Victor Frankenstein Quotes

Throughout Shelley’s work, the creature struggles to conform to society, alone from his first moments - abandoned by his creator - he is given no proper upbringing, and abhorred by society. He grows up in hiding and fear, his only interactions with others ending in violence. Hence, seems only natural that his desperate need to conform would lead to violence. The need to “belong” is an essential “human” desire, however this sense of belonging his completely dependent on one’s upbringing.

Throughout the entire of the novel, Frankenstein, Mary Shelley shows that Frankenstein’s demise is a direct result of his own decisions. Mary displays this through three vivid actions that Victor did; the creation of the creature, the death of his Brother and trial of Justine, and the ignorance Victor had that led to the murder of Victor’s wife, Elizabeth. Victor was a very smart student with an immense drive to accomplish whatever he told himself he was going to accomplish. With Victor’s early studying in college, Victor describes his situation when studying “Victor’s cheeks had grown pale with study, and my person had become emaciated with confinement. “ (Shelley 40), Showing Victor relied so heavily on studying that he was hurting his body

Robert Walton’s life and travels and adhere to the ideals of Romanticism because he is in pursuit for a companion and looking to find his true self. Throughout the letter from Walton to his sister, Mrs. Saville, he exemplifies a vigorous desire to explore the world. Since traveling is, his passion it helps will mold him into the man that he yearns to be. His goal is to create a legacy by himself and not with the wealth of his family. Walton is trying to break away from the plans made for him. Romanticism emphasizes inspiration, subjectivity, and the primacy of the individual, which is how the two letters genuinely portray Walton.

The author is putting some romantic idea through Robert as he shows his feeling that he is open to find a friend. As he mentions his desire for a companion when he feels lonely, as he said, “ I greatly need a friend who would have sense enough not to despise me as romantic, and affection enough for me to endeavor to regulate my

The novel begins with four letters written by Robert Walton, who was sailing North, in search for a faster route. In these letters, Walton explains to his sister, Mrs. Saville, of the lonely life upon the ship and how he has no true friends. Mrs. Saville, who is following their father’s orders, reinsures her brother of the evil at sea, but Walton only wanted fame and glory. Walton is sailing through the Artic when his ship is surrounded by ice; one day among the ice, his men saw a man of a gigantic stature being led by a sled of dogs. The next morning, the sailors were on the deck when from afar they saw another dog drawn sled. Upon its approach, Walton noticed its guide was emancipated and convinced him to come aboard. All of the sailors where

As the rising action continues, Russell demonstrates that Susan is still possessed by a demonic creature but begins to gain control by interpreting the truth of her past to Father Sargent and the Bishop. Firstly, when Susan is in the house with her father, she stands up and is ready to leave:

He introduces Bartleby as “a scrivener the strangest I ever saw or heard of”, and “one of those beings of whom nothing is ascertainable (3).” These assertions begin to intrigue the reader, and like the narrator, they are curious to understand the puzzle of Bartleby. In his telling of the story, the narrator is initially not particularly interested in Bartleby, though Bartleby does seem “Incurably forlorn”, the

he alludes to a bond or bridge between the two types of love which Diotima expands on.

Explain the Romantic sense of the self as defined and expressed by the writers discussed in this lesson.

In the novel The Stranger by Albert Camus, Meursault, the protagonist-narrator, is an absurdist, detached and deathly honest man who refuses to lie about himself to save his life. He is an independent man, one who will not accept God, or any of society’s formulas for happiness. In developing this character, Camus needed to sustain the distant tone used to develop the plot and Meursault’s character. However, further development of this character required more than just the distant tone. Camus developed Meursault through the use and creation of minor characters with roles important to no aspect of the plot and who serve no purpose other than the development of Meursault’s character. In his novel The Stranger, Camus uses the roles of minor

Growing self-awareness is a huge part of the whole picture of Romanticism, as that’s one of the biggest elements Romantic writers want the poetry to have present. Personal development through words is what Romantics want, and this quote flat out states it. In terms of Enlightenment however, statements like this that expose ideas of plain sense were contributions to their beliefs as well, as there isn’t much explaining behind that. Another example of direct evidence of romanticism is when Austen stated “There could have been no two hearts so open, no tastes so similar, no feelings so in unison.” This describes the intensity of emotion between Anne and Wentworth just simply in words.

When the reader is first introduced to this character it is through the listing of three declarative clauses in one of Stephen’s long, complex sentences. It is here that his fragmented memory is emphasised by the fragmented syntax where only glimpses of Mrs

These concepts of love can also be seen in other works of the time. In Babbitt, George has a few affairs with varying success throughout the novel. His first attempt at having an affair was with Ida, a young manicurist. After a dinner of awkward conversation, she, rather mechanically, returned the favor with a kiss. As described by Lewis, “from the standpoint of Miss Ida Putiak, [Babbitt was] an old bore who had to be endured as the penalty attached to eating a large dinner (242).” Here one can begin to see a clearer picture of love itself as a consumable commodity, pursued for the same reasons as purchasing a new good – the instant gratification that can easily be replicated over and over again with new relationships and things. In these highly consumer driven cases, love and affection are demonstrated through material possession, and then when selecting a partner, one must go for the most luxurious option. Because of this, companionship can often be left for only those with the most wealth and possession.

D.H Lawrence 's ideas of love and interpersonal attraction are nothing if not polarizing. His distillation of love to an animalistic desire can be seen as either the height or death of romanticism. One may argue that such uncontrollable hormonal puppeteering undermines the human element of restraint or a more noble idea of love as unique companionship. In a sense, Lawrence challenges the notion of separation between and the beasts; he suggests the protestant-fueled traditions of courtship are not a sign of human elevation, but a convolution of instinct that is as primal as the lust of thirst. However, Lawrence may also represent the life of romanticism, shaping such animal drive into the current of a more galvanistic construct of romance.

Provide specific textual evidence from at least three literary works to illustrate the application of Romantic concepts to our modern age.