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.
The theme of doubling occurs when a pair of characters can be described as two sides of the same coin, though one usually represents the evil or hedonistic side of the other. Doubling is a recurring theme used in many Gothic novels but is also used in novels like ‘Wuthering Heights’ and the play of ‘MacBeth’. Mary Shelley frequently uses the theme of doubling through her novel ‘Frankenstein’ through how she structures the personalities and appearances of the characters. The most common use of doubling is between the characters of Victor Frankenstein and his monster. It is said that the monster’s ‘hideous looks’ represents Victor’s abnormal personality.
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
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.
Richard overcompensates his inferiority. Richard is directly influenced by a society that does not respect him, and so he does not respect himself or society. Richard is a slave to his devilish nature, and acts on his animal instinct throughout the play. These animal characteristics are emphasized by the various metaphors in the play. The other characters liken Richard “to wolves, to spiders, toads, or any creeping venom’d thing that lives.” Shakespeare portrays Richard as a monster and a beast.
Danger Monster –Essay Nikita Revenko People are often keen to sympathise with the lonely, socially inapt character, when it comes to a novel or a movie. A perfect example of that type of character is the creature in Mary Shelley’s book: Frankenstein. But when one starts to read in between the lines, it doesn’t seem so obvious anymore. At many points in the story it is clear that the creature is dangerous and extremely violent. Also, it’s being very selfish by asking Victor for more favours, after Victor had already given life to it.
The human emotions often represented in the Romantic Era of literature are clearly displayed in the novel Frankenstein through the monster itself. The monsters emotions are what rule him. He displays every negative human quality that each of us wishes didn't exist, such as rage, jealousy, and hatred. Chapter 20 is a prime example of this, in which we can see how he demonstrates human emotion in a negative as well as a positive aspect. “"The wretch saw me destroy the creation whose future existence he depended on happiness and with a howl of devilish despair and revenge, withdrew."
The idea of repressed sexuality is not something initially associated with the story of Frankenstein. However, the more one analyses the novel, the more evidence there is of illicit sexual feelings and personal uncertainty. Eventually, these feelings manifest themselves in violence – directed towards the Monster – and self-destruction, both of which are key themes in gothic literature. As the story progresses and Frankenstein develops an obsession with creating life – culminating in the creation of the Monster – one can most definitely see evidence of his inner torments and frustrations, explicitly evident in the process by which Frankenstein goes about making the Monster. Tellingly, Victor bypasses the act of sex to create life, instead synthesising it independently of any maternal figure or sexual intercourse.
What triggers his hatred even more is the fact that the monster is responsible for Justine’s and William’s murder. With this knowledge Victor screams in rage towards the monster “Scoffing devil! Again do I vow vengeance; again do I devote thee miserable fiend, to torture and death.” (107) Victor becomes overwhelmed by the murder and feels totally responsible for it, since it his creation that has committed these murders. "I did confess; but I confessed a lie. I confessed, that I might obtain absolution; but now that falsehood lies heavier at my heart than all my other sins.
Both the creature and Victor revenge on each other. Though separate beings, the creature and Victor share a relationship of complicated dimensions: that of nobility born of suffering, that of creator/created, and that of enforced loneliness. The Creature and Victor’s creator-created relationship, the creature’s nobleness and loneliness forms their relationship. Victor’s responsibility of the creature becomes significant when the creature begins to wreak havoc. At first, Victor sees the creature as an amazing breakthrough created by defiance nature, but soon after the creature’s creation, he realizes how truly awful the creature is and rejects him.