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.
Thursday, November 29, 2012
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.
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