Characteristic Of Language In Frankenstein

However, this cannot be said for all victims of guilt as the author makes sure to heed the consequences of

He is tried for the crime of murder, but is not judged solely on his actions during the aforementioned crime. He is judged on his specific actions that society regards as absurd

“The only two people that know I am innocent, is myself and the killer.” Imagine being blamed for a crime you did not commit, and nobody would believe you no matter what you said. Steven Truscott had forty-two years of his life taken from him for being charged with a crime he did not commit. He was charged at only the age of fourteen for murdering and raping twelve year old Lynne Harper. He then became the youngest death-row inmate after one of the most famous trials in the history of Canada. Steven Truscott should never have been convicted for the murder and rape of Lynne Harper due to the fact the forensic evidence was questionable the

Mary Shelley’s Frankenstein has several literary devices- such as structure, imagery, and many intricate details. She perfectly places words and puts them in such a way that the passage has a dual tone. Shelley begins with establishing the monster’s nature as being peaceful, because he wanted to reason with Victor. Him wanting to reason shows the importance of his decision to meet with Victor and shows that even though he has been through a great deal, he is still respectable to others. The audience gets to see the creature’s humble nature and makes the audience feel sympathetic towards him. This creates a peaceful tone to the passage. The monster wants to be loved by “any being and if they showed benevolence to me, I would return them hundred an hundred fold” (Shelley 148). The creature’s begging makes it sound like Victor will answer his plea. Using a broad term like “being”, demonstrates the monster’s need to be loved, putting him in a position with the audience again feeling empathetic towards him. Eventually, Victor’s compassion begins to fluctuate. The desperation the creature has looks like the desperation a human might have. This only gives the readers another reason to relate to him which leads to the other tone, impossible. Victor’s unreasonableness heightens this shared discontent as not only has the build up of the creature’s wistful nature made him an utmost identifiable character, but our views are adjusted in such as way that Frankenstein is seen

Friends will determine the direction and quality of your life. Loneliness is a battle that all people will once face at a certain point in their life; it is how they handle it that determines the outcome of that battle. In Mary Shelley's Frankenstein loneliness is the most significant and prevailing theme throughout the entire novel. Shelley takes her readers on a wild journey that shows how loneliness can end in tragedy.

He always puts the blame on his passions or his wishes, never himself. He even blames his own father. According to Victor, his actions are the the fault of the “spirit of good” or chance or knowledge. When he does finally acknowledge that the creation of the creature and the way the creature grew up is his fault, he claims he’s only “not altogether free from blame”. He does not fully take the blame, and then he goes on to basically say that everybody makes mistakes, so it’s okay that he reanimated and abandoned a human who had already been dead. He calls his creation a catastrophe, a wretch, a miserable monster, a filthy demon, a devil, a depraved wretch. What Victor does not acknowledge is that he was the one who made the creature this way. When it comes to describing Victor, he is seen as “noble and godlike in ruin”. He is not seen as a monster who did irreparable damage to another human being, but as a fallen god. What’s more is that Victor does not hesitate to blame himself for the deaths of William, Henry, Elizabeth, and even Justine. Though he is, in a way, responsible for their deaths, it’s by extension. He won’t take the blame for what he’s truly responsible for-creating and abandoning this creature with nothing but fear, confusion, and

When Frankenstein is the narrator, the mood and tone shift from Walton’s mood of enthralled and tone of meditative to Frankenstein’s horrified tone and suspenseful mood. Frankenstein first establishes his truly horrified tone through the diction that he uses in Chapter V, when his creation finally comes to life. Frankenstein uses diction like “catastrophe,” “horrid,” and “disgust filled my heart” upon the sight of his beast, and even goes further to call his creation a “miserable monster.” The diction in this section of the book is intense, and it creates a tone of horror towards the monster that Frankenstein has created. The diction also creates a suspenseful mood for the reader, because now that Victor’s creation has gone bad, they have no idea what might happen next. In Chapters 8 and 9, Frankenstein continues to establish his horrified mood when he perceives that it was his creation that killed his brother, William, and this in turn causes the death of Justine. When this happens, Frankenstein uses words and phrases like “tortures of my own heart,” “desolation,” and “accursed hands” to describe his emotions about the suffering he has caused. Frankenstein’s emotions are destroyed so badly by the thought of what he has done that he even refers to himself as a “madman.” This diction proves to the reader that the author’s tone is indeed horrified; the fact that the reader once again

The novel Frankenstein; or the Modern Prometheus cannot be categorized into only one genre because it has various features of different genres. It is certainly a tragedy. Although the core narration starts with a story of how Frankenstein’s father meets and marries the protagonist’s mother, she first has to endure the death of her father called Beaufort. Thus, the novel already begins as a tragic exposition. As a result, the narrative fiction ends with almost everyone including the protagonist and the antagonist as dead.

Mary Shelley utilizes figurative language in this excerpt to describe the surroundings of Frankenstein on his journey home and set the tone of gloomy, because of his brother’s death. Shelley uses personification to express the pattern of the raindrops as “violence quickly increasing” as if the raindrops were a person becoming very violent. This figurative language device develops the tone by tying into the violent actions of whoever murdered William, Frankenstein’s brother. Shelley uses the figurative language device of simile to compare the weather of nature such as, “vivid flashes of lightning dazzled my eyes, illuminating the lake, making it appear like a vast sheet of fire”. Shelley begins the sentence with a cheerful tone then takes a

While Victor is looked upon to be a normal man while the creature is seen as a monster specifically because of his physical appearance. At eight feet, with a gigantic body and a disfigured face, society only looks upon the creature with fear and disgust. However, I wonder, couldn’t Victor be a monster as well? He abandoned the creature in the horror of the moment and even attempts to take the creature’s life at one point. To me, the creature’s feelings of rage, revenge, and hurt are what any “normal” human would have felt if left to fend for themselves on their own, with no experience of love or kindness from anyone.

There are many ways to decide what makes a man guilty. In an ethical sense, there is more to guilt than just committing the crime. In Charles Brockden Browns’ Wieland, the reader is presented with a moral dilemma: is Theodore Wieland guilty of murdering his wife and children, even though he claims that the command came from God, or is Carwin guilty because of his history of using persuasive voices, even though his role in the Wieland family’s murder is questionable? To answer these questions, one must consider what determines guilt, such as responsibility, motives, consequences, and the act itself. No matter which view is taken on what determines a man’s guilt, it can be concluded that

Humans are known for bestowing their judgment irrationally and based on the “book cover” of a person, they may degrade their fellow human into the worst positions of the social ladder. Mary Shelley, in her novel Frankenstein, expands on this perspective by using mood and tone to parallel with the circumstances of an event occurring in her novel with shifts throughout the context of the book, symbolized by the changes in nature and seasons. This shift is made frequently between the agonized, desperate, frightful, maybe even suicidal mood and tone with the occurrence of dreadful acts of murder and execution, to the more calming, soothing, optimistic and life-full during a physical and spiritual recovery.

Frankenstein, on the other hand, has lived within society and is expected to have certain morals. Among these should include parental responsibility, an obligation to care for the being to whom he

Knowing social opinion, the monster explained after his agonizing shock of self-discovery, "All men hate the wretched" (95). An irony emerges, however, in Frankenstein's own abhorrence of the creature, evident when the brute proclaims, "You accuse me of murder, and yet you would, with a satisfied conscience, destroy your own creature. Oh, praise the eternal justice of man!" (96). This fictitious novel, occurring in the early nineteenth century, only years after the Declaration of Independence, Bill of Rights, and the Constitution of the Rights of Man commissioned equality among people, exposes inequitable sentiment remaining in mankind. The brute fiend, which had commiserated with kind cottagers early on in his existence, aspired to acquire their friendship by degrees, but foretold his predestined misery by recounting, "Alas! I did not entirely know the fatal effects of this miserable deformity" (108). He had not pre-meditated his future crimes and is portrayed as a victim of appearance, circumstance, and naïveté.

Questions of morality did not enter Victor's mind a single time before the creation of his "human being."  He did not ponder the effects of his creation.  Victor had a goal - to create life.  By doing so we would be "godlike" for just one instant.  He successfully