= LASSICS ILLUSTRATED aro adaptations of the world’s greatest works of literature, produced by some of the world's most talented writers and artists. Each lavishly illustrated volume is an accurate representation of the original work — distinctive, fresh and innovative, yat faithful to the book and true to the intentions of the author. hore are reasons why the original works are classics: Each is unique, each has weathered the test of time, and each continues to reflact and address the undying spirit of humanity in today's world. CLASSICS ILLUSTRATED reflect those individual styles that made the original works great — not just the stories, but the nuances as well, These adaptations naturally are abridged, but care has been taken to maintain the narrative sweep and as much of the: original dialogue and narration as possible. hile they stand on their own morits, CLASSICS ILLUSTRATED aro not substitutes for the originals. Rather, they are artistic interpretations, perfect introductions to an exciting world of remarkable ideas and unlimited possibilities — the world of great literature.P Sy ‘| | " Pay j “ aay ad es..HARLES DICKENS wrote Great Expectations, as he did many of his. major works, as a Serialized novel published in regular magazine installments. Often, Dickens was just one jump ahead of his weekly deadlinas; most of Great Expectations was in print wall before he began work on the final chapters. Released in 1867, late in Dickens’ careor, the novel captured the popular imagination as no other work had done. Like his later novels, Great Expectations is deop, brooding and uncompromising, mirroring his growing concerns about life in Victorian England. At the time, poverty was rampant, the poor were often jailed in dabtors’ prisons, the gap between the lower and middle classos was. ever-widening, and the national dostiny was determined by a dispassionate, woalthy few. Not publicly outspoken, Dickens used his, writing to argue for social change, The world of Great Expectations is peopled by characters bearing Dickens’ unmistakable genius for caricature, but they are portrayed in a new and questioning light. Through the beok’s principal character, Pip, Dickens presents the ambivalence of the age-old fight of good against evil, Pip is not simply a young man of native goodness who Is thrown on adversity and finally pravails, but a complicated mixture of good and bad. Good eventually triumphs, as Pip learns that material wealth does not nocessarily bring spiritual Woalth, becomes awaro of his power to shape his own fate, and realizes thal virlue comes not {rom outward appearance but from inner merit. On a simpler level, Great Expectations is a compelling portrait of adolescence, capturing the newfound awe and frustration of a young man as ho comes of age, and begins to recognize the many possibilities that life presents. The final scene of this adaptation is based upon a combination of two toxts: the original ending, a somber passage which adheres to the book's moral jassons, and a second, less melancholy closing, which Dickens hoped would mako the story more acceptable to his readers. Groat Expectations Classics Mustrated, Number 2 Wade Roberts, Editorial Director ‘Alex Wald, Art Diroctar PRINTING HISTORY ‘161 edition published February 1990 Copyright© 1990 by The Berkley Publishing Group and First Publishing, Ine, All rights reserved. No part of this book may be reproduced or transmitiad in any form or by any means, electronic or mechanical, inclusting photocopying, rocording, of by information storage and retrieval system, without express writton pormission trom the publishors, For information, address: The Berkley Publishing Group, 200 Madison Avenue, New York, Now York 10016, ISBN 0-425-12021- TRADEMARK NOTICE: Classics llustrated® is a rogistorod tradomark of Frawley Corporation. The Classics lustrated logo is a trademark of Tho Berkley Publishing Group and First Publishing, lnc. “Berkley” and the stylized “B" aro tradomarks of ‘The Berkley Publishing Group. *First Publishing” and the stylized “1F" are trademarks of First Publishing, Inc. Distributed by Barkley Sales & Marketing, a divician of The Borkloy Publishing Group, 200 Madison Avenue, New York, New’ ‘York 10016. Printed in the United States of Amarica 1234567690ly FATHERS FAMILY Name BEING PIRRIP; BR ANP MY GHFUSTIAN NAME PHILLIP, MY INFANT: 3 Or BOTH NAMES NO ey cS si *) WW WS Mead i eo” AS 1 NEVER, KNEW My FATHER. OR ty MOTHER, “y AMD ASMER. SAW ANY LIKENESS OF THEM, My” IDEAS REGARDING WHAT THEY WERE LIKE WERE LIKELY Te SPRING FROM My OWN IMAGINATION AS. rv IR TOMEGTONES Ih CURVILLARHL CHURCHYARD. ATSUGAATIMG, 2 WAS PAINFULLY AWARE. OF MY WORLD: THE BLEAK CHURCHYARD, THE DARK, FLAT SS OF THE MARSHES, THE KER, THE PISTANT, SAVAGE. SEA, AND MOST ESPECIALLY OF YSELE. A SMALL BUNDLIE OF SHVERS, STARTING 10 CRY.A. PEARFOL MAM, WITH A GREAT TRON ON AIS LEG. HE WAS SOAKED AND TORN, MISERABLE AND STED. ANCLISTEN— THERE'S A YOUNG MAN. HID WITH ME, COMPARED WITH WHICH 114 ARLANGEL/ RE LOVES SOMEVITTLES! BRING EM BOTH TO mE OR VU. HAVE.YER. HEART AN LIVER oor JJORY SISTERS: MRS. JOB. GARRY: WAS MOP: THAN TAEMTY MONS AND HAD ESTABLISHED A GRBAT REPUTATION INTHE REIGREORNOCD BECADSE Gis RAP BROOG)"T ME. OP SEY WAND,” CHURCHYARD! IF IT WARN'T FOR, Your? HAVE: BEEN THERE LoniG DAYLE STOLE. DOWASTA AS THE FIRST HINT OF LIGHT ‘STREAKED THE SKY;SCRAMBLED UP A MOUND ANP SUPDENLY SAW MY CONVICT.aar d shea ee(JOE REPAIRED THe Led-IRpH, AND THEN HE ASKED THE SERGEANT] IP WE MAT AccoMPARY RUM AND HIS MIN GUT ONTO THs MARSHESi] zB fe led eT BN SS Fk “f SHE LED ME AcRess SAE COURTYARD AND mR to 3 a eA LT EL Nake ay ay i ieee 7k g N el : ah AYOUNG LADY cAME. [IsHE AGREES THEE COURTYARDS]| SE GUIDED METe A PIFPERENT PART OF THE ROUSE. ON THE STAIGS, Wet PASSED, R SG) —— RNs nite, ther miss HarsHN mA HUGE ANP AIRLESS DINING HALL ITS LAIP CUT POR A GRAND FEAST. = es im | N f iW "\ i MYATTERTION. WAS DRAWN BY THE. iz CENTREPIECE. 11S FUNGUS: | [5 U ‘COVERED FORM WAS QUITE, OH | ee 25ACCORDINGLY, STARTED AT ONCE. SHI LEANED ON MY SHOULDER, AND WE BOGAN WALKING AKOUND THe PORUMEMER ATIHE ROOM. IBECAUSE, IF ITIS To SPM AER. THAT MIGHT BE BETTER CARRIED OUT BY CARING NOTHING FOR. JER WORDS, AND IF ITS TO GAIN HER WER, I SHOULD ZHINK SHEWAS NOT WORTH GAINING OVER. My PTO SOE, HE AND] T WERE. SITTING By THE FIRE. At Ta THRE, ° ee a a nt ( & ES ; rp ReTTNERS 1S LoPGED IN MY HANDS A SUM OF MoNGy SUFFICIENT FOR= Toi \ Al ee)Ir “AMD BOARDED COACH VILLAGE. = ——] 7 JOINED BY | © CONV : 3 We a ed LO ee THE NEXT DAY. T ‘Took LEAVE | | ALL THE WAY Po, ONE of THEM Looky Or HERE ACROSS AT ME. APPRAISED THE. AFTERNOON, BACK TS ON =) er | 7 : ih h iG hy ( DAN ;$ieEmg Moctarenon wit | | presen sus MY APPERRANCIE. | ‘ee : waa WEWALICED IN THERGL NED GARDEN. COME. FROM FRANCE, AND THAT SAE. WAS, GOING“ LIVE IN LONDON” CHOICE OF COMPANIONS, T WOULD THINK... TE4 i; 4 yi i =PAY TTURNED “TWENTY-ONE, I WAS “TO COME “HE. BULK CE My PROPERTY. TWAS ASKED SAGGERS* OFFICE.‘SAE.WAS EVEN MORE FIEKCELY” ATTACHED To ESTELLA THAN BEFORE | HEN, ONE. COLD. RAINY NIGAT? MY WORLD COULD SETTLE. ON NO KOS, AND Wns ETT = aa 3 FEL RESTLESS ANDINCOMPLUTE., | HEAris focTSTEPS ON THE STAN OUTSIDEA STRANGE-LooKING OLD MAN WAITED | He WAS CREASED AND WEATHER” BARDEMED, ON THE LANDING. me BUTI KNEW HIM AT ONCE —= IT WAS MY CONVICT! i] ef ziPes a Wr aS pa TP SECOND STAGE OF PIP'S EXPECTATIONS)Eye oh | |S was WHEN ION OUR SECRET: PREVIS MADE AU SWEAR, Re GAS ae0] iN HOMORING MY MISTAE-you lB PUNISHED AND TORMENTED YOUR. SELF-SEEKINGTO TA LUPE, ESTELLA, YOU WILLE PART OF THE f tiie coe IN ME, PARY OF THE EVIL. "BUT, IN THIS PARSING, I ASSOCIATE YOU MustPASSED BY | (THEN, ote NIGHT, t WAS INVITED TO DINE, ALONG WITA MR. SAGGERS’ HOME. —AND IF YoU COULD: RP | Reuve: pone NemHiNG, xt SPOULP MAVE LOVED B=) Is ESTELLA? UNDER. ANY CIRCUMSTANCES . gf Ll ‘KNOW. ‘BELIEVE THI: Rees BRPUGHT HER To ME WHE 3SPEECHLESS, I WAS ABLE To ASTONISH AIM WITH A PIECE OF WENT INTO ACTION. ON WEDNESDAY Mom ik ABST. AIDEP By COR OLD| INTHE MORNING, WEROWED _ | RIVER'S MIDDLE, INTENDING ‘To HAIL.AT LAST. PROVIS CAME TO “THE. SURFACE. ANP WAS, AWAY, AND IN | FOOT GE es ACTED AFFECTIONATELY AND | WOUNTED BY THE SHIP'S PAPDLE. |] TOWARIS ME OVER, s LS Z BROUGAT ABOARD “THE OTHER,x STOOP BESIDE HIM AS KIz WAS AND SENTENCED, AEE, “THOUGH, THAT HIS WOUNP OWT WAS TRULY. = I AS TROL ADRIFT, I FAD NO MORE OF. WAS TAKEN BY THE CROWN. T HAD No Homi, AND. No PRIENDS AND No PROSPECTS.TH 4 nS ac Jara x T ROPED To LET JO“ ANDBIDDY LOW? 58% HOW PUMBLED ANP RUPENTEXT | it WAS — PERHAPS THEN I COULD f ONCE AGAIN ENTER. THER Lives, Raa eee pa et a ee ie teDT TOOK HER. HAND IN MINE, B WEL LET THAT RUINED PLACE.(Qe HARLES DICKENS was born on February 7, 1812, in Landport, Partsea, England. The second of eight children born to a family continually troubled by dobi, the young Dickens experienced hunger and privation, When his penniless father was imprisoned, Dickens learned firsthand of the horrors of the infamous debtors’ prisons and the anguish of toiling in sweatshops. Racollactions of this painful period inspired most of David Copperfield and much of Dickens’ other fiction. Good fortune — a bequest — finally brought release from the family's financial burdens, and afforded Dickens the opportunity of two yoars of formal schooling at Wollington House Academy, Dickens worked as an ottice clark and newspaper roportor until his Sketches by Boz (1836) and Pickwick Papers (1837) brought him acclaim and success. Through the years, Dickens edited a number of literary periodicals; many of his most papular works were written and published in installments to holp keep the magazines solvent, Amang those novels first published in serial form were Oliver Twist (1837), Nicholas Nickleby (1838-1839), A Christmas Carol (1843), David Coppertield (1849-1850), Bleak House (1852-1853), Hard Times (1854), Little Dorrit (1855-1857), A Tale of Two Cities (1859), and Great Expectations (1860-1861). In 1858, the pressure of serial writing, editorial duties, lectures and social commitments led to his separation {rom Catherine Hogarth and the end of 23 yoars of marriage, Tho strains also hastened Dickens' death on June 9, 1870, at the age of 58, as ha labored on The Mystery of Edwin Drood, ICK GEARY was born in 1946 in Kansas City, and was reared in Wichita, Kansas. He attended the University of Kansas in Lawrence, obtaining degrees in art and film. He freelanced in San Diego for twolve years, and was published in National Lampoon, Heavy Metal, Epic lustrated, Raw and othar graphic story magazines. Geaty has published four collections: At Home With Rick Geary, A Treasury of Victorian Murder, Rick Geary's Oddities, and Junior Carrot Pavol. In 1988, alter completing Murder at the Hollywood Hotel, his first animated {ilm, he moved to New York. His work has also appearad in Rolling Stone and the New York Times Book Review, and is syndicated toa variety of publications.Chartes Dickens’ bittersweet novel, Great Expectations, is the tale of one boy's adolescence, and of the choices ha makes to shape his destiny. Into an engrossing mystery, Dickens weaves a heartfalt inquiry into morals and vinues — as the orphan Pip, the convict Magwitch, the beautiful Estella, the bitter Miss Havisham, tho goodhearted Biddy, the kind Joe and other memorable charactors @ntwine in a battle of human nature, Rick Geary’s delightful illustrations capture the newlound awe and frustrations of young Pip as he comes of ago, and bogins to understand the opportunities that life presents. Watch for these other great CLASSICS ILLUSTRATED! The Raven and Other Poems — Edgar Allan Pos Dr. Jekyll and Mr. Hyde — Robert Louis Stevenson Moby Dick — Herman Melville Through the Looking-Glass — Lewis Carroll The Scarlet Letter — Nathaniel Hawthorne Hamiet — William Shakespeare The Count of Monte Cristo — Alexandre Dumas The Island of Dr, Moreau — H.G. Wells The Adventures of Tom Sawyer — Mark Twain The Call of the Wild — Jack London eee”