Frankenstein: The Letters and Chapters 1 & 2
A first impression of Walton would be to say that he is extremely ambitious. He desires to go to the North Pole to "accomplish some great purpose". He has his own theories on what should be there, and will not rest until he has proved them. This is somewhat a 'Godlike' ambition, in that he wishes to be praised for discovering something new which will benefit everyone else in the world. The language used is also very much like Old Testament, Biblical; "Heaven shower down blessings on you". The image of Walton being 'Godlike' is enhanced by this.
However, he is disrespectful of his family, as he goes against his fathers "dying injunction", which had "forbidden" him from embarking on a "seafaring life". He seems to be very egocentric, and not aware of anyone else or their feelings. He is deliberately disobeying his father to pursue a personal ambition. He is leaving his sister in England, and at the end of each letter he writes that he may not see her again, "Farewell my dear, excellent Margaret", "Remember me with affection, should you never hear from me again". Each time she receives a letter from him, she will be hopeful of his return and safety, and then he writes "Shall I meet you again?". This is selfish of him, as it will worry her even more about his expedition. Again this 'Godlike' theme reoccurs as he is doing what he wants to do.
Having only been educated about this passion through his own reading, he cannot really be sure of what he will discover once he reaches his destination. His beliefs that "snow and frost are banished" from the North Pole seem as eccentric as believing that the earth is flat. But of course he doesn't see it this way, he needs to prove his own theory. After failing at being a poet he doesn't want to fail as a scientist and explorer either. He is confident in his beliefs and will stop at nothing, not even employment as an "under-mate in a Greenland Whaler", to get where he wants to be, and hopefully find what he wants to discover.
In the second letter, Walton writes about his desire for a friend. As he has left all his acquaintances in England, he no longer has anyone to convey theories and ideas to, "participate" in his "joy", or comfort him in times of despair.
Merriam Webster’s Encyclopedia of Literature highlights Frankenstein as the work of Mary Wollstonecraft Shelley, published in 1818, and it brought into the Western world one of its best known monsters. Elements of gothic romance and science fiction help in telling the story of young Swiss scientist Victor Frankenstein, as he creates a horrible monster by putting together limbs and veins, leading to destruction and his later regret. The creature is left alone in the world, even by his own creator, for his hideous appearance, and through watching humans he learns their ways of living. Haunting Victor due to his loneliness, he forcefully makes Victor agree to make him a female companion, but Victor’s regret and misery enables him to tear up his
out of a sense of duty or retribution. Others may have enlisted to defend themselves and their
...when you enlist young men, straight out of school and place them in battle, you force them to grow up too quickly and the results are "...a generation of men who, even though they may have escaped shells, were destroyed by war."
...ambles. People are rarely clear and to the point in letters to loved ones. He also references events and many different people that are unexplained in the letter or the finding aid. Some of these people come up in other letters, but for the most part you are left guessing or piecing bits together to figure things out. For instance, he spends quite a while explain to his wife how he had trouble on the train when someone tried to charge him twice, but you never really get a full picture of what happened.
a passage from the letter she is writing to add a personal feel to the
Victor Frankenstein may be the leading character in Mary Shelley's Frankenstein, but a hero he is not. He is self-centered and loveless, and there is nothing heroic about him. There is a scene in Chapter twenty-four where Captain Walton is confronted by his crew to turn southwards and return home should the ice break apart and allow them the way. Frankenstein rouses himself and finds the strength to argue to the Captain that they should continue northwards, or suffer returning home "with the stigma of disgrace marked on your brows." He quite obviously has alterior motives and if he were not the eloquent, manipulative creature he so egotistically accuses his creature of being, he might not have moved the Captain and the men so much that they are blind to the true source of his passion. Unfortunately for Frankenstein, the crew, (however "moved") stand firm in their position. Yet the things he says in his motivational speech are prime examples of the extent to which Frankenstein is blind to his own faults and yet will jump at the chance to harangue others. He is so self-centered that his lack of interaction and love for others after his experiment has been completed, would barely qualify him as a person, if the difference between being human and being a person lies in the ability to have relationships with others.
Walton responds to the stranger in a welcoming and friendly way, and after inviting him aboard his ship, they develop a blossoming friendship. Walton appears to be attracted to the stranger because he is interesting and is filled with stories of adventure that interest Walton. Walton and the stranger bond because they both find similarities in their personalities. Both individuals appear to be outcasts, but Walton sees this individual as a possible companion.
This is evident from the opening sentence of the narrator of the novel, Walton, who is writing to his sister in England while he is on an expedit...
terror but I couldn’t understand why my creator was horrified at my sight I was devastated all I remember was charging at him My farther was running for his life when my farther thought I was dead he left town without me keeping his secret in his attic.
Frankenstein, speaking of himself as a young man in his father’s home, points out that he is unlike Elizabeth, who would rather follow “the aerial creations of the poets”. Instead he pursues knowledge of the “world” though investigation. As the novel progresses, it becomes clear that the meaning of the word “world” is for Frankenstein, very much biased or limited. He thirsts for knowledge of the tangible world and if he perceives an idea to be as yet unrealised in the material world, he then attempts to work on the idea in order to give it, as it were, a worldly existence. Hence, he creates the creature that he rejects because its worldly form did not reflect the glory and magnificence of his original idea. Thrown, unaided and ignorant, into the world, the creature begins his own journey into the discovery of the strange and hidden meanings encoded in human language and society. In this essay, I will discuss how the creature can be regarded as a foil to Frankenstein through an examination of the schooling, formal and informal, that both of them go through. In some ways, the creature’s gain in knowledge can be seen to parallel Frankenstein’s, such as, when the creature begins to learn from books. Yet, in other ways, their experiences differ greatly, and one of the factors that contribute to these differences is a structured and systematic method of learning, based on philosophical tenets, that is available to Frankenstein but not to the creature.
When the cast moved the props around it sped up the tempo of the play
The theme in a piece of literature is the main idea or insight on characters. Most pieces of literature do not limit itself to one but many other themes all collected into one. This is just like in Frankenstein by Mary Shelley. This horrifying story was produced in 1818 and has several themes that she portrays throughout. The theme of dangerous knowledge is unmistakably seen theme in Frankenstein. In Frankenstein we see this theme through three of the main characters, Victor Frankenstein, Robert Walton and the creature. We can see how their desire for knowledge can take them places and show them eventually what they are looking for. Sooner or later it will take them to dangerous and unwanted places. The desire for knowledge can eventually lead one to its grave. Victor Frankenstein’s scientific endeavor, Robert Walton’s search for the North Pole, and the creature’s kind heart but scary features creates this theme of dangerous knowledge.
Mary Shelley discusses many important themes in her famous novel Frankenstein. She presents these themes through the characters and their actions, and many of them represent occurrences from her own life. Many of the themes present debateable issues, and Shelley's thoughts on them. Three of the most important themes in the novel are birth and creation; alienation; and the family and the domestic affections.
Men were by far the most affected by the war, due to the Conscription Act that was passed in 1916. This included all men aged 18-40 who were able to fight against the triple Alliance. The number of volunteers were decreasing, because of circulating news reports of the horrifying experiences and the living conditions the men were expected to live in. War’s glamorous side was destroyed and replaced with fear. With Britain’s army diminishing, they had to bring in conscription to maintain the necessary numbers of troops. Not all men agreed with this measure and those who opposed conscription were known as conscientious objectors. These men were usually pacifists or highly religious individuals, who were treated like criminals by society; many were assaulted and publicly humiliated. These men were forced to take on jobs that aided the military. The men that refused this alternative to fighting were either sentenced to death or put in solitary confinement. This exhibits the extreme mea...
Mary Shelley in her book Frankenstein addresses numerous themes relevant to the current trends in society during that period. However, the novel has received criticism from numerous authors. This paper discusses Walter Scott’s critical analysis of Mary Shelley’s Frankenstein in his Blackwood's Edinburgh Magazine Review of Frankenstein (1818).