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.
Thursday, November 15, 2012
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).
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