"But I was enchanted by the appearance of the hut: here the snow and rain could not penetrate ; the ground was dry; and it presented to me then as exquisite and divine a retreat as Pandaemonium appeared to the daemons of hell after their sufferings in the lake of fire." pg 73
Pandaemonium, as the capital of Hell in the poem Paradise Lost, was created more beautifully than any human building ever constructed, over the course of mere hours by the fallen from heaven. Shelley subtly suggests that although the character refers to the sanctuary being similar to that of the capital of Hell, the opposing terms "snow"and "fire" separate them. Regardless of the separation, the idea is implanted enough in the reader's mind, thus associating the character with Hell.
Paradise Lost, John Milton
Wednesday, October 5, 2011
Frankenstein Nine
"You have hope, and the world before you, and have no cause for despair. But I- I have lost everything and cannot begin life anew." pg 12
Mary Shelley had an interesting tool to work with while writing Frankenstein and obtaining new ideas- her own life experiences. She never knew her mother, her sister committed suicide. Her father did not acknowledge his grandchildren as his kin (but then they died young anyway), and Mary's husband had left another woman, then pregnant, for Shelley. Soon after, that woman took her life also. Shelley had truly lost everything, yet could not begin life anew, except in the world of literature. Frankenstein could not begin his anew either, so instead created a creature that he could give life to.
The Things That Matter, Mendelson, 2006
Mary Shelley had an interesting tool to work with while writing Frankenstein and obtaining new ideas- her own life experiences. She never knew her mother, her sister committed suicide. Her father did not acknowledge his grandchildren as his kin (but then they died young anyway), and Mary's husband had left another woman, then pregnant, for Shelley. Soon after, that woman took her life also. Shelley had truly lost everything, yet could not begin life anew, except in the world of literature. Frankenstein could not begin his anew either, so instead created a creature that he could give life to.
The Things That Matter, Mendelson, 2006
Frankenstein Eight
"Under the guidance of my new preceptors, I entered with the greatest diligence into the search of the philosopher's stone and the elixer of life; but the latter soon obtained my undivided attention." pg. 21
Frankenstein has many roots based in the Arabic culture, and Shelley continues this pattern by pulling the elixir of life into the novel, which was sited in the Qur'an. The elixir of life is sometimes associated with eternal youth, such as in Harry Potter, but in this instance Shelley's intention was for it to be used in the creation of life. The stone to which Shelley refers to produces the elixir, which would be ideal to obtain. However, once the elixir touches one's lips, the drinker must rely on the potion to remain alive. It seems simply maddening that Victor would not have tried to use such an elixir on himself, gaining immortality in order to discover the unknown that he strives to find.
Qur'an (Al Khidr)
Harry Potter and the Philosopher's Stone, Rowling, J.K., 30 June 1997, Bloomsbury.
Frankenstein has many roots based in the Arabic culture, and Shelley continues this pattern by pulling the elixir of life into the novel, which was sited in the Qur'an. The elixir of life is sometimes associated with eternal youth, such as in Harry Potter, but in this instance Shelley's intention was for it to be used in the creation of life. The stone to which Shelley refers to produces the elixir, which would be ideal to obtain. However, once the elixir touches one's lips, the drinker must rely on the potion to remain alive. It seems simply maddening that Victor would not have tried to use such an elixir on himself, gaining immortality in order to discover the unknown that he strives to find.
Qur'an (Al Khidr)
Harry Potter and the Philosopher's Stone, Rowling, J.K., 30 June 1997, Bloomsbury.
Frankenstein Seven
I was like the Arabian who had been buried with the dead and found a passage to life, aided only by glimmering and seemingly ineffectual light." pg. 31
Victor compares himself to the man in the story, The Thousand and One Nights. Shelley uses this link to bridge Victor to another human. He is commonly removed from the presence of other humans, similar to the man in the story. As a scientist, Frankenstein is able to insert life into the reconstructed body he has assembled. He has shut himself away, buried with the dead, always trying to reach the end of the tunnel.
Victor compares himself to the man in the story, The Thousand and One Nights. Shelley uses this link to bridge Victor to another human. He is commonly removed from the presence of other humans, similar to the man in the story. As a scientist, Frankenstein is able to insert life into the reconstructed body he has assembled. He has shut himself away, buried with the dead, always trying to reach the end of the tunnel.
Frankenstein Six
"Darkness had no effect upon my fancy; and a churchyard was to me merely the receptacle of bodies deprived of life, which, from being the seat of beauty and strength, had become food for the worm." pg. 30
The beauty and strength of the church, as Shelley writes, is contrasted with the worms hidden beneath the soil in the graveyard, gnawing at the fleshy remains of those buried below. Death is not full of strength or beauty; it is decaying and weak and sorrowful. Darkness usually appears in close proximity to Light, and in the human sense, people must be careful to misjudge others to which category they fall. First appearances have a way of hiding the most important characteristics of things.
The beauty and strength of the church, as Shelley writes, is contrasted with the worms hidden beneath the soil in the graveyard, gnawing at the fleshy remains of those buried below. Death is not full of strength or beauty; it is decaying and weak and sorrowful. Darkness usually appears in close proximity to Light, and in the human sense, people must be careful to misjudge others to which category they fall. First appearances have a way of hiding the most important characteristics of things.
Frankenstein Five
"There is something at work in my soul which I do not understand. I am practically industrious — painstaking, a workman to execute with perseverance and labour — but besides this there is a love for the marvelous, a belief in the marvelous, intertwined in all my projects, which hurries me out of the common pathways of men, even to the wild sea and unvisited regions I am about to explore."
Shelley connects Robert Walton to Victor Frankenstein, foreshadowing how the novel will unravel. Walton seeks knowledge as he sets forth on his ship to discover the unknown, which is primarily what Frankenstein attempts to do as well by creating his monster. Both men sacrifice living comfortably in familiarity in order to obtain the uncharted secrets of their respective fields. They also tend to steer away from normal social interactions with others, although both are lonely and in dire need for a mate. Eventually, the monster fits similarly into these descriptions.
Shelley connects Robert Walton to Victor Frankenstein, foreshadowing how the novel will unravel. Walton seeks knowledge as he sets forth on his ship to discover the unknown, which is primarily what Frankenstein attempts to do as well by creating his monster. Both men sacrifice living comfortably in familiarity in order to obtain the uncharted secrets of their respective fields. They also tend to steer away from normal social interactions with others, although both are lonely and in dire need for a mate. Eventually, the monster fits similarly into these descriptions.
Frankenstein Four
"I was wretched, helpless, and alone. Many times I considered Satan as the fitter emblem of my condition; for often, like him, when I viewed the bliss of my protectors, the bitter gall of envy rose within me." (92)
Shelley writes that the monster conceives himself to be a tragic character by comparing himself to Satan. He is snubbed by Victor, such as Adam was by God, although his ultimate hope is striving to be righteous in the eyes of his creator. The envy that the monster feels is similar to that of Satan; he is ignored by the person he holds in highest regard and eventually rebels against him.
Shelley writes that the monster conceives himself to be a tragic character by comparing himself to Satan. He is snubbed by Victor, such as Adam was by God, although his ultimate hope is striving to be righteous in the eyes of his creator. The envy that the monster feels is similar to that of Satan; he is ignored by the person he holds in highest regard and eventually rebels against him.
Tuesday, October 4, 2011
Frankenstein Three
“I am alone, and miserable; man will not associate with me, but one as deformed and horrible as myself would not deny herself to me.” (171)
The Animated movie, Shrek parallels this quote of Shelly's. When the "ugly" ogre sees himself in the mirror, he wonders how a creature as beautiful as Fiona would ever be able to love him. Fiona, however, sees Shrek the same way, wondering if he could ever see beauty in her. What they both overlook is their own beauty, and the fact that they are looking at the same type of creature as themselves, just in a completely different light.
Shrek, 2001, DreamWorks Animation
The Animated movie, Shrek parallels this quote of Shelly's. When the "ugly" ogre sees himself in the mirror, he wonders how a creature as beautiful as Fiona would ever be able to love him. Fiona, however, sees Shrek the same way, wondering if he could ever see beauty in her. What they both overlook is their own beauty, and the fact that they are looking at the same type of creature as themselves, just in a completely different light.
Shrek, 2001, DreamWorks Animation
Frankenstein Two
“The different accidents of life are not so changeable as the feelings of human nature. I had worked hard for nearly two years, for the sole purpose of infusing life into an inanimate body…but now that I had finished, the beauty of the dream vanished….” (56)
"You can't always get what you want," is perhaps an essential motto to live by. Often times the hunt is more thrilling than the capture, and once a person obtains something, the value of that thing decreases immediately. Shelley imposes that her character is disappointed and unsatisfied with his result, despite the fact that during the whole process, he had seen a certain beauty in his dream.
Rolling Stones, "You Can't Always Get What You Want" (Let It Bleed, 1969)
"You can't always get what you want," is perhaps an essential motto to live by. Often times the hunt is more thrilling than the capture, and once a person obtains something, the value of that thing decreases immediately. Shelley imposes that her character is disappointed and unsatisfied with his result, despite the fact that during the whole process, he had seen a certain beauty in his dream.
Rolling Stones, "You Can't Always Get What You Want" (Let It Bleed, 1969)
Frankenstein One
"I had been the author of unalterable evils; and I live in daily fear, lest the monster whom I had created should perpetrate some new wickedness."
Victor, as the monster's creator, resembles God in many parts of the novel by Mary Shelley. By creating men, God was the author of many unalterable evils. However, God does not have any flaws, and Frankenstein mentions that he lives in daily fear, which humanizes him again and brings him back down to Earth. Thus creates a strong theme of self-loathing throughout the remainder of the book for Victor.
Victor, as the monster's creator, resembles God in many parts of the novel by Mary Shelley. By creating men, God was the author of many unalterable evils. However, God does not have any flaws, and Frankenstein mentions that he lives in daily fear, which humanizes him again and brings him back down to Earth. Thus creates a strong theme of self-loathing throughout the remainder of the book for Victor.
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