English Paper: Rhetorical Analysis of Frankenstein

The monster's intention was to rid of Victor's happiness; making Victor suffer a similar loneliness the monster faced and therefore killed Elizabeth. Shelley tried to convince the readers Victor felt guilty and responsible for Elizabeth's death by contemplating his anxiety and detailing his preparations for self-defense. Victor then felt vengeful and his obsession and objective transpired to kill the monster. Shelley made Victor distracted and focus on one goal, but never made him think of the consequences that lay

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

you belong to my enemy - to him towards whom I have sworn eternal revenge; you shall be my first victim.” (Shelley 62) Here The Creature is not just an innocent childish creature anymore, here we find The Creature having hold of a random person at first but when he finds out this is Frankenstein blood; he instantly becomes a murderer. After the incident, The Creature becomes demanding to Victor he later asks for one last wish from his dreadful maker. Shelley writes, “You must create a female for me with whom I can live in the interchange of those sympathies necessary for my being” (Shelley 63). Instantly, Frankenstein denies and while The Creature is able to persuade the mad scientist for some time; Frankenstein goes to and fro from being an advocate to outright denying The Creatures request. After much arguing and dealing around, Victor gives in. However after heading back to Geneva Victor is unable to get himself to work and create this new being, and he is scared out of his mind since Victor understands the severity of what The Creature can do to him. Ultimately, as the course of events in Shelley’s “Frankenstein” it is clear to see that the creature lives a life that is cruel and a life that no one can truly understand. As well as living a life and having his pure and unknowing innocence stripped away by the hardships of

“You won’t understand and will only suffer misery… on my account! Well, you are crying and embracing me again. Why do you do it?... And can you love such a mean wretch?” (325). This is when Raskolnikov is beginning to tell Sonia about his murders. He believes that Sonia would leave him and not love him anymore. This is important because it shows Raskolnikov’s guilt.

Scanning my mind and listening. The creature could be a vagabond, an upright being without wings? Two arms, two legs, incomparable to any other animal. Why was it not speaking English ? Was it trying to convey something? What kind of reaction was it looking for? What circumstances could this encounter lead up to? Was the encounter premeditated, meant to be chaotic? Incomprehensible? But in actually, it is a reality. Did the creature have wings? When the creature came closer it was becoming determined to have our attention, it's not disputed. Yet it draws suspicion, specifically the creature did not impart itself completely, but stays on the inner edge of darkness hiding his corporeal self, simoustanly encroaching himself on us. However,

            The monster's gradual descent into evil most likely follows the path of depression Mary Shelley takes in the course of her life.  First, her father is taken away, much like the separation the monster feels when Victor shuns him.  Next, she suffers the extreme losses of her half-sister and newborn, which parallels

In Chapter 10 of Mary Shelley’s Frankenstein, the monster employs an array of compelling rhetorical questions to underscore his anguish and despair in the hopes of winning his creator’s sympathy and understanding. Upon enduring Victor’s barrage of execration, the monster fitfully cries out, “Have I not suffered enough, that you seek to increase my misery?” (Shelley 81). Distraught, the monster demands for what higher purpose does the arbiter of his future whimsically desire to torture and “increase” his “misery”. Like clinging onto a frayed rope, the monster hopes that his pitiful coagulation of naive optimism and sorrow has the ability to trigger a sense of sympathy in his creator that would mark the end of his isolated and disheartened state.

Page 1 of 2 Far away setting- “I accompanied the whale-fishers on several expeditions to the North Sea; I voluntarily endured cold, famine, thirst, and want of sleep; I often worked harder than the common sailors during the day and devoted my nights to the study of mathematics, the theory of medicine, and those branches of physical science from which a naval adventurer might derive the greatest practical advantage” (letter 1 Walton) Far away unexplored areas like the Artic were very mysterious to people of the 1700’s. This setting creates a tense feeling for the reader because they don’t know much about where the characters are and what could be hiding there. Dark and gloomy places- “We saw many ruined castles standing on the edges of precipices,

In this excerpt from Mary Shelley’s Frankenstein, a lot of power and emotion is put into the writing. This selection is an important moment in the story, and the author uses many rhetorical devices to capture her readers and put them in the scene. By using a sense of parallelism, imagery, and intense description, along with pacing helps put the audience into Victor’s experience of horror.

The allusion to Dante implies that, based on appearance alone, the monster is more evil than Hell itself. Victor took no time in getting to understand the monster or develop the familial bond between them, which leaves Victor with a narrow, biased opinion on the monster. Shelley uses Victor’s hasty judgment of the monster in order to demonstrate the irrationality of Victor’s actions regarding the creature. This also discounts Victor’s opinions of the monster, forcing Shelley’s audience to judge the monster based on their own inferences, rather than Victor’s. Through Victor’s actions and his faulty reasoning behind them, Shelley is able to shift the responsibility for the monster’s character from it being instilled in him from birth, to Victor’s failings as a parent and creator.

Mary Shelley creates a murky and ominous mood in chapter 5 by using descriptive language and pathetic fallacy when she describes the setting. She writes: “It was on a dreary night of November that I beheld the accomplish of my toils’. This shows the time and the weather of the day that victor finished making his creation. It was very spooky and bad weather, al it was a dark night. Furthermore, it also told that ‘ It was already one in the morning, the rain pattered dismally against the panes’; Victor was still working on his experiment until the morning.

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.

Victor emotions are full of anxiety and disconcert due to the recent traumatizing deaths of his loved ones and the mysterious role of his own grotesque creation in them; the speaker uses imagery and diction to express Victor’s suppression of these feelings to cope with his struggles. The speaker shows Victor’s vehement concern and desolation about his actions of putting together his monstrous creation by using imagery that evokes ominous and unsettling emotions. In the first paragraph of this passage, these vast and captivating surroundings, which are mainly composed of ice glaciers, mountains and trees, are described in thorough detail and all of which, have been regularly associated with tranquility and repose in conventional literature.

The monster that Victor creates is just another victim of the plot. It is debateable whether a human is born good or evil but the actions of the monster early on in the novel lead us to believe that he has been born good natured. The monster, “had been accustomed, during the night to steal a part of their store for my own consumption; but when I found that in doing this I inflicted pain on the cottagers, I abstained” (111). He has no desire to hurt the family and when he realizes his actions have ill effects on the family he stops them immediately. His actions and thoughts here demonstrate the kindness in him that society fails to see. The monster is born without knowledge and matures in a way that is similar to the development of a baby. Just like a child grows, the monster did too, and with his newfound wisdom he learned about a world that he did not fit in to. At his birth the monster is denied by his maker, Victor

Shelley uses the creature to express her feeling of isolation from society and her father. When Victor finally finishes making his creature, the psychological horror of what he has done drives “him into the streets pacing them with quick steps, as if [he] sought to avoid” the creature whom he feared (Shelley 36). Victor’s initial abandonment of the creature correlates to Wollstonecraft’s death because of the shock at birth or creation that causes emotional turmoil. Even though Victor’s abandonment of his progeny is different to Wollstonecraft’s, the emotional damage relates to each other. When Victor again denies his creation for a second time three years later, it is a direct correlation to Godwin’s withdrawal from the household after remarrying. It is no coincidence that Victor’s first denial of the creature happens only three years before the creature approaches him a second time, the same amount of years before Shelley’s father remarried. Shelley emotionally lost her mother and father. She uses her emotional turmoil in the creature to express social isolation. The creature is abandoned at birth and rejected by its creator just as Shelley was. Victor “detests and spurn[s him, his creature,] to whom thou art bound