Examples Of Intertextuality In Frankenstein

Mary Shelley’s, gotchic novel, Frankenstein, is a story of a mans adventure out of self pity and disappointment in search for total control and ultimate power, as he wishes to escape from the realities of his past life. In this story, Victor Frankenstein’s use of Ethos, Pathos, and Logos creates many moods and repsonses from Victor, himself, and the Creature he has created, which conveys emotional repsonses, persuasive actions, and appeals to logic that created this twisted and wretchedly staggering novel. Victor Frankenstein uses Pathos to effectively create an emotional response. After being reprimanded by Victor, the creature expresses how he thought Victor would respond, because, “All men hate the wretched; how then must I be hated, who

Frankenstein, a novel first published in the year 1818, stands as the most talked about work of Mary Shelley’s literary career. She was just nineteen years old when she penned this novel, and throughout her lifetime she could not produce any other work that surpasses this novel in terms of creativity and vision. In this novel, Shelley found an outlet for her own intense sense of victimization, and her desperate struggle for love. Traumatized by her failed childbirth incidents, troubled childhood, and scandalous courtship, many of Shelley’s life experiences can be seen reflected in the novel. When discussing the character and development of the monster, Shelley launches an extensive discussion on the

Mary Shelley’s view of human connections is portrayed through the monster’s actions. The monster is abandoned by his creator and isolated from the rest of society due to his appearance. 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

Mary Shelley’s Frankenstein has undoubtedly withstood the test of time. Frankenstein’s direct association with fundamental Gothic literature is extremely renowned. However, the novel’s originality is derived from the foundational thematic values found within the relationship (or lack there of) between Victor Frankenstein and the monster he had created, in combination with a fascinatingly captivating plot. Understandably, Frankenstein can often be associated with a multitude of concepts; however, in this particular instance, the circumstances in the book seemed remarkably coherent with Shelley’s Romantic beliefs in preserving the natural world, and one’s natural existence. These values present themselves as metaphorical symbols that

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’s story of internal turmoil, the cruelty of altering the laws of nature, and the consequences of redefining the laws of nature is a harrowing one, known widely by many audiences, yet it is never the nature of the characters that is discussed, only the outcome. Shelley’s deliberate use of different character foils portrays the deeper connections and themes in her 1818 novel, Frankenstein. The creation and presence of Frankenstein’s monster directly foils the character of Victor Frankenstein himself, illustrating overarching themes of self inflicted isolation and internal conflict, exposing the dangers and consequences of complete and total narcissism, and revealing a truth many still refuse to accept: we, as humans, are capable

Another similarity between Victor and Prometheus can be seen in chapter 5 which states, ‘How can I describe my emotions at this catastrophe, or how delineate the wretch whom with such infinite pains and care I had endeavored to form?” (Shelly 60) Just like Prometheus who was chained to a rock for eternity, Victors punishment in infinite as well. Victor, for as long has he is alive will fear for the death or suffering of himself or the ones he

Mary Shelley’s Frankenstein has a very complex narrative structure: “the narratives seem to grow organically from one another”. Within the novel, Shelley weaves characters and their different narrative perspectives together, creating a cyclical, triplicate layout to the story. Her use of multiple narratives provides a range of perspectives on the story, allowing us insights to the

Mary Shelley makes us question who really the “monster” is. Is it the creature or Victor? While the creature does commit murder, he does not understand the consequences of his actions. He is like an infant who is unfortunately left to learn about the workings of society, and his place in it, on his own. He has no companions and feels a great sense of loneliness and abandonment. The creature voices his frustration and anger and seems to try to project his feelings of guilt onto Victor, as if to show him that he is the ultimate cause of the creature’s misery while he is simply the victim of Victor’s manic impulse. Shelley utilizes words, phrases, and specific tones when the creature vents his misery to Victor and this evokes, amongst the

Mary Shelley’s Frankenstein, illustrates an interesting story focusing in on many different themes, but what most readers may miss, is the similarities between Victor Frankenstein and the creature he created. As the story develops, one may pick up on these similarities more and more. This is portrayed through their feelings of isolation, thirst for revenge, their bold attempt to play god, and also their hunger to obtain knowledge. These are all displayed through a series of both the actions and the words of Frankenstein and his creature.

The novel “Frankenstein” by Mary Shelley involves the complex issues with the creation of life through an inanimate life. Shelley uses these character archetypes to develop a deeper meaning of the characters intentions. Shelley does an excellent job at allowing the reader to have a peak at the characters inner thoughts and feelings. The archetypes presented in Frankenstein allow readers to identify with the character's role and purpose.

Mary Shelley discusses the themes of birth and creation, appearance and the necessity of companionship, love and acceptance in her novel Frankenstein. The themes that are explored in Frankenstein are relevant to today’s modern world. Shelley challenges readers by endorsing and confronting attitudes and values in her text through the events, circumstances and outcomes that take place in the novel, thus causing the reader to reflect upon their own lives and in turn the society around them.

In Mary Shelley’s novel, Frankenstein, the inter-textual connection to the bible is prominent throughout the whole novel. Shelley connected the monster to Adam, Satan, the story of Eve and Adam and the monster reading Paradise Lost. Seeing as the bible was a highly read and recommended text during the early 19th century, Shelley’s establishment of the references served to establish Frankenstein as a sort of allegory of moralist text. She begins her biblical allusions with the idea of creations, mistakes and sins.

In the Gothic novel Frankenstein, Mary Shelley integrates the rhetorical devices figurative language, imagery, and tone to impart the concept that the desire to acquire knowledge and emulate God will ultimately result in chaos and havoc that exceeds the boundaries of human restraint.