Shelley portrays the desire of knowledge as lust which, if left unhindered, can drive a man to peril. Although Frankenstein's initial intentions were to exceed the boundaries of science the over ambitious nature led him to be 'hidden in darkness' and 'locked up from nature' leading the monster to Frankenstein's peril. A feature of the gothic genre is Victor's psychotic nature which emphasizes the dark side of the human psyche in emotional and physical form. Some critics such as Rebecca Wallis have argued that the 'dark Sid elf the human psyche' can be found within victor's sexuality. The point in the novel which this critic focuses on is the moment before intercourse between Victor and Elizabeth when Victor states ' this night is dreadful, very dreadful'.
He is rejected by the De Laceys and Frankenstein and ponders the question: ‘Am I not alone, miserably alone?’. The monster is represented as the dark side of Frankenstein. Shelley depicts Frankenstein as the real monster of the novel. Frankenstein appears to look like a nice person but Shelley creates him as a blasphemous person whose arrogance and obsessions with science end up costing him dearly. In contrast, the monster appears to be a nasty, unapproachable beast but actually appears to be well-educated and is knowledgeable about the world around him.
To the reader, it seems that Shelly consistently reminds us of the lack of responsibility on the part of Frankenstein, and the monster’s inherent innocence, who is only made evil by his circumstances. But like the reader, Shelley too, is unclear about whose behaviour is most unjustifiable and unpardonable. With reference to David Punter’s essay “Gothic and Romanticism”, Victor Frankenstein can be compared to the ‘Wanderer’, the Wanderer’s essential characteristics being that he is hero and victim both, who defies God by crossing the laws of mortality and dares to touch the untouchable. The Wanderer is never satisfied with the restrictions placed on him by an ordered society, and he ultimately suffers for his disobedience. Victor clearly fits the description of the Wanderer, as his obsessive need to create life and be its sole creator has a hint of an unnatural desperation to satisfy his ego and attain gratitude.
In Melville’s Billy Budd, Claggart, the Master-at-Arms aboard the Bellipotent, is a symbol for evil or Satan. John Claggart’s name characterizes his role in Melville’s novel. His common English given name paired with the harsh, cacophonous name of “Claggart” typifies his role as a conniving figure of evil. The fact that Claggart is evil is inevitable because the physical descriptions of Claggart are less appealing than those of Billy Budd, the ideal of an uncorrupted man newly aboard the Bellipotent, and help indicate his evil nature (Smith). The narrator describes Claggart by stating, “his complexion…though it was not exactly displeasing, nevertheless seemed to hint something defective or abnormal in the constitution and blood” (qtd.
How does Mary Shelley use language to create effect in chapter 5? By Eugenie Tete-Donkor Chapter 5 explores the effect of humans using science to toy with nature. Through language typical to the Gothic genre Mary Shelley conveys the idea that when science or a scientist tries to ‘play God’ the outcome is unpleasant. This chapter could be interpreted as a part of a warning to the scientists and revolutionary people of her time. The writer’s use of pathetic fallacy through “rain pattered dismally against the panes” and “glimmer of the half-extinguished light” reflects on the dull, macabre atmosphere surrounding the event of Victor trying to “infuse a spark of being into the lifeless thing”.
I personally define a monster as a being, whether human, animal or something of another shape, that acts immorally, fiendish, and or vile. My idea of what a monster is isn’t defined by its looks or aesthetics because looks are subjective. My idea of a monster is defined by its intentions and its actions. Questions to reflect over when considering whether or not something is a monster would include, what does the monster do and can what it does be considered good or evil? Grendel, the first creature in the epic, was a beast driven mad by jealousy and envy.
Javier Acosta Dr. Rutledge English 2521 Is King Claudius an immoral monster whoʼs every intention is to do evil? To answer this, the deﬁnition of someone bound on evil and someone who is a moral weakling would have to be very clearly deﬁned as different audiences have different conceptions of each. Readers of Shakespeare have various examples on which to judge immoral monsters, such as Aaron the moor from Titus Adronicus who claims “If one good deed in all my life I did, I do repent it from my very soul” (V.iii.189-190) When Claudius is placed next to someone like him, we have to judge with different scales. Not to say that the kings crimes are not evil, for they surely are, but to say his attitude after the crimes have been committed are that of a man who wants to repent but can not seem to bring himself to do so. A man whoʼs twisted conscious haunts him by placing him in a state of paranoia, confusion, and weakness.
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.
Or perhaps, there is nothing wrong with the state of nature; but the real problem is based on the want for absolutism. To begin with, Thomas Hobbes argues that the state of nature is ‘the worst possible situation in which men can find themselves. It is the state of perpetual and unavoidable war’. Hobbes has described the state of nature as being "solitary, poor, nasty, brutish, and short", this is the description of the state of mankind. This pessimistic view of the state of nature declares humans as being self interested.
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.