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The Use of Imagery to Describe Cultural Context in Creature Feature
Ruth Foley’s book Creature Feature is a collection of poems that act as letters to characters and groups of people from the plot of Frankenstein. Creature Feature features the use of imagery in many cases throughout the book’s poems. The imagery in the poems are often used to convey scenes of terror and chaos as that is what the book’s focus is. While the imagery may appear to accomplish nothing but the description of the scene, it in fact has a much deeper and more significant purpose than just description. This essay fill focus on uses of imagery from “Dear Monster”. “Dear Monster” is written as a letter to the monster in Frankenstein. The imagery in Creature Feature attempts
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to describe the cultural context of the times in which the book was written. There are many cases of imagery in this book, but not all of these cases have significant meaning in terms of cultural context. This essay will examine the use of imagery in the poem “Dear Monster” from Creature Feature. After that these uses of imagery will be analyzed to determine if they deal with the cultural context in the times when the book was written. The use of imagery in “Dear Monster” will now be examined. The first case of imagery in this poem is during the physical description of the monster from Frankenstein.
The description reads “Oh, your bolted neck, your green block of a face-it’s not your fault you are unreadable” (Foley 1-2). This definition of the monster’s physical appearance definitely provides an image and uses imagery to enhance the reader’s understanding of the monster’s physical appearance. But does it have significant meaning in terms of cultural context? The answer is yes, this is because the creature in Frankenstein was never classified as having green skin in the novel, so this shows how our culture characterizes the monstrous and unknown. This has significant meaning in terms of cultural context for not only the times in which Frankenstein was written, but for humanity as a whole. Humans always picture the unknown as scary and foreign. This is definitely the case with this use of imagery. Rather than describing the monster as having yellow skin (as it was described in the book) the writer chose to depict the creature as having skin that was less humanlike and more foreign. The next use of imagery in “Dear Monster” will now be …show more content…
examined. This use of imagery is in “Dear Monster”.
It happens while Foley is describing the mob going after the monster. The description of the mob reads “You have to understand, stumbling monster alone against a mob and a group of dogs, your heart preparing to stop, maybe for good this time-they cannot let this beast go free” (Foley 4-8). This description of the mob provides an image of a mob chasing down this monster. So therefore, this is a case of imagery. But once again, does this use of imagery have anything to do with cultural context? The answer is yes, this case of imagery describes the mob culture of humans in past times and also in present times. In the quote from the poem it says “they cannot let this beast go free” (Foley 8). This is the idea that humans share when they face something unknown and monstrous. Rather than face something scary alone, humans group up and form a mob to face a monster or something they find fearful. This idea and culture has been around for centuries and it is a part of human nature. It is even seen today as groups of people form up and unite when they are facing an unknown object. That is why this use of imagery is describing cultural
context. In conclusion, the two uses of imagery that were analyzed did in fact have a significant meaning with regards to cultural context. Both of these cases of imagery did show that the cultural context could apply to people who lived during the time that Frankenstein was written and also could apply to people in the present. The first use of imagery showed how our culture depicts monsters and unknown things as foreign and strange, even if it is untrue. The second use of imagery showed how our culture and humans as a whole form mobs and group together when they face something that is scary or found to be fearful. In the end, Creature Feature and more specifically “Dear Monster” was a perfect example of how imagery can be applied to describe cultural context.
Imagery is one of the components that were used by Edwards to make his story more persuasive. As the short story begins, the first sentence was an example of imagery. Edwards wrote when men are on Gods hands and they could fall to hell. natural men are held in the hands of God, over the pit of hell Knowing that you might fall into hell at any moment should scare you. God decided to save you until he wants to let you fall into an eternity of burning flames. Another example of imagery is when he talks abo...
In most novel and movies monsters are known to be evil, committing numerous crimes against humanity and are normally the ones that we don’t sympathize with. However, this novel carefully shows the reader that monsters can be good creatures, with a decent heart and act based on the actions of others. The novel shows how the monster should be pitied, rather than criticised. Mary Shelley's “Frankenstein” manages to create sympathy for the creature through speech, actions and mistreatment the creature suffers.
In Mary Shelley’s novel, Frankenstein, she addresses the challenges that arise in both the creation and life of a dead creature that has been brought back to life in hideous forms. The
Baldick, Chris. In Frankenstein's Shadow: Myth, Monstrosity, and Nineteenth-Century Writing. Oxford: Oxford University Press, 1990. Print.
For the duration of the monster’s involvement in the novel, the diction has relevance to the monster’s life. On pages 73-74 of the novel, as the monster is walking by himself, he said, “it was dark when I awoke; I felt cold also, and how frightened, as it were, instinctively, finding myself so desolate… I was a poor, helpless, miserable wretch; I know, and could distinguish, no thing; but feeling pain invade me on all sides, I sat down and wept,” (Shelley 73-74). The use of organic imagery in the quotation is to incite in empathetic motion emotion in the audience. The monster’s use of organic imagery is a second important factor in his persuasion of Victor Frankenstein because he too could express in empathetic emotion to the monster and if Victor Frankenstein has empathy toward his monster, he could be prone, to a large extent, to fulfill the task he was asked to do. The monster’s use of organic imagery is a second important factor to persuade Victor
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 world renowned book, “Frankenstein”, is a narrative of how Victor Frankenstein, a brilliant chemist, succeeds in creating a living being. Although Frankenstein’s creation is benevolent to begin with, he soon turns murderous after being mistreated by humans. His anger turns towards Frankenstein, as he was the one who brought him into the world that shuns him. The Monster then spends the rest of the story trying to make his creator’s life as miserable as his own. This novel is an excellent example of the Gothic Romantic style of literature, as it features some core Gothic Romantic elements such as remote and desolate settings, a metonymy of gloom and horror, and women in distress.
This secrecy is evidenced by the picture depicting a man shielding his eyes and mouth. Victor Frankenstein similarly disregards his monster’s pleas, threats, and warnings, remaining silent as William, Justine, and many innocent individuals are murdered. The collage also touches upon the internal conflict that ravages the monster’s mind and inspires him to seek vengeance upon Victor. The creature’s inevitable agony, although constantly present throughout the novel, is highlighted during the scene that describes its tormented reaction to its reflection in a small pond. Despite the grotesque physical appearance of the monster, he is initially gentle and kind hearted. However, its inability to assimilate into society and experience companionship slowly imbues spite within the creation, causing it to declare, “If I cannot inspire love, I will cause fear!” These significant detrimental effects of the creature’s exterior are brought to attention by the photo containing the hideous monster in the
Harold Bloom, a well-known American critic explores Mary Shelley's Frankenstein to find true meaning. Throughout his essay, he gives answers to the lingering question of who the real monster is. He also paints a clear picture of a major theme in the novel, the Romantic mythology of the self. Through reading his essay, it opens up new light to Mary Shelley's novel. It gives new meaning to the monster and his creator.
These movies show how the original image of Dr. Frankenstein’s creation has changed over time, and how he can be altered into many different forms. Contrary to popular belief, Frankenstein’s creation is not a huge, green, evil monster with neck bolts. The monster is a very enduring character, and his different qualities are shown in Frankenweenie and Edward Scissorhands. Both of the following films dab in the Gothic style, and portray the different qualities from the novel Frankenstein. From dogs to humans with scissor hands, Frankenstein’s monster appears in so many things in pop culture today.
Peter Brooks' essay "What Is a Monster" tackles many complex ideas within Mary Shelley's Frankenstein, and the main concept that is the title of the essay itself. What is the definition of a monster, or to be monstrous? Is a monster the classic representation we know, green skin, neck bolts, grunting and groaning? A cartoon wishing to deliver sugary cereal? or someone we dislike so greatly their qualities invade our language and affect our interpretation of their image and physical being? Brooks' essay approaches this question by using Shelley's narrative structure to examine how language, not nature, is mainly accountable for creating the idea of the monstrous body.
Victor Frankenstein and his creation are alike in several ways, one of them being their appreciation of nature. Victor embraces the nature for the quick moment that he escapes the creature as it “filled me with a sublime ecstasy that gave wings to the soul and allowed it to soar from the obscure world to light and joy” (Shelley 84). Vict...
Even as language plays a huge part in the definition of human, as taken from the OED, the narration, and thus language, in Frankenstein also helps to define the terms ‘monstrous’ and ‘human’. As the monster discovered, language is intertwined with culture (Brooks 594). He is on the side of nature, a deformed creature of appearance, and upon catching sight of his reflection understands not to show himself to the cottagers, of whom he yearns to win the love of, for fear of them fleeing (595). He is ‘excluded but learning the means, by which to be included’ (595) with language. It is the novels stark definition of monstrosity through physical appearance not through acquisition of language that starts the catalyst for corruption of the Monster spiritually and mentally.
In this essay I am going to answer ‘how and why does Mary Shelley make the reader sympathise with the character of the monster in her novel Frankenstein’.
However repugnant he was on the outside, when Frankenstein’s creature begins to tell his tale of sorrow and rejection the creature does not seem to be monstrous. Although rejected multiple times by the humans around him when he finds a family in poverty and “suffering the pangs ...