Frankenstein by Mary Shelley
Early in Frankenstein, Shelley characterizes Elizabeth as the "living spirit of love" among the Frankenstein family (Shelley 20). She certainly proves the characterization to be accurate as the novel progresses and she embodies love within the family during troubling times like Caroline's sickness and Victor's depression. However, toward the end of the novel, Elizabeth displays herself to represent much more to Victor and his remaining family; she represents hope. As long as Elizabeth lives, Victor has some hope for a joyful, somewhat normal life with a woman he loves dearly. Victor's union with Elizabeth gives Alphonse Frankenstein hope for the future and for happier times to come. Quite literally, all hope for happiness within the Frankenstein clan emanates from Elizabeth, so her death comes as a devastating, even fatal, blow. After Elizabeth dies, Victor recounts how, having lost all hope for happiness, his father "was unable to rise from his bed, and in a few days he died in my arms," (Shelley 147). Victor too takes the agonizing loss of his beloved Elizabeth harshly. Without his wife, Victor laments, "I lost sensation and chains and darkness were the only objects that pressed upon me," (Shelley 147). Having lost touch with all positive sentiments, Victor lives out the rest of his days fueled solely by rage. In removing all hope for happiness from Frankenstein and his family, Elizabeth's death removes all possibility of a positive conclusion and sets the stage for Frankenstein's tragic close comprised of Victor's death and the creature's righteous suicide.
Thursday, November 29, 2012
Storms
Frankenstein by Mary Shelley
Shelley utilizes storms as an interesting motif to signify a scene as portraying an especially negative plot twist. As the novel progresses, so too does the severity of these storms, eventually culminating in the most unfortunate, melancholy scene in the entire novel. The first storm Shelley includes, if it can really claim to be a storm, is the downpour during Victor's creation scene. This rain shows how negative this creation will be for Victor. Furthermore, a storm rages as Victor visits the site of William's murder and catches a glimpse of the creature, William's murderer. However, none of these storms hold as much significance as the storm preceding Elizabeth's death. On their wedding night, Victor and Elizabeth took a leisurely stroll to enjoy themselves when "Suddenly a heavy storm of rain descended," (Shelley 144). This storm, coupled with the creature's promised appearance on that night, elicits a feeling of anxious apprehension as Elizabeth unwittingly awaits her inevitable fate. Thus, not only do the storms link several extremely negative events in the novel, but they also serve as another method Shelley implements to build suspense. Furthermore, they add to the overall melancholy, morose tone of the work as a whole. Without the inclusion of these storms, Shelley would lose an incredibly powerful literary tool.
Shelley utilizes storms as an interesting motif to signify a scene as portraying an especially negative plot twist. As the novel progresses, so too does the severity of these storms, eventually culminating in the most unfortunate, melancholy scene in the entire novel. The first storm Shelley includes, if it can really claim to be a storm, is the downpour during Victor's creation scene. This rain shows how negative this creation will be for Victor. Furthermore, a storm rages as Victor visits the site of William's murder and catches a glimpse of the creature, William's murderer. However, none of these storms hold as much significance as the storm preceding Elizabeth's death. On their wedding night, Victor and Elizabeth took a leisurely stroll to enjoy themselves when "Suddenly a heavy storm of rain descended," (Shelley 144). This storm, coupled with the creature's promised appearance on that night, elicits a feeling of anxious apprehension as Elizabeth unwittingly awaits her inevitable fate. Thus, not only do the storms link several extremely negative events in the novel, but they also serve as another method Shelley implements to build suspense. Furthermore, they add to the overall melancholy, morose tone of the work as a whole. Without the inclusion of these storms, Shelley would lose an incredibly powerful literary tool.
Filling the Reader In: Foreshadowing
Frankenstein by Mary Shelley
In the second half of her novel, as she did in the first, Shelley incorporates foreshadowing quite skillfully to build suspense and allow the reader to infer what will happen later on in the story. For example, upon reading Paradise Lost, the creature vocalizes his desire for a female companion, an Eve of his own. This statement, coupled with the fact that Victor is the only individual capable of making beings similar to the creature, hints that the creature will request a companion of Victor later on. Furthermore, when Henry and Victor travel to England, the effect Henry has on Victor foreshadows his imminent demise. Henry helps Victor combat his loneliness and depression while also allowing him to once again enjoy the beauty of his surroundings. As such, Victor clings to Henry in an attempt "to protect him from the fancied rage of his destroyer," (Shelley 118). He knows that because Henry brings him joy, the creature will target him. However, by incorporating the phrase "his destroyer" in Victor's narrative about protecting Henry, Shelley utilizes diction to convey to her audience that Henry's fate has already been sealed. Finally, the most obvious instance of Shelley's foreshadowing lies in the creature promising Victor, " . . . I shall be with you on your wedding-night," (Shelley 123). Issuing this statement after having killed several of Victor's other loved ones and after witnessing Victor rip his future bride to shreds, the creature obviously intimates eventually killing Elizabeth. Shelley's ability to interestingly foreshadow future events without completely giving away what will happen adds appeal and suspense to her novel.
In the second half of her novel, as she did in the first, Shelley incorporates foreshadowing quite skillfully to build suspense and allow the reader to infer what will happen later on in the story. For example, upon reading Paradise Lost, the creature vocalizes his desire for a female companion, an Eve of his own. This statement, coupled with the fact that Victor is the only individual capable of making beings similar to the creature, hints that the creature will request a companion of Victor later on. Furthermore, when Henry and Victor travel to England, the effect Henry has on Victor foreshadows his imminent demise. Henry helps Victor combat his loneliness and depression while also allowing him to once again enjoy the beauty of his surroundings. As such, Victor clings to Henry in an attempt "to protect him from the fancied rage of his destroyer," (Shelley 118). He knows that because Henry brings him joy, the creature will target him. However, by incorporating the phrase "his destroyer" in Victor's narrative about protecting Henry, Shelley utilizes diction to convey to her audience that Henry's fate has already been sealed. Finally, the most obvious instance of Shelley's foreshadowing lies in the creature promising Victor, " . . . I shall be with you on your wedding-night," (Shelley 123). Issuing this statement after having killed several of Victor's other loved ones and after witnessing Victor rip his future bride to shreds, the creature obviously intimates eventually killing Elizabeth. Shelley's ability to interestingly foreshadow future events without completely giving away what will happen adds appeal and suspense to her novel.
Parallel Characters: Victor and his Creation
Frankenstein by Mary Shelley
Throughout the novel, Shelley includes a multitude of parallel character pairs, the most striking of which being Victor and his abomination. As much as Victor may hate to admit it, both he and the creation share several key personality traits. First, just as Victor hungered for knowledge and pursued it throughout his life, so did the creature. Such an intrigue with learning novel information appears most vividly in the creature's early years. Second, the creature shares Victor's sentiments when Victor says, " . . . no creature had ever been so miserable as I was," (Shelley 146). Both beings believe themselves to be the most wretched life forms to ever exist. Furthermore, both characters believe the other to be the cause of their misery. The most important parallel between the creature and Victor, however, lies in their obsessive natures. In secluding himself indefinitely to create the creature, Victor displayed his obsessive side and the creature first showed his in observing the DeLacey family. Additionally, the creature explicitly acknowledges his obsessive nature when he states, "The completion of my demoniacal design became an insatiable passion," in referring to his pursuit of all that Victor loved (Shelley 164). The parallelism between these two dynamic characters helps reinforce the detriment in their character flaws. As both Victor and the creature progress throughout the novel and consume themselves with different passions, be they academic pursuits or murderous rampages, they slowly deteriorate toward death as a result of their obsessions.
Throughout the novel, Shelley includes a multitude of parallel character pairs, the most striking of which being Victor and his abomination. As much as Victor may hate to admit it, both he and the creation share several key personality traits. First, just as Victor hungered for knowledge and pursued it throughout his life, so did the creature. Such an intrigue with learning novel information appears most vividly in the creature's early years. Second, the creature shares Victor's sentiments when Victor says, " . . . no creature had ever been so miserable as I was," (Shelley 146). Both beings believe themselves to be the most wretched life forms to ever exist. Furthermore, both characters believe the other to be the cause of their misery. The most important parallel between the creature and Victor, however, lies in their obsessive natures. In secluding himself indefinitely to create the creature, Victor displayed his obsessive side and the creature first showed his in observing the DeLacey family. Additionally, the creature explicitly acknowledges his obsessive nature when he states, "The completion of my demoniacal design became an insatiable passion," in referring to his pursuit of all that Victor loved (Shelley 164). The parallelism between these two dynamic characters helps reinforce the detriment in their character flaws. As both Victor and the creature progress throughout the novel and consume themselves with different passions, be they academic pursuits or murderous rampages, they slowly deteriorate toward death as a result of their obsessions.
Man's Greatest Sin
Frankenstein by Mary Shelley
One of the many themes that pervades Frankenstein is humanity's sinful desire and attempts to be like God. The desire to be like God does not describe a want for holy behavior and purity, but rather a human craving for power and wisdom beyond mankind's ability. Shelley develops this theme by drawing a recurring comparison between the creature and characters from the creation story as told in Paradise Lost. In giving the creature life, Victor tried to act as God did in creating Adam and Eve. The creature confirms this role when he compares himself to Adam. However, at the end of the novel, Shelley reveals the futility in Victor's efforts. As a mere man, he could never hope to independently create life as complex, beautiful, and pure as God can. Accordingly, Victor's creation, flawed due to human imperfections, more accurately compares himself to Satan in saying, " . . . crime has degraded me beneath the meanest animal," and following up with, " . . . the fallen angel becomes a malignant devil," (Shelley 165). The creature's allusions display the inevitable result of man's aspirations for divinity. Instead of creating a virtuous being, Victor brought to life a vengeful murderer. As such, Shelley warns against man's greatest and first sin, desiring to be like God, by showing that such a desire brings evil, the creature, into the world.
Thursday, November 15, 2012
Switching Perspectives
Frankenstein by Mary Shelley
As a frame story, Frankenstein incorporates many different points of view to give the audience several different understandings of what happens during the novel. Shelley begins the novel writing in Robert Walton's first person point of view. This perspective provides the audience with an initial, third party vantage point from which to be introduced to Victor Frankenstein and, briefly, his creation. When Walton describes seeing "a being which had the shape of a man, but apparently of gigantic stature" pass by on a sledge, the creature enters the novel for the first time (Shelley 8). Walton's viewpoint, followed by a shift to Victor's first person point of view, lets the reader know that neither Victor or the creature will die during Victor's tale. As Victor tell his story, the perspective shifts, in letter format, to that of Elizabeth or his father. These changes in point of view provide a refreshing break from Victor's narrative in addition to allowing Shelley to segue into the next portion of her novel. For example, Alphonse Frankenstein's letter informs Victor of William's death and transitions the story into Justine Moritz's murder trial. Finally, after Victor regains control of the story, he passes narrative power off to the creature who gives his perspective of the novel's happenings in contrast to Victor's. With her dynamic use of perspective and point of view, Shelley keeps Frankenstein interesting and forces her audience to read on. A linear narrative of this frightening tale would no doubt be enthralling, but Shelley transforms a good work into a masterpiece by seamlessly shifting from one character's viewpoint to the next.
As a frame story, Frankenstein incorporates many different points of view to give the audience several different understandings of what happens during the novel. Shelley begins the novel writing in Robert Walton's first person point of view. This perspective provides the audience with an initial, third party vantage point from which to be introduced to Victor Frankenstein and, briefly, his creation. When Walton describes seeing "a being which had the shape of a man, but apparently of gigantic stature" pass by on a sledge, the creature enters the novel for the first time (Shelley 8). Walton's viewpoint, followed by a shift to Victor's first person point of view, lets the reader know that neither Victor or the creature will die during Victor's tale. As Victor tell his story, the perspective shifts, in letter format, to that of Elizabeth or his father. These changes in point of view provide a refreshing break from Victor's narrative in addition to allowing Shelley to segue into the next portion of her novel. For example, Alphonse Frankenstein's letter informs Victor of William's death and transitions the story into Justine Moritz's murder trial. Finally, after Victor regains control of the story, he passes narrative power off to the creature who gives his perspective of the novel's happenings in contrast to Victor's. With her dynamic use of perspective and point of view, Shelley keeps Frankenstein interesting and forces her audience to read on. A linear narrative of this frightening tale would no doubt be enthralling, but Shelley transforms a good work into a masterpiece by seamlessly shifting from one character's viewpoint to the next.
Dying Parents
Frankenstein by Mary Shelley
Within the first twelve chapters of Frankenstein, almost every parental figure suffers death. From the beginning, Robert Walton explains how his mother died and he grew up under the care of his uncle. Furthermore, once Victor begins to tell his tale, he shares how his parents met because his mother, Caroline, was left to fend for herself after her dad died. Also, Elizabeth Lavenza, Victor's "more than sister" was orphaned after her mother died giving birth to her (Shelley 18). Eventually, when Justine Moritz enters the novel, she becomes part of Victor's family due to her mother's death. As if all of these parents dying was not enough, Victor's mother goes on to die of scarlet fever after helping Elizabeth to recover from the disease. The only parental figure that manages to survive the first twelve chapters is Victor's father. Such a multitude of dying parents must foreshadow the unfortunate death of an important parental figure later in the novel. Victor stands as the most prominent candidate. Having given life to his monstrosity, essentially becoming its father, Victor remains the only important parental figure alive, besides Alphonse Frankenstein, in the novel. Additionally, Victor himself supports the theory of his eventual demise when he states that "the Angel of Destruction" has set him on the path to his destiny, creating the monster (Shelley 25). If an entity of destruction set in motion Victor's creating his monstrosity, then that creation must itself end in destruction. Therefore, Shelley could be foreshadowing Victor's imminent death.
Within the first twelve chapters of Frankenstein, almost every parental figure suffers death. From the beginning, Robert Walton explains how his mother died and he grew up under the care of his uncle. Furthermore, once Victor begins to tell his tale, he shares how his parents met because his mother, Caroline, was left to fend for herself after her dad died. Also, Elizabeth Lavenza, Victor's "more than sister" was orphaned after her mother died giving birth to her (Shelley 18). Eventually, when Justine Moritz enters the novel, she becomes part of Victor's family due to her mother's death. As if all of these parents dying was not enough, Victor's mother goes on to die of scarlet fever after helping Elizabeth to recover from the disease. The only parental figure that manages to survive the first twelve chapters is Victor's father. Such a multitude of dying parents must foreshadow the unfortunate death of an important parental figure later in the novel. Victor stands as the most prominent candidate. Having given life to his monstrosity, essentially becoming its father, Victor remains the only important parental figure alive, besides Alphonse Frankenstein, in the novel. Additionally, Victor himself supports the theory of his eventual demise when he states that "the Angel of Destruction" has set him on the path to his destiny, creating the monster (Shelley 25). If an entity of destruction set in motion Victor's creating his monstrosity, then that creation must itself end in destruction. Therefore, Shelley could be foreshadowing Victor's imminent death.
Importance of Characterization
Frankenstein by Mary Shelley
Shelly does an excellent job of introducing and characterizing her principle characters. As a result, each character assumes a distinguishable, unique personality that supports the novel as it progresses. For example, when Shelley first writes about Elizabeth Lavenza, she expresses her beauty by eloquently describing her as "fairer than a garden rose among dark-leaved brambles," (Shelley 17). Shelley goes on to directly characterize Elizabeth as "the living spirit of love to soften and attract" in order to convey her gentle, mild-mannered nature (Shelley 20). This incredibly detailed characterization of Elizabeth as a loving, beautiful young woman heightens the sorrowful emotional mood Shelley tries to elicit when she later depicts Elizabeth as distraught at the deaths of Justine and William. Aside from Elizabeth, Shelley spends considerable time characterizing Victor throughout the novel. She includes an abundance of passages on Victor's studies, his education, and his goals for the future. These sections indirectly characterize Victor as a determined, intellectual, ambitious young man in search of accomplishing something much bigger than himself to achieve glory. This characterization makes Victor's attitude toward his work understandable. In accordance with his character, Victor refuses to do anything else "until the great object, which swallowed up every habit of [his] nature, should be completed," (Shelley 33). Furthermore, the obsession Victor displays with his work supports one of the novels important themes: a man's passions can become his downfall. Overall, Shelley utilizes characterization adroitly to support future sections of the novel and important themes.
Shelly does an excellent job of introducing and characterizing her principle characters. As a result, each character assumes a distinguishable, unique personality that supports the novel as it progresses. For example, when Shelley first writes about Elizabeth Lavenza, she expresses her beauty by eloquently describing her as "fairer than a garden rose among dark-leaved brambles," (Shelley 17). Shelley goes on to directly characterize Elizabeth as "the living spirit of love to soften and attract" in order to convey her gentle, mild-mannered nature (Shelley 20). This incredibly detailed characterization of Elizabeth as a loving, beautiful young woman heightens the sorrowful emotional mood Shelley tries to elicit when she later depicts Elizabeth as distraught at the deaths of Justine and William. Aside from Elizabeth, Shelley spends considerable time characterizing Victor throughout the novel. She includes an abundance of passages on Victor's studies, his education, and his goals for the future. These sections indirectly characterize Victor as a determined, intellectual, ambitious young man in search of accomplishing something much bigger than himself to achieve glory. This characterization makes Victor's attitude toward his work understandable. In accordance with his character, Victor refuses to do anything else "until the great object, which swallowed up every habit of [his] nature, should be completed," (Shelley 33). Furthermore, the obsession Victor displays with his work supports one of the novels important themes: a man's passions can become his downfall. Overall, Shelley utilizes characterization adroitly to support future sections of the novel and important themes.
The Infant Monstrosity and Observational Learning
Frankenstein by Mary Shelley
Contrary to Victor Frankenstein's perceptions, his creation possesses many similarities with human beings, save outward appearance. In fact, in recounting his tale, the creature reveals himself to have been initially quite like an infant human child. He recalls having great difficulty trying "to distinguish between the operations of my various senses," (Shelley 71). Babies, too, struggle for quite some time to fully develop and distinguish between their senses, especially sight and hearing. Furthermore, the creature, when telling the story of his early life, includes many periods of elongated sleep. This excessive need for slumber coincides with that of a human infant, who sleeps for a large majority of the day. Also, within the creatures anecdote, a frame story within a frame story, he reveals the manner through which he learned about his surroundings and language. Upon discovering a small campfire, the creature witnesses a small breeze fuel it with oxygen into a greater conflagration. He describes how he "observed this and contrived a fan of branches" in order to build the fire up further (Shelley 72). Thus, as human beings do everyday, the creature utilized observational learning to gain knowledge about the world around him. The creature goes on to describe how he observed a small family of three in his attempts at gaining the ability to speak and articulate his feelings. The monster draws upon these many instances of human behavior to try to convince Victor that he was not an abomination upon coming to life, but a soul which "glowed with love and humanity," (Shelley 69). He hopes to demonstrate his true character to Victor so that he, and all of mankind, will accept him lovingly into society.
Contrary to Victor Frankenstein's perceptions, his creation possesses many similarities with human beings, save outward appearance. In fact, in recounting his tale, the creature reveals himself to have been initially quite like an infant human child. He recalls having great difficulty trying "to distinguish between the operations of my various senses," (Shelley 71). Babies, too, struggle for quite some time to fully develop and distinguish between their senses, especially sight and hearing. Furthermore, the creature, when telling the story of his early life, includes many periods of elongated sleep. This excessive need for slumber coincides with that of a human infant, who sleeps for a large majority of the day. Also, within the creatures anecdote, a frame story within a frame story, he reveals the manner through which he learned about his surroundings and language. Upon discovering a small campfire, the creature witnesses a small breeze fuel it with oxygen into a greater conflagration. He describes how he "observed this and contrived a fan of branches" in order to build the fire up further (Shelley 72). Thus, as human beings do everyday, the creature utilized observational learning to gain knowledge about the world around him. The creature goes on to describe how he observed a small family of three in his attempts at gaining the ability to speak and articulate his feelings. The monster draws upon these many instances of human behavior to try to convince Victor that he was not an abomination upon coming to life, but a soul which "glowed with love and humanity," (Shelley 69). He hopes to demonstrate his true character to Victor so that he, and all of mankind, will accept him lovingly into society.
Making the Fictional Seem Real
Frankenstein by Mary Shelley
Throughout the first twelve chapters of Frankenstein, Mary Shelley alludes to countless well-known works of literature. She also includes, instead of merely referencing, a couple poems in the novel itself. These allusions, displaying Shelley's intellectual and well-read nature, lend credence to her writing. Additionally, they provide a medium through which Shelley's fictional, horror story may relate to reality and thus appear even more frightening. For example, Shelley's including the manuscripts of the natural philosophers Agrippa, Parcelsus, and Magnus in Victor's early studies makes his journey toward creating an abomination more believable and scary. Also, some of Shelley's allusions, especially her poetic references, heighten the emotions she seeks to convey. In describing Victor's creation, Shelley writes, ". . . it became a thing such as even Dante could not have conceived," (Shelley 36). Dante refers to the protagonist in Dante's Inferno who travels through hell, witnessing the most grotesque demons, fiends, and tortured souls ever to exist. If the creature would alarm even Dante, he is disturbing beyond belief. Additionally, as stated, Shelley includes poems to clarify and more accurately describe the emotions of her characters. Depressed and sorrowful after Justine Moritz's death, Victor travels into the mountains as he contemplates the whirlwind of emotions he feels. To convey Victor's ever-changing sensibilities, Shelley includes a passage from one of her husband's poems that reads, "Nought may endure but mutability!" (Shelley 67). This passage brings both the novel and Victor's character to life by giving meaning to his emotions.
Throughout the first twelve chapters of Frankenstein, Mary Shelley alludes to countless well-known works of literature. She also includes, instead of merely referencing, a couple poems in the novel itself. These allusions, displaying Shelley's intellectual and well-read nature, lend credence to her writing. Additionally, they provide a medium through which Shelley's fictional, horror story may relate to reality and thus appear even more frightening. For example, Shelley's including the manuscripts of the natural philosophers Agrippa, Parcelsus, and Magnus in Victor's early studies makes his journey toward creating an abomination more believable and scary. Also, some of Shelley's allusions, especially her poetic references, heighten the emotions she seeks to convey. In describing Victor's creation, Shelley writes, ". . . it became a thing such as even Dante could not have conceived," (Shelley 36). Dante refers to the protagonist in Dante's Inferno who travels through hell, witnessing the most grotesque demons, fiends, and tortured souls ever to exist. If the creature would alarm even Dante, he is disturbing beyond belief. Additionally, as stated, Shelley includes poems to clarify and more accurately describe the emotions of her characters. Depressed and sorrowful after Justine Moritz's death, Victor travels into the mountains as he contemplates the whirlwind of emotions he feels. To convey Victor's ever-changing sensibilities, Shelley includes a passage from one of her husband's poems that reads, "Nought may endure but mutability!" (Shelley 67). This passage brings both the novel and Victor's character to life by giving meaning to his emotions.
Thursday, November 1, 2012
I Would Prefer Not To
"Batleby, the Scrivener" by Herman Melville
Immediately upon introduction, Bartleby sets himself apart from the narrator's other copyists. He displays a mild manner, works extraordinarily quickly, and rarely pauses to take a break from his copying. Observing these traits, the narrator believes Bartleby to be the best assistant he has ever hired, but that belief soon changes. In addition to Bartleby's many positive characteristics, he also possesses an inhuman, almost mechanical air about him, he displays absolutely no emotion, and he frequently refuses to do anything but copy documents. The latter of these negative traits is the most troubling to the narrator, as each time he requests a simple, reasonable task of Bartleby, the scrivener responds, "I would prefer not to," (Melville 649). The consistent mild-mannered repetition of this phrase throughout the story characterizes Bartleby as the quintessence of apathy. In response to Bartleby's recurring, emotionless refusals, the narrator bounces back and forth between caring, sympathetic friend to indignant, frustrated boss resolved to eviction. These emotional shifts toward Bartleby also affects how the audience views Bartleby. When the narrator sympathizes with Bartleby's alienation and lonesome existence, he calls the audience to do the same. In contrast, when the narrator sees Bartleby as a stubborn, hard-headed employee defiant of authority, he influences the audience's perception to match his. It is not until after Bartleby dies in a prison so adequately named "The Tombs" that any true deduction can be made of why Bartleby is the way he is (Melville 672). After Bartleby's death, the narrator shares that he used to be a "subordinate clerk in the Dead Letter Office at Washington" where he destroyed letters, packages, and gifts that could not be delivered because their intended recipients died prematurely. Thus, Bartleby had been constantly surrounded by sentimental gifts ruined by the power of death. As such, Bartleby failed to see the merit in sentimentality anymore and became the eerily mild-mannered Bartleby employed by the narrator. He resolved himself to a life of isolation and alienation from all other people so that he could avoid the possibility of pain that comes with emotion.
Immediately upon introduction, Bartleby sets himself apart from the narrator's other copyists. He displays a mild manner, works extraordinarily quickly, and rarely pauses to take a break from his copying. Observing these traits, the narrator believes Bartleby to be the best assistant he has ever hired, but that belief soon changes. In addition to Bartleby's many positive characteristics, he also possesses an inhuman, almost mechanical air about him, he displays absolutely no emotion, and he frequently refuses to do anything but copy documents. The latter of these negative traits is the most troubling to the narrator, as each time he requests a simple, reasonable task of Bartleby, the scrivener responds, "I would prefer not to," (Melville 649). The consistent mild-mannered repetition of this phrase throughout the story characterizes Bartleby as the quintessence of apathy. In response to Bartleby's recurring, emotionless refusals, the narrator bounces back and forth between caring, sympathetic friend to indignant, frustrated boss resolved to eviction. These emotional shifts toward Bartleby also affects how the audience views Bartleby. When the narrator sympathizes with Bartleby's alienation and lonesome existence, he calls the audience to do the same. In contrast, when the narrator sees Bartleby as a stubborn, hard-headed employee defiant of authority, he influences the audience's perception to match his. It is not until after Bartleby dies in a prison so adequately named "The Tombs" that any true deduction can be made of why Bartleby is the way he is (Melville 672). After Bartleby's death, the narrator shares that he used to be a "subordinate clerk in the Dead Letter Office at Washington" where he destroyed letters, packages, and gifts that could not be delivered because their intended recipients died prematurely. Thus, Bartleby had been constantly surrounded by sentimental gifts ruined by the power of death. As such, Bartleby failed to see the merit in sentimentality anymore and became the eerily mild-mannered Bartleby employed by the narrator. He resolved himself to a life of isolation and alienation from all other people so that he could avoid the possibility of pain that comes with emotion.
Respect a Soldier's Service
"APO 96225" by Larry Rottman
With this poem, Rottman intends to convey his consternation at the American public's reaction to the Vietnam War, especially in how the American people treated their own soldiers. To do so, he fabricates an exchange of letters between a soldier and his parents. Throughout the letters, Rottman incorporates situational and dramatic irony to show how American soldiers were mistreated. First, the soldier's initial letters include optimistic responses like, "The sunsets here are spectacular!" (Rottman 846). These responses display situational irony because one would not normally expect a soldier to comment positively on the war-torn landscape around him. Furthermore, these ironic responses represent the American soldiers' trying to make the best out of a bad situation. Insensitive to the soldier's attempts at optimism, the parents in this letter correspondence implore the soldier to share with them how the war has actually been going. When he does as asked by saying, "Today I killed a man. Yesterday, I helped drop napalm on women and children," the father reprimands his son for depressing his mother with such horrendous stories of the deeds he has done (Rottman 846). This exchange displays situational irony as one would assume a parental figure to console a child at war. Furthermore, the exchange displays dramatic irony by depicting the soldier's parents as horrified by their son's intentionally committed atrocities whereas, in actuality, the soldier most likely had no desire whatsoever to kill a man or torture women and children. Therefore, as a whole, the poem aims to communicate how inappropriate the misguided negative sentiments of the American people were toward their soldiers.
With this poem, Rottman intends to convey his consternation at the American public's reaction to the Vietnam War, especially in how the American people treated their own soldiers. To do so, he fabricates an exchange of letters between a soldier and his parents. Throughout the letters, Rottman incorporates situational and dramatic irony to show how American soldiers were mistreated. First, the soldier's initial letters include optimistic responses like, "The sunsets here are spectacular!" (Rottman 846). These responses display situational irony because one would not normally expect a soldier to comment positively on the war-torn landscape around him. Furthermore, these ironic responses represent the American soldiers' trying to make the best out of a bad situation. Insensitive to the soldier's attempts at optimism, the parents in this letter correspondence implore the soldier to share with them how the war has actually been going. When he does as asked by saying, "Today I killed a man. Yesterday, I helped drop napalm on women and children," the father reprimands his son for depressing his mother with such horrendous stories of the deeds he has done (Rottman 846). This exchange displays situational irony as one would assume a parental figure to console a child at war. Furthermore, the exchange displays dramatic irony by depicting the soldier's parents as horrified by their son's intentionally committed atrocities whereas, in actuality, the soldier most likely had no desire whatsoever to kill a man or torture women and children. Therefore, as a whole, the poem aims to communicate how inappropriate the misguided negative sentiments of the American people were toward their soldiers.
Young at Heart
"Miss Brill" by Katherine Mansfield
In this short story, protagonist Miss Brill depicts a lively old French lady who loves to visit the park on Sundays to listen to the band, observe people, and eavesdrop on conversations. During the first half of the story, Brill fails to understand the melancholy attitudes of the elderly who like they come from "dark little rooms--even cupboards", but exudes happiness as she observes the young park visitors reveling in life (Mansfield 184). Living vicariously through her observations, Brill feels like she's part of something bigger, like she belongs. Eventually, she perceives herself to be in a play, with all of her fellow park guests helping to comprise the cast each and every Sunday. In describing this unique sensation, Brill embodies the stereotypical lovable, old grandma who thrives on the smallest semblances of affection and companionship. Being in this social play at the park gives her a sense of belonging. Playing this role, Brill brings a light-hearted, emotional tone to the story, encouraging the reader to connect with her. This emotional connection with Brill amplifies all sentiments felt during the story's conclusion. After Brill concludes her joyful discourse at feeling like an actress in a play, she begins to eavesdrop on a couple of young lovebirds. Much to Brill's chagrin, the couple mocks her, calling her a "stupid old thing" and questioning why she even comes to the park (Mansfield 186). As a result, an emotionally wounded Brill retires to a "little dark room" of her own and adopts the melancholy attitude of the elderly people she could not understand in the beginning of the story (Mansfield 186). She loses all sense of belonging and purpose, becomes alienated, and wallows alone in her depression.
In this short story, protagonist Miss Brill depicts a lively old French lady who loves to visit the park on Sundays to listen to the band, observe people, and eavesdrop on conversations. During the first half of the story, Brill fails to understand the melancholy attitudes of the elderly who like they come from "dark little rooms--even cupboards", but exudes happiness as she observes the young park visitors reveling in life (Mansfield 184). Living vicariously through her observations, Brill feels like she's part of something bigger, like she belongs. Eventually, she perceives herself to be in a play, with all of her fellow park guests helping to comprise the cast each and every Sunday. In describing this unique sensation, Brill embodies the stereotypical lovable, old grandma who thrives on the smallest semblances of affection and companionship. Being in this social play at the park gives her a sense of belonging. Playing this role, Brill brings a light-hearted, emotional tone to the story, encouraging the reader to connect with her. This emotional connection with Brill amplifies all sentiments felt during the story's conclusion. After Brill concludes her joyful discourse at feeling like an actress in a play, she begins to eavesdrop on a couple of young lovebirds. Much to Brill's chagrin, the couple mocks her, calling her a "stupid old thing" and questioning why she even comes to the park (Mansfield 186). As a result, an emotionally wounded Brill retires to a "little dark room" of her own and adopts the melancholy attitude of the elderly people she could not understand in the beginning of the story (Mansfield 186). She loses all sense of belonging and purpose, becomes alienated, and wallows alone in her depression.
Madmen Make the World Go 'Round
"Much Madness is divinest Sense" by Emily Dickinson
This poem skillfully explains, utilizing paradoxes, a social phenomenon that many great revolutionary men like Galileo and Columbus suffered from. According to Dickinson, "Much Madness is divinest Sense" which means that insanity, or questioning that which is accepted as true, is actually the best gauge of sanity and good sensibilities (Dickinson 830). However, she also reasons that only wise men with "a discerning Eye" will realize this (Dickinson 830). The majority of people, lacking this special ability of discernment, will see a questioning of the truth as madness. Thus, when Galileo and Columbus argued the theories of heliocentricity and a spherical planet, respectively, they were thought mad because they had gone against the accepted knowledge of the time. The majority of their contemporaries had seen their "Much Sense" as "the starkest Madness" (Dickinson 830). Therefore, this poem encourages all people to question what is blindly accepted, but to do so cautiously. The final three lines of the poem offer a warning to accompany its call to action. Line nine, put simply, says that those who agree with the majority will be thought sane. In contrast, line ten acknowledges how insane one will be thought if he challenges accepted knowledge. The poem goes so far as to say those who question the norm will be "handled with a Chain" (Dickinson 830). However, no new discoveries or advancements would be made if the world was void of these supposedly insane men.
This poem skillfully explains, utilizing paradoxes, a social phenomenon that many great revolutionary men like Galileo and Columbus suffered from. According to Dickinson, "Much Madness is divinest Sense" which means that insanity, or questioning that which is accepted as true, is actually the best gauge of sanity and good sensibilities (Dickinson 830). However, she also reasons that only wise men with "a discerning Eye" will realize this (Dickinson 830). The majority of people, lacking this special ability of discernment, will see a questioning of the truth as madness. Thus, when Galileo and Columbus argued the theories of heliocentricity and a spherical planet, respectively, they were thought mad because they had gone against the accepted knowledge of the time. The majority of their contemporaries had seen their "Much Sense" as "the starkest Madness" (Dickinson 830). Therefore, this poem encourages all people to question what is blindly accepted, but to do so cautiously. The final three lines of the poem offer a warning to accompany its call to action. Line nine, put simply, says that those who agree with the majority will be thought sane. In contrast, line ten acknowledges how insane one will be thought if he challenges accepted knowledge. The poem goes so far as to say those who question the norm will be "handled with a Chain" (Dickinson 830). However, no new discoveries or advancements would be made if the world was void of these supposedly insane men.
Loneliness, Depression, Death
"I felt a Funeral, in my Brain" by Emily Dickinson
In Dickinson's "I felt a Funeral, in my Brain", the speaker describes a metaphorical funeral from the traditional showing of the body all the way to the burial. Stanzas one, two, and three depict the funeral taking place: mourners pay their respects, the funeral ceremony proceeds, and men bury the deceased. During these stanzas, the speaker is imaginatively located inside the coffin and experiences the entire funeral from that perspective. The speaker's being located within the coffin elicits alienating feelings of being dead or worthless towards others. As such, the first three stanzas all emphasize the speaker's feelings of loneliness and isolation. Then, in stanza four, the speaker, utilizing several clever metaphors, adroitly describes an intense depression resulting from loneliness. The speaker laments that if "the Heavens were a Bell, And Being, but an Ear," then "I, and Silence," would be "solitary, here," (Dickinson 776). Through the speaker and these metaphors, Dickinson compares heaven to a bell and life to hearing. Therefore, when the speaker describes himself as being alone with silence, he expresses feelings of death, despair, and hopelessness, all resulting from his loneliness described in the first three stanzas. At this point, the speaker has become distraught, depressed, lonely, and emotionally unstable. As such, following the progression toward an even deeper form of sadness, the fifth stanza illustrates the speaker's mental collapse and suicide. The phrase, "a Plank in Reason, broke," depicts the speaker succumbing to insanity and the final line, " . . . Finished knowing--then--", having been left unfinished allows one to infer that the speaker has killed himself due to his mental degeneration (Dickinson 776).
In Dickinson's "I felt a Funeral, in my Brain", the speaker describes a metaphorical funeral from the traditional showing of the body all the way to the burial. Stanzas one, two, and three depict the funeral taking place: mourners pay their respects, the funeral ceremony proceeds, and men bury the deceased. During these stanzas, the speaker is imaginatively located inside the coffin and experiences the entire funeral from that perspective. The speaker's being located within the coffin elicits alienating feelings of being dead or worthless towards others. As such, the first three stanzas all emphasize the speaker's feelings of loneliness and isolation. Then, in stanza four, the speaker, utilizing several clever metaphors, adroitly describes an intense depression resulting from loneliness. The speaker laments that if "the Heavens were a Bell, And Being, but an Ear," then "I, and Silence," would be "solitary, here," (Dickinson 776). Through the speaker and these metaphors, Dickinson compares heaven to a bell and life to hearing. Therefore, when the speaker describes himself as being alone with silence, he expresses feelings of death, despair, and hopelessness, all resulting from his loneliness described in the first three stanzas. At this point, the speaker has become distraught, depressed, lonely, and emotionally unstable. As such, following the progression toward an even deeper form of sadness, the fifth stanza illustrates the speaker's mental collapse and suicide. The phrase, "a Plank in Reason, broke," depicts the speaker succumbing to insanity and the final line, " . . . Finished knowing--then--", having been left unfinished allows one to infer that the speaker has killed himself due to his mental degeneration (Dickinson 776).
Subscribe to:
Posts (Atom)