Analysis of Chapter 5 of Frankenstein

There was a time in history when people used science as an everyday issue; there was a time when it was almost legitimate to provide a practical explanation, and when people preferred to ignore the subliming side of nature; people called this time in history the Age of Enlightenment (otherwise known as, the Neoclassical Period). This generation was based on the growth of scientific scrutinizations overwhelming people minds and (in a way) erasing the traditional teachings. It was particularly well-educated individuals who relied upon logic to explain the world and its resources, enabling greater evidence and certitude, which, in return, allowed matters to be more convincing. To support this philosophical movement was the Industrial Revolution; this was a natural product from this period in time, because it used logic to solve problems of efficiency in manufacturing, business and agriculture. However, not everyone can acquire the same form of thinking, and so, during the late 18th century (although, to be exact, some may say that it began with the publication of “Lyrical Ballads” by William Woodworth and Samuel Coleridge in 1798) a contradicting alternation occurred that would change the view of literature forever. The Era of Romanticism (or the romantic period) was a more metaphysical movement in comparison to the Enlightenments scientific rationalization of nature. Rather than realism or intellectuality, the “romantics” used emotions and imaginations to characterize situations; it was emotional power, and it was freedom from the limitations and formality of Neoclassicism. Furthermore, people didn’t want rules or science to ruin what is truly seen within a matter or all the mysteries of the world to be solved; love’s not logical ...

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...dding, “Beautiful—Great God!” this may be clarifying that he cannot believe what he just said or maybe even the fact that he just used God, a great source of beauty, to describe the scarred and spoilt creature that lay in his arms. Troubled by the creature’s awful appearance, Victor rushes to sleep, and here, a dream leads the path to Elizabeth’s death. Elizabeth’s features are described to have changed to the Victors dead mother; this may well be a sign that, because the death of Victor’s mother is the trigger that motivated him to create life, may mean that it will be Victor’s creation that will end the life of Elizabeth. In other words, the dream was an indication of this exact happening, in a way, this premonition is karma for Victor, as he knew that he wasn’t going to keep the responsibility of his creature. Shelley’s use of omens sends us back to Gothicism,