Although triple-decker dominated and became the cultural power of Victorian age, its immoderate intervention in the market twisted the triangular relation of author, text, and reader. On the other hand, serialization, seemingly inferior to triple-decker because of its excessive dependence on the market, outlived triple-decker with the masterful craftsmanship of Charles Dickens. This essay purports to reevaluate the ending of Great Expectations, the only novel that Dickens intended to publish in a mode of triple-decker after its serialization, through the investigation into these two dominant publishing modes. The revised ending of the novel has been criticized in that it violates the structural pattern of the protagonists successful progress towards disillusionment and maturity. However, Pips narrative of repentance and maturity is continually nullified by the counter-narrative of justifying his acts and pursuing futile dreams. Pip at the end of novel is not a full-grown and completely disillusioned hero, but an immature human being still requiring more progress. Therefore, Dickenss revised ending does not transgresses the structural pattern of the novel, but accords with it.