment and a sense of social injustice. He envies Pip’s perceived advantages, his escape from manual labor, and his connections to wealth and status. Orlick feels perpetually overlooked and unfairly treated, and he blames Pip for many of his own misfortunes. His jealousy is active and destructive, leading to acts of violence, including the assault on Mrs. Joe and the attempted murder of Pip. It is a toxic blend of class resentment, personal grievance, and a desire for revenge, utterly devoid of affection or positive intent.
Does Miss Havisham’s manipulation stem from a form of jealousy?
Absolutely. Miss Havisham’s manipulation of Pip and Estella, and indeed her entire existence, is deeply rooted in a twisted, pathological form of jealousy. It’s not a direct envy of Pip’s wealth or status, but rather an envy of the very concepts of happiness, hope, and love—all of which were cruelly denied to her.
Miss Havisham was jilted on her wedding day, and her world froze at that moment of betrayal. She became consumed by bitterness and a desire for revenge against men. When Pip enters her life, a young boy full of naive hope and a blossoming capacity for love, she sees in him everything she lost. She envies his youth, his potential for a future, and his ability to feel and give affection. This envy manifests as a desire to inflict similar pain on others, particularly men, through Estella. By having Estella break Pip’s heart, Miss Havisham vicariously experiences a perverse satisfaction, attempting to prove that love is a lie and that no one can escape the suffering she endured. Her manipulation is thus a dark projection of her own envy and trauma, a desperate attempt to spread her misery and validate her own enduring pain.