The way Frankenstein conveys his feelings as he beholds the culmination of his obsession shows a deep antithesis of the ‘beauty’ he had expected and the ‘horror’ which had become a reality. This antithesis reflects Shelley’s
“The beauty of the dream vanished and breathless horror and disgust filled my heart.” As the reader acknowledges this it give a nauseating impression towards Victor, but also a shocking undisguised impression of hatred. In chapter 11 we learn to understand Frankenstein when he narrates his flashback. “In my joy I thrust my hand
Mary Shelley demonstrates this concept through Victor’s pursuit for knowledge, caused by the change of values between the Romantic Era and the Age of Enlightenment. As electricity was discovered, Victor’s admiration for the subject of Galvanism provides him a “thirst for knowledge”, reinforced by his “longing to penetrate the secrets of nature”. This sexual allusion emphasises Victor’s loss of Romantic values which ultimately leads to an extremely arrogant attitude where he “bestows animation upon lifeless matter” and creates the “hideously deformed” monster that metaphorically represents the greed that blinds him. Its horrific actions, namely the killing of people closest to Victor, force him to finally realize that they “died by my hands”. Thus, Shelley warns that the destructiveness of Man’s intrinsic desires for knowledge stems from the change in values.
The other interpretation is that something supernatural and scary is at work, that the dagger is a sign from the witches Macbeth spoke to. This part of his soliloquy uses a rhetorical question, as if he is questioning his own sanity, especially when he realises that it is his own blade, ‘such an instrument I was to use’, covered in ‘gouts of blood’. This shows the reader that Macbeth is already seeing the horror of Duncan’s murder and it creates tension for the reader. It then moves onto the dagger and how it ‘marshall’st’ Macbeth towards Duncan’s chamber, suggesting that the witches are beckoning him to kill the king. This in turn makes the reader feel apprehensive and afraid of the supernatural beings corrupting Macbeth, as it gives a feeling that they are always watching, and also highlights the mystical powers they seem to have.
More of this ominous diction that Shelley uses is shown here and it provides very disturbing imagery. The creepy imagery that is used really makes one's stomach turn so they can see the gruesomeness of the monster, and the gravity of the situation that Frankenstein has put himself in. This also helps us know how he must’ve felt in that position! Obsessed with the pursuit of knowledge, Frankenstein ends up destroying his whole life. He now lives in fear that the monster will kill him.
Throughout the novel Frankenstein, author Mary Shelley defines morality based on a nature and nurture of ones and it plays relevant role on a person life. Shelley explains sometimes a mankind’s morality can be bad and she mentions it through her the characters Victor Frankenstein, the creature and Robert Walden. Frankenstein’s great desire of creating life endanger his family and goes against nature, his careless disregard for a naïve creature turns it into vicious exterminator and Walden’s unachievable fantasy of finding north pole put his crew in deadly
If “The Kite Runner” is a bildungsroman, then Chapter 22 gives us the most brutal part of Amir’s education. There are elements here, too, of the thriller, as the villain is finally confronted and the protagonist is in mortal danger. Through voices which surprise us, through an outburst of violence and through the tightly structured use of echoes and parallels, Hosseini tells the story in Chapter 22 in a way that leaves the reader both shaken and relieved. Voices 1: retrospective narrator: * Honest about his own fear: encourages readers to fear for him too * Distraction technique (“I had to preoccupy myself with something”): allows him to observe table (needed for plot) and eat grape (leading to knowing authorial comment: warns reader of violence to come) * “you’re gutless” – internal monologue shows turmoil still within Amir 2: the Talib: * His account of the massacre: use of moral/religious language: “free of guilt and remorse” – “virtuous, good and decent” – underlines perverted moral code and contrasts with Amir * “Whatever happened to old Babalu?” – on to the Talib’s voice is layered Assef’s – shock to Amir (“My legs went cold. Numb”) parallels the shock to the reader – use of familiar insult from the past enables recognition 3.
“How do you respond to the view that the monster is Frankenstein’s double, representing the evil side of his character?” In Gothic literature, the double is often used explore the dark and extreme sides of humanity, which often creates a sense of horror and fear of the unknown, which links to Freud’s theory of the uncanny and the darker side of humanity that we both recognise and fear. In Frankenstein, it can be argued that Victor and the creature represent two sides of the same character, not only through their actions and behaviour, but also from a psychoanalytical perspective. Contrastingly, we can also at times see that the monster is in fact good and moral and therefore cannot possibly be Victor’s evil double. Throughout the novel, they are inextricably linked by their isolation and terrible crimes against humanity and morality. However, they also appear to be linked psychologically.
Jessica Helin Mrs. Mucha Mon/Wed 1:00-3:00 October 13, 2013 Art Lovers Speech Outline Artist: Maurice Sendak General Goal: To inform Specific Purpose: To inform my audience about the artist Maurice Sendak and his influences in writing his most well known work, Where the Wild Things Are. Introduction Attention Getting Device: Possibly one of the greatest moments in literature is the scene in Where the Wild Things Are: “And when he came to the place where the wild things are, they roared their terrible roars and gnashed their terrible teeth and rolled their terrible eyes and showed their terrible claws til Max said, ‘Be still’ and tamed them with the magic trick of staring into all their yellow eyes without blinking once. And they were frightened and called him the most wild thing of all and made him king of all wild things.” When asked in a 2004 interview with PBS’ Bill Moyers, “Is it true that only when a man tames his own demons that he becomes the king of himself if not the world?” Sendak replied, “Oh, yes. We’re animals. We’re violent.
Commenting closely on the writing of your chosen section, show how it contributes to the sense of terror in “Out of the Blue” Armitage presents and develops terror in many different ways and whether that is through stylistic technique, language, form or structure, it deeply effects the reader. I will explore how he does this and if he does it effectively. Fear is presented straight away in the first stanza by imagery of the twin towers being calm and still and fear effects everyone afterwards. The first line “The silent prongs of a tuning fork, testing the calm.” is short and includes caesura and end stopping which causes an eerie emphasis on the image created of the twin towers like a tuning fork. The two prongs are symbolic of the twin