Victor represents society intent on pushing the boundaries and themonster represents the product of this curiosity; of technology gone wrong;technology without ethics. “Accursed creator! Why do you form a monster so hideousthat even you turn away from me in disgust?” The monsters constant rhetoricquestioning addresses these ethics and illuminates the monster as a symbol of innocence in the face of corruption. Victor’s relationships also allow insight into themoral dilemma of creation. Victor’s positive family relationship is juxtaposed againsthis spite for the monster, a somewhat child of his.
But what about Beowulf? Before delving into the argument of how Beowulf is the true monster of this epic poem, I will need to define what a monster is. A monster is often defined as a thing that is usually larger than average in size, aesthetically atypical, and or something that acts wickedly. I would have to agree with the last definition because one can look monstrous and not technically act or live similar to that of a monster. I personally define a monster as a being, whether human, animal or something of another shape, that acts immorally, fiendish, and or vile.
Mary Shelley uses many language devices to portray conflict in the novel Frankenstein. In chapter 5, Mary Shelley uses alliteration to convey to the reader the emotional conflict the monster is forced to face. Victor finally finishes his creation and observes its appearance: “I beheld the wretch -- the miserable monster who I created”. This suggests to the reader that Victor is not pleased with his creation as he calls him a “monster”; the word “monster” makes the reader visualize a horrendous, spine-chilling, eerie creation creating a dark ambience. Furthermore, the author uses feelings to describe the monster.
“ I will cause fear....do I swear inextinguishable hatred....I will work at your destruction....you shall curse the hour of your birth....fiendish rage animated him ”. (Pages 133 and 134 Lines 32-3) Between these two passages, it is seen that the creature is loving and evil at the same time. The creature was made to love and to be able to have feelings just as a human being; despite this, he ultimately chooses the path of evil instead of good. To pick a life of evil instead of good is terrible. This further shows that the wretch is a monster because a life full of revenge and evil is
Robert Gray’s poem ‘Flames and Dangling Wire’ is a didactic poem in which the reader is warned of the consequences of humanity’s devastating overindulgent materialism. Gray makes heavy use of allusion, symbolism and imagery, but also uses irony and personification to emphasize and develop his warning. The most effective technique implemented by Gray in ‘Flames and Dangling Wire’ to warn the reader is imagery. The city is described as being ‘driven like stakes into the Earth’, symbolizing the merciless and violent imposition of humans on their world. This is also ironic, as humans themselves are a part of the earth and nature, yet are destroying it for their own ends.
Simultaneously it suggests that mans’ greed and lust for power that provokes such technological advances and the adaptation of shallow values, such as consumerism and materialism, that accompany these advances may result in mankind’s efforts to recover from the damage it causes being all too late. Pixar highlights these issues through powerful filmic technics. Wall-E frighteningly projects a desolate Earth landscape destroyed by activities associated with technology and consumerism along with the vulnerability of a society reliant on technology. Overhead shots in the opening scene of a former urban environment, in conjunction with dull colouring depict a bleak and desolate landscape resembling a giant industrial wasteland. This is further reflected through low camera angles that emphasize the immensity of industrial waste, rubbish and pollution existent on Earth.
In contrast Gardner portrayed Grendel and Beowulf completely different than how Orwell did. We could see a more in-depth complex view of Grendel, the monster himself. The text explains Grendel’s horrible life and includes the explanations to why he does the evil deeds. Gardner shows readers that
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.
“I shall no longer see the sun or stars, or feel the winds play on my cheek” shows how well Shelley juxtaposes an ‘ugly’ image [creature] against the sly nature sublime, suggesting that the creature, despite his creation, was a part of nature. Ultimately, it relates back to the theme of the novel, reminding us of the consequences of knowledge by disrupting nature, undesired outcomes are bound to occur. This natural imagery is contrasted in Blade Runner. In the opening scene, the cityscape is devoid of any natural elements, implying the degradation of the world to technology. The disruption of our natural environment gives way to more corporatism, globalism and
The replicants are artificial, the memories are artificial. Technology has well and truly taken over. Akin to Frankenstein, Blade Runner acts as a severe warning to the depressing future we may have if we try to push advances of science and technology further and further beyond the limit. As before mentioned, it is the hubris of the protagonists in each text that causes the highest diminution of humanity. In both texts, both protagonists seek earnestly to become God-like by taking on the role of creator, Frankenstein with the monster, and Tyrell with the replicants.