"Death snatches away many blooming children, the only hopes of their doating parents: how many brides and youthful lovers have been made one day in the bloom of health and hope, and the next a prey for worms and the decay of the tomb!" (Shelley, 130).
In the above passage, Shelley effectively personifies death. This personification serves two purposes: to emphasize the strength of death and the erratic and unpredictable path that it follows. Arguably, death may be seen as a motif in Frankenstein to some, and its recurrence greatly supports this claim. By attributing human abilities to death, Shelley magnifies how powerful and destructive the death of an individual can be for others. Furthermore, the connotation of "snatch" implies rapidity, alluding to the unpredictable nature of death, as is seen in the tragic deaths of William and Justine. One theme of Frankenstein centers around the relationship of parent and child (or creator and creature), and this quote serves to reference this theme. The innocence of children (and the monster in correspondence) is referenced throughout the novel, and Frankenstein's contempt for his creation betrays the stereotypical, nurturing disposition of an individual in such a role.
Thursday, April 22, 2010
Wednesday, April 21, 2010
Frankenstein #9
"'Devil, cease; and do not poison the air with these sounds of malice. I have declared my resolution to you, and I am no coward to bend beneath words. Leave me; I am inexorable" (Shelley, 123).
Clearly, Frankenstein still lacks any form of legitimate respect for the monster on the same level for which he would respect a human being. By referring to his creation as a devil, Frankenstein further perpetuates the theme of disgust and lack of acceptance. The personification in this passage, attributing air with the ability to be poisoned, reflects Frankensteins belief of the potential magnitude of the creature's destruction. Furthermore, this passage serves to reaffirm the characterization of Frankenstein as a firm and stubborn individual, as was evident even in the account of his childhood. Frankenstein refuses to bend to the will of the monster, and claims to be "no coward to bend beneath words." Thus, Frankenstein exhibits courage in the face of danger, though this courage may negatively characterize him because of the reader's sympathetic attachment to the monster.
Clearly, Frankenstein still lacks any form of legitimate respect for the monster on the same level for which he would respect a human being. By referring to his creation as a devil, Frankenstein further perpetuates the theme of disgust and lack of acceptance. The personification in this passage, attributing air with the ability to be poisoned, reflects Frankensteins belief of the potential magnitude of the creature's destruction. Furthermore, this passage serves to reaffirm the characterization of Frankenstein as a firm and stubborn individual, as was evident even in the account of his childhood. Frankenstein refuses to bend to the will of the monster, and claims to be "no coward to bend beneath words." Thus, Frankenstein exhibits courage in the face of danger, though this courage may negatively characterize him because of the reader's sympathetic attachment to the monster.
Frankenstein #8
"The being finished speaking, and fixed his looks upon me in the expectation of a reply. But I was bewildered, perplexed, and unable to arrange my ideas sufficiently to understand the full extent of his proposition" (Shelley, 104).
Upon the completion of the monster's account, Frankenstein first refers to him as "the being." Prior to his testimony, Frankenstein constantly dehumanized his creature, calling him a demon or monster. However, the pathos yielded from the creature's story extends to both the audience and Frankenstein. Though his relation to the monster may not improve, the mass exposition Frankenstein witnessed undoubtedly alters his perception. In fact, the first sentiments he accounts for the reader are bewilderment, perplexity, and speechlessness. This gives merit to the claim that Frankenstein is shocked to realize the sophistication of his creature. Clearly, he believed "the monster" to be nothing more than that--a destructive creature seeking to wreak havoc on the community. However, after his tale, it is clear that Frankenstein's creature was born with good intentions and still possess a relatively strong moral aptitude.
Upon the completion of the monster's account, Frankenstein first refers to him as "the being." Prior to his testimony, Frankenstein constantly dehumanized his creature, calling him a demon or monster. However, the pathos yielded from the creature's story extends to both the audience and Frankenstein. Though his relation to the monster may not improve, the mass exposition Frankenstein witnessed undoubtedly alters his perception. In fact, the first sentiments he accounts for the reader are bewilderment, perplexity, and speechlessness. This gives merit to the claim that Frankenstein is shocked to realize the sophistication of his creature. Clearly, he believed "the monster" to be nothing more than that--a destructive creature seeking to wreak havoc on the community. However, after his tale, it is clear that Frankenstein's creature was born with good intentions and still possess a relatively strong moral aptitude.
Frankenstein #7
"'Why did you form a monster so hideous that even you turned from me in disgust? God, in pity, made man beautiful and alluring, after his own image; but my form is a filthy type of yours, more horrid even from the very resemblance. Satan had his companions, fellow-devils, to admire and encourage him; but I am solitary and abhorred" (Shelley, 93).
In this excerpt, Shelley utilizes subtle religious allusions to emphasize the hopeless despair of the monster. Frankenstein's monster can not even find solace in looking to God, as he feels he is inferior to man, who is made in God's image. Yet he seeks not to be in union with Satan, though even he has his companions. Rather, the monster views himself as completely alone and victimized in the world. Furthermore, this passage opens with a rhetorical question. The monster's repetative use of such questions manifests his confusion and desire for resolution. He cannot find a solution to his predicament of isolation and wishes for Frankenstein's support. However, he is solemnly aware that he is a "monster so hideous" that integration into society would be nearly impossible.
In this excerpt, Shelley utilizes subtle religious allusions to emphasize the hopeless despair of the monster. Frankenstein's monster can not even find solace in looking to God, as he feels he is inferior to man, who is made in God's image. Yet he seeks not to be in union with Satan, though even he has his companions. Rather, the monster views himself as completely alone and victimized in the world. Furthermore, this passage opens with a rhetorical question. The monster's repetative use of such questions manifests his confusion and desire for resolution. He cannot find a solution to his predicament of isolation and wishes for Frankenstein's support. However, he is solemnly aware that he is a "monster so hideous" that integration into society would be nearly impossible.
Frankenstein #6
""I now move to the more moving part of my story. I shall relate events, that impressed me with feelings which, from what I had been, have made me what I am'" (Shelley, 81).
The shift from Frankenstein's to the monster's narration serves to characterize the monster, providing the audience with evidence of his emotions, motives and desires. The above passage emphasizes the transformation through which the monster has gone since his creation. Contrary to the initial stance of Frankenstein, his creature has matured and developed a relatively human mindset. Allowing the monster to relate his story also yields a prolonged flashback, providing the audience with information of what the creature has been doing since his departure from Frankenstein's apartment. Furthermore, the story of the monster serves to build suspense for Frankenstein and the reader, both of whom wish to know what (if any) involvement the monster had in the death of William and Justine. This transitional excerpt suggests a potential shift into the explication of this tragedy.
The shift from Frankenstein's to the monster's narration serves to characterize the monster, providing the audience with evidence of his emotions, motives and desires. The above passage emphasizes the transformation through which the monster has gone since his creation. Contrary to the initial stance of Frankenstein, his creature has matured and developed a relatively human mindset. Allowing the monster to relate his story also yields a prolonged flashback, providing the audience with information of what the creature has been doing since his departure from Frankenstein's apartment. Furthermore, the story of the monster serves to build suspense for Frankenstein and the reader, both of whom wish to know what (if any) involvement the monster had in the death of William and Justine. This transitional excerpt suggests a potential shift into the explication of this tragedy.
Sunday, April 18, 2010
Frankenstein #5
"He expressed a sorrowful delight to see me. 'Welcome, my dearest Victor,' said he" (Shelley, 51).
In the above excerpt, Shelley employs a paradox and inverted syntax to reflect the bittersweet reunion of Victor with his family. This reunion was scarred greatly by the concurrent murder of the youngest Frankenstein son, William. Mr. Frankenstein's "sorrowful delight" alludes to his relief in finally seeing his son, about whom he and his family had worried for a long time while Victor was ill. However, this relieve cannot diminish the sorrow that the murder of his youngest son has caused. The subtle inversion of syntax in the second sentence also complements Shelley's paradoxical language. This tool further exposes the imperfectness of Victor's arrival which was significantly marred, denying the blissful reunion that may have been expected.
In the above excerpt, Shelley employs a paradox and inverted syntax to reflect the bittersweet reunion of Victor with his family. This reunion was scarred greatly by the concurrent murder of the youngest Frankenstein son, William. Mr. Frankenstein's "sorrowful delight" alludes to his relief in finally seeing his son, about whom he and his family had worried for a long time while Victor was ill. However, this relieve cannot diminish the sorrow that the murder of his youngest son has caused. The subtle inversion of syntax in the second sentence also complements Shelley's paradoxical language. This tool further exposes the imperfectness of Victor's arrival which was significantly marred, denying the blissful reunion that may have been expected.
Frankenstein #4
"No one can conceive the variety of feelings which bore me onwards, like a hurricane, in the first enthusiasm of success. Life and death appeared to me ideal bounds, which I should first break through, and pour a torrent of light into our dark world" (Shelley, 32).
Shelley employs a variety of tools such as imagery and juxtaposition through contrasting language. Imagery serves to convey the thoughtfulness of Victor's contemplation. Furthermore, in this instance, imagery is used to mirror the intensity Victor dedicates to his occupational studies. Juxtaposition is also used in this passage. Victor refers to the bounds of "life and death," and seeks to "pour a torrent of light into our dark world." This juxtaposition serves to reflect the contrasting motives of Victor. Although he seeks success, he primarily works with the motive of curiousity. Furthermore, Victor finds himself torn between his ties to his family and his obsession with his work, and this contrasting language correlates with this conflict.
Shelley employs a variety of tools such as imagery and juxtaposition through contrasting language. Imagery serves to convey the thoughtfulness of Victor's contemplation. Furthermore, in this instance, imagery is used to mirror the intensity Victor dedicates to his occupational studies. Juxtaposition is also used in this passage. Victor refers to the bounds of "life and death," and seeks to "pour a torrent of light into our dark world." This juxtaposition serves to reflect the contrasting motives of Victor. Although he seeks success, he primarily works with the motive of curiousity. Furthermore, Victor finds himself torn between his ties to his family and his obsession with his work, and this contrasting language correlates with this conflict.
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