How we cite our quotes:
In outer aspect, Pip and Dough-Boy made a match, like a black pony and a white one, of equal developments, though of dissimilar color, driven in one eccentric span. But while hapless Dough-Boy was by nature dull and torpid in his intellects, Pip, though over tender-hearted, was at bottom very bright, with that pleasant, genial, jolly brightness peculiar to his tribe; a tribe, which ever enjoy all holidays and festivities with finer, freer relish than any other race. For blacks, the year’s calendar should show naught but three hundred and sixty-five Fourth of Julys and New Year’s Days. Nor smile so, while I write that this little black was brilliant, for even blackness has its brilliancy; behold yon lustrous ebony, panelled in king’s cabinets. But Pip loved life, and all life’s peaceable securities; so that the panic-striking business in which he had somehow unaccountably become entrapped, had most sadly blurred his brightness; though, as ere long will be seen, what was thus temporarily subdued in him, in the end was destined to be luridly illumined by strange wild fires, that fictitiously showed him off to ten times the natural lustre with which in his native Tolland County in Connecticut, he had once enlivened many a fiddler’s frolic on the green; and at melodious even-tide, with his gay ha-ha! had turned the round horizon into one star-belled tambourine. (93.3)
The implications of this passage are complex. Even while it shows us the greater humanity and more developed character of the black man in contrast to his white counterpart, it also employs the most hackneyed racial stereotypes (such as the idea that nineteenth-century African-Americans are constantly jolly and happy-go-lucky or that they all play the tambourine) to do so. Later, when Pip is contrasted with Ahab instead of with Dough-Boy, he’ll gain greater stature.