During the Romantic and Victorian period of British literature, several works were written about desire. Mary Shelley’s Frankenstein, Alfred Lord Tennyson’s “Ulyssess,” and Matthew Arnold’s “Dover Beach” all have characters who desire something grander than they can ever obtain. In Frankenstein, the Monster desires love, but he does not know how to love or even what love is. Úlyssess wants adventure, yet he is old, foolish, and selfish. The speaker in “Dover Beach” longs for the world to turn back to Christianity, but the speaker cannot control what society does. All in all, these works show how different people react to inaccessible wishes and dreams. The Creature from Shelly’s Frankenstein is vicious and malicious; however, when Frankenstein confronts the beast, the Monster claims that all he wants is a female companion to love. The Creature compares himself to Adam from Paradise Lost by saying, “Like Adam, I was apparently united by no link of any other respect” (Shelley 92). The Monster makes a deal with the doctor; if Frankenstein can …show more content…
He hates to sit idly with an old wife (Tennyson 1170). The king fails to realize that he too is aged, and he convinces himself that no one is too old to sail and have adventures. “How dull it is to pause, to make an end” (Tennyson 1171). Ulysses recalls the days he used to sail and desperately wants to travel again. “Much I have seen and known—cities of men and manners, climates, councils, governments” (Tennyson 1171). The character cannot stand it anymore. He leaves his son to rule the land and goes out to sea. He tries to convince his sailors as well. Ulysses tells his faithful mariners “[o]ld age hath year his honor and his toil….’Tis no too late to seek a newer world….To strive, to seek, to find, and not to yield” (Tennyson 1172). Ulysses filled his head with foolish fantasies, abandoned responsibility, and selfishly left his kingdom and family to have an
Amir and Ulysses both ultimately attempt to return to their home and reach a goal. In Amir’s case he had to return to his childhood country to retrieve his half brother’s son and in Ulysses’s case he needed to return home after being out at sea for twenty years. The two held family values and had people at home who loved them greatly. Amir owed it to Hassan and Ulysses needed to return to his faithful wife and son in Ithaca. In a sense they both took on these dangerous journeys and endured them for their family—“For you, a thousand times over” (Hosseini
Ulysses Everett McGill from “O Brother Where Art Thou” is a man of action whereas Odysseus from “The Odyssey” is a man of morality. Judging primarily on these statements, whom appears to be a man that one should follow? Many are attempting to justify how can two such great leaders be compared to one another? Everett is a worthy representation of Odysseus because of their similar attributes such as boasting and dishonesty. Yet at times both can be braver than any other, sharing not only attributes, but also similar backgrounds as well.
Being a work of importance in the western tradition of philosophy, The Odyssey is much more than some play written by Homer ages ago. Though The Odyssey certainly is a dramatic work and partially intended for entertainment, it also provides insight into the ways of thinking of the time it has been written in. Aside from illustrating the perspective of early Greek philosophy The Odyssey also raises certain questions pertaining to virtues and the morality of actions undertaken therein. Such questions and the pursuit of their answers may also lead to a better understanding of the actions taken in present-day society and the human condition in general. One of the virtues that is present throughout The Odyssey is temperance, or the lack thereof. In the course of Odysseus' journey, numerous events take place which are determined by the actions of Odysseus' himself, as well as those of his shipmates. In fact, the endeavor here is to portray how the delays and troubles encountered by Odysseus and his crew are due to their inability to exhibit proper self-restraint in conduct, expression, and indulgence of the appetites. This is undertaken in the proceeding text by an examination of two specific episodes from Homer's The Odyssey. The first episode being Book X of The Odyssey, entitled "The Grace of the Witch", containing Odysseus' encounter with the goddess Kirke. The second being Book V under the title of "Sweet Nymph and Open Sea," of how Odysseus departs the island of the nymph Kalypso. Both episodes are intended to demonstrate the importance of temperance in the journeys of Odysseus.
“Our life’s journey of self-discovery is not a straight-line rise from one level of consciousness to another. Instead, it is a series of steep climbs, and flat plateaus, then further climbs. Even though we all approach the journey from different directions, certain of the journey’s characteristics are common for all of us.” Author Stuart Wilde’s impression of journeys and their shared commonalities supports the claim that all journeys have a motive and an outcome. In the epic poem, The Odyssey by Homer, Odysseus sets off to defeat Troy, leaving his wife and child behind. After accomplishing his goal, Odysseus faces many problems while trying to return him and his crew back home to Ithaca. Similar to Odysseus’s physical journey, the goal in
Homer’s The Odyssey, a magnificent story of lust, deceit, greed, and heroism, still fascinates scholars and casual readers alike today in the same way it fascinated its audience at the time it was written. The Odyssey, a journey of determination, patience, and virtue, tells the tail of Odysseus, the main character, on his voyage home to Ithaka after the end of the Trojan War. Odysseus goes through many unforeseen trials and tribulations, which exemplify his character. During these different happenings, Odysseus makes decisions that do not correspond to his character.
Mary Shelley’s novel, Frankenstein, illustrates the Romantic idea of the sublime naturalworld as an emotional experience for the characters of the novel. Within the text, Shelleyutilizes an allusion to the John Milton’s biblical story, Paradise Lost, to make a parallel betweenthe characters. Within the passage, the monster compares himself, as well as his creator, Victor,to the characters Adam and Satan. He comes to realize that he is more similar to Satan;ultimately, leading him to his reign of terror and the revenge he wishes to impose on Victor. Themonster realizes that he is similar to Adam in Paradise Lost in that they both do not want to bealone. The monster also realizes that there is good in the world that is deeply contrasted with
As former first lady Michelle Obama once said “You should never view your challenges as a disadvantage. Instead, it's important for you to understand that your experience facing and overcoming adversity is actually one of your biggest advantages,” (Michelle Obama). Odysseus faced much adversity in his journey back from troy and in his home life back on Ithaca. The Odyssey is an epic poem created by Homer that highlights Odysseus's journey from Troy to Ithaca. “Ulysses” is a poem by Lord Tennyson Alfred about Odysseus's thoughts after he returns to Ithaca from Troy. Homer and Tennyson both use figurative language when speaking of Odysseus’ travels, and his thoughts when he get back home. People undertake journeys to immerse themselves in the
Tragedy shows no discrimination and often strikes down on those undeserving of such turmoil. In Mary Shelley’s Frankenstein, a creature more repulsive than one can imagine is brought to life by a young scientist. Although this creature is horrifying in sight, he is gentle by nature. Unfortunately, the softer side of the creature is repeatedly overlooked and the so called “monster” is driven to a breaking point. Even though the Creature committed many crimes, Mary Shelley’s Creature was the tragic hero of this story because of his efforts rescue the life of a young girl and helping destitute cottagers.
Mary Shelley’s novel Frankenstein centers around a creator who rejects his own creation. The plot thickens as Victor Frankenstein turns his back on his creation out of fear and regret. The monster is cast out alone to figure out the world and as a result of a life with no love, he turns evil. Shelley seems to urge the reader to try a relate with this monster and avoid just seeing him as an evil being beyond repentance. There is no doubt that the monster is in fact evil; however, the monster’s evilness stems from rejection from his creator.
The role of the imagination in Mary Shelley’s 1818 novel, Frankenstein is a vital when defining the work as Romantic. Though Shelley incorporates aspects that resemble the Enlightenment period, she relies on the imagination. The power of the imagination is exemplified in the novel through both Victor and the Creature as each embarks to accomplish their separate goals of scientific fame and accomplishing human relationships. The origin of the tale also emphasizes the role of the imagination as Shelley describes it in her “Introduction to Frankenstein, Third Edition (1831)”. Imagination in the text is also relatable to other iconic works of the Romantic Period such as S. T. Coleridge’s Biographia Literaria in which he defines Primary and Secondary imagination. The story as a whole is completely Romantic in that it is filled with impossibilities that seem to have come from a fairy tale. The imaginative quality of the plot itself is a far cry from the stiff subject matter of the Enlightenment period. Frankenstein is wholly a work of Romanticism both from the outside of the tale and within the plot. Shelley created the story in a moment of Primary imagination filling it with impossibilities that can only be called fantastical. Imagining notoriety leads Victor to forge the creature; the creature imagines the joy of having human relationships. The driving factor of the tale is the imagination: imagining fame, imagining relationships and imagining the satisfaction of revenge. Shelley’s use of the imagination is a direct contradiction to the themes of logic and reason that ruled the Enlightenment Period.
Stanford, W. B. The Ulysses Theme: A Study in the Adaptability of a Traditional Hero. Dallas, TX: Spring Publications, 1992.
In Mary Shelley’s novel, Frankenstein, many similarities can be seen between the creature and his creator, Victor Frankenstein. While Victor and the creature are similar, there are a few binary oppositions throughout the book that make them different. The binary oppositions in the novel serve as thematic contrast; and some of the most illustrative oppositions between the two characters are on the focus of family, parenthood, isolation and association with others.
Monsters embody brutality, twisted morality, and irrationality—the banes of human existence, yet the children of man’s inner demons. Monsters are, in short, projections of man’s wicked id. The term creature may suggest monstrosity, and Frankenstein’s creation in Mary Shelley’s novel may be perceived as a personification of the Freudian id. In this case, however, the creature also mediates between its neurotic creator and societal values, just as the Freudian ego, conditioned by the reality principle, mediates between external reality and inner turmoil through practicality. The ego is the psyche’s driving force and, arguably, the real protagonist of Frankenstein. But in the fierce tug-of-war within the ego between the id and its law-abiding opposite—the superego—lies the true battlefield of Shelley’s novel. For ironically the man of science embodies an ego-ridden id, a man-monster, but creates a monster-man that embodies his counterpart: an id-ridden ego. In the wake of his mother’s death, Frankenstein’s tinkering with reanimation unconsciously shapes a symbiosis between himself and his creation—between two tortured halves of one neurotic mind. In fact, Shelley’s novel sinks deep into the crevices of Freud’s psychoanalytic theory, oozing into pits of neurosis, repression, parapraxes, dream symbolism, and the Oedipus complex.
...old age or barriers, he will always strive to fulfill his goals. The experiences of Odysseus and Ulysses are tributes to the power of the human spirit; one can achieve much if they are determined.
He was seeking something beyond death is evident in "for my purpose holds .To sail beyond sunset."What does he mean by " seek a newer world"(57).When we see Ulysses in this light we realize that the faults we sought in him in the initial stages of the poem are failings only as perceived by a society "centered in the sphere of common duties"(39). Otherwise they were not faults but relentless endeavors of a restless soul to seek that which is beyond the realms of human thought.