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Romanticism in British literature
Death theme in literature 123help
Death theme in literature
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Many times throughout history, one person has tried to prove themselves better than God or nature. Nature, however, always prevails in the end. The Romantics of the eighteenth and nineteenth centuries believed that nature was a glorious and powerful force that was one with God, and emphasized this point in their works. Two such romantics were the couple Percy and Mary Shelley, who through their works Ozymandias and Frankenstein, showed the disastrous consequences defying nature could have. Both authors had experienced loss; the loss of some of their children and later Mary’s loss of Percy in a boating accident. These experiences showed them how powerful nature was, and how pointless it was to defy it. Both Mary and Percy’s belief in this showed through in their writing. So, despite how different Frankenstein and Ozymandias seem at first, both works reveal a common lesson: One should never believe themselves to be above nature, and if one does it will never end well.
In Frankenstein, Victor exhibits extreme hubris, believing himself to be above everyone and
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everything, including nature. His primary motivation in creating this creature is bringing glory to himself: “A new species would bless me as its creator and source; many happy and excellent natures would owe their being to me. I might in process of time (although I now found it impossible) renew life where death had apparently devoted the body to corruption.” (54) He believes that he can become just as powerful as God and nature by creating life. Even when his plans go awry, this does not change his thinking. Despite the fact that Victor has created a creature faster and stronger than a human being, Victor still believes that he can control it, because he is the creator and therefore above it, just as God is above human beings. Even once he realizes the destruction his creation is causing, he will not tell anyone the truth, as doing so would hurt his pride. When he finally goes to the magistrate, having realized that he cannot stop the monster on his own, he still believes he knows better than everyone else: But to a Genevan magistrate, whose mind was occupied by far other ideas than those of devotion and heroism, this elevation of mind had much the appearance of madness. … ‘Man,’ I cried, ‘how ignorant art thou in thy pride of wisdom! Cease; you know not what it is you say.’ I broke from the house angry and disturbed. (248) When Victor is disagreed with, he changes his mind about getting help, and sets about chasing the monster on his own, putting his pride above ensuring the safety of others and doing the right thing. Due to Victor’s hubris and defiance of nature, his plans not only do not turn out as he planned, but end only in destruction and despair. After Victor pridefully refuses to help his creation, he decides to destroy Victor’s life, and does so easily, despite Victor’s efforts to stop him. [The creature] had pronounced the words ‘I shall be with you on your wedding-night,’ I should regard the threatened fate as unavoidable. But death was no evil to me if the loss of Elizabeth were balanced with it, and I therefore, with a contented and even cheerful countenance, agreed with my father that if my cousin would consent, the ceremony should take place in ten days, and thus put, as I imagined, the seal to my fate. (235) Because of Victor’s pride and self-centered nature, he believes the creature intends to kill him on his wedding night, not Elizabeth. It never crosses his mind that his creation may be clever enough to act in any way which he could not anticipate: even after listening to his creation’s entire story, he still thinks his creation’s life is only about him. His creator’s arrogance, pride and steadfast belief that he is above nature get in the way of helping his creation, and later preventing the destruction of his life. The destruction caused by the creation in turn leads to despair, also the result of Victor’s hubris. Despite Victor’s despair over the actions of his creation, and his responsibility for them, he does not consider until the end of the novel that he may need help ending his creature’s rampage. When he finally does ask for help, he does not accept when it is offered, still believing that he knows best despite his failures. Victor’s pride prevents him from seeing the world clearly, and as a result is not able to do what most would consider the right thing: confessing to his actions and letting others help fix his mistakes. Victor’s life ends in ruin, and he only has himself to blame. Frankenstein is a cautionary tale, warning that if one thinks themselves to be above nature, their life will end in ruin as well. Ozymandias’s hubris and defiance of nature also ends in ruin. While Ozymandias believes that his work will last forever, as shown in lines 4-8, his sculptor believes otherwise: ... whose frown And wrinkled lip and sneer of cold command Tell that its sculptor well those passions read ... The hand that mocked them and the heart that fed. (4-5, 7-8) Ozymandias’s hubris prevents him from seeing what his sculptor sees: that no man is above nature, and that nature will take back his empire in time. While his empire was once great, the sands of time have taken it back over, leaving only Ozymandias’s message to be mocked by those who know no one can defeat nature. Just as in Frankenstein, the defiance of nature leads only to nature proving herself more powerful than even the most amazing creative feats in history. At the end of both works, nature prevails, reaffirming the natural order. Despite their differences, the lesson to be taken from both Frankenstein and Ozymandias is that no one should think himself to be above nature, because nature always takes back what is hers in the end.Victor Frankenstein’s life ends in ruin after he pridefully considers himself to be above nature and attempts to create life.
While he does succeed, his plans go awry, and his life ends in ruin, due only to his hubris. Similarly, Ozymandias succeeds at what he sets out to do, but cannot foresee that his power will not be eternal due to his hubris. In both works, the main character tries and fails at defying nature, something which should never be attempted. Both authors, being Romantics, strongly believed in the sanctity of nature, and this showed through in their works. Through the fates of their characters, they show that the defiance of nature is futile, and that one should never attempt to be above
God.
Mary Shelley’s Frankenstein is ‘one of the pioneering works of modern science fiction’, and is also a frightening story that speaks to the ‘mysterious fears of our nature’. Mary Shelley mocks the idea of “playing God”, the idea that came from the Greek myth of Prometheus, of the Greek titan who stole Zeus’ gift of life. Both the story of Frankenstein and Prometheus reveal the dark side of human nature and the dangerous effects of creating artificial life. Frankenstein reveals the shocking reality of the consequences to prejudging someone. The creature’s first-person narration reveals to us his humanity, and his want to be accepted by others even though he is different.
Frankenstein is a horror movie that tells the story of Dr. Henry Frankenstein’s experiment. In search for the fame and glory of playing to be god, he reaches a point where he is able to revive dead people. In this version of Frankenstein’s monster we see a selfish and careless scientist that created a creature with his intelligence. The way the character is shown reflects how ambitious someone can be to reach to be known in the world. This movie makes the people who are watching to feel empathy on the poor creature. This poor creature that did not want to live in a life where everyone is going to hate him for having a horrible aspect and not following rules that he has no idea about.
To begin our analysis, I will look to how Mary Shelley positions Victor Frankenstein's motivations to create life against natural laws within the ideas of individualism, as Victor can correlate directly to the educated human at the center of Enlightenment, Industrialism, and Romanticism values. With the burgeoning interest in scientific discovery during the Industrial Revolution "transform[ing] British culture" and "changing the world"(Lipking 2065), many concepts of society were also changed, which Shelley looked to explore through Victor's actions. Rooted in the scientifically curious spirit of Industrial England, Victor's attempt to create life can show many examples of how an importance of the individual acquisition of knowledge and accomplishment can disrupt society. Victor's...
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.
James Whale's Frankenstein is a VERY loose adaptation of Mary Shelley's 1818 novel. The spirit of the film is preserved in its most basic sense, but the vast majority of the story has been entirely left out, which is unfortunate. The monster, for example, who possesses tremendous intellect in the novel and who goes on an epic quest seeking acceptance into the world in which he was created, has been reduced to little more than a lumbering klutz whose communication is limited to unearthly shrieks and grunts. Boris Karloff was understandably branded with the performance after the film was released, because it was undeniably a spectacular performance, but the monster's character was severely diminished from the novel.
Works Cited for: Shelley, Mary. Frankenstein: A Norton Critical Edition. ed. a. a. a. a. a J. Paul Hunter. New York: W. W. Norton, 1996.
My life, although not without surprises and unusual events, is dictated by predictable and ordinary elements. However, through fiction I am transported into a world of boundless imagination and extraordinary themes. One such example is evident in my response to Mary Shelley’s gothic novel Frankenstein. Through fiction, Shelley invites the reader to accept the extraordinary. Firstly, we are led to believe that Victor Frankenstein is able to create life by shocking it with electricity, and to this I responded with an imaginative curiosity. But it was the consequences of the creation provoked a stronger response from me. The element of horror Victor experiences and his reaction to the ‘god like’ qualities bestowed upon him as creator is truly extraordinary. Victor, like no other man, experiences the feeling of immense power and responsibility as creator of man, and this provoked a sympathetic response from me. Finally I also accepted and responded to the extraordinary concept of the monster, who, unlike to the majority of humanity, is created without a sense of cultural identity. Additionally, what is extraordinary to me as a reader is the humanity and intelligence the monster displays, despite the disadvantageous of his creation. This made me have sympathy for monster and served to blotch the credibility of Victor. Throughout the novel I was inclined to accept Shelley’s invitation and to explore a deeper view of humanity.
Mary Shelley’s Frankenstein is a nineteenth century literary work that delves into the world of science and the plausible outcomes of morally insensitive technological research. Although the novel brings to the forefront several issues about knowledge and sublime nature, the novel mostly explores the psychological and physical journey of two complex characters. While each character exhibits several interesting traits that range from passive and contemplative to rash and impulsive, their most attractive quality is their monstrosity. Their monstrosities, however, differ in the way each of the character’s act and respond to their environment. Throughout Frankenstein, one assumes that Frankenstein’s creation is the true monster. While the creation’s actions are indeed monstrous, one must also realize that his creator, Victor Frankenstein is also a villain. His inconsiderate and selfish acts as well as his passion for science result in the death of his friend and family members and ultimately in his own demise.
As time goes on, many things tend to change, and then they begin to inherit completely different images. Over the years, the character, created by Dr. Victor Frankenstein in Mary Shelley’s famous novel, has changed dramatically. The monster, regularly called “Frankenstein,” has been featured in numerous films, such as Frankenweenie and Edward Scissorhands. Although, the characters in today’s pop culture and the monster in the well-known 1800’s novel have similarities, they are actually very different. The many similarities and differences range from the character’s physical traits and psychological traits, the character’s persona, and the character’s place in the Gothic style.
Mary Shelley’s Frankenstein, or the Modern Prometheus, explores the monstrous and destructive affects of obsession, guilt, fate, and man’s attempt to control nature. Victor Frankenstein, the novel’s protagonist and antihero, attempts to transcend the barriers of scientific knowledge and application in creating a life. His determination in bringing to life a dead body consequently renders him ill, both mentally and physically. His endeavors alone consume all his time and effort until he becomes fixated on his success. The reason for his success is perhaps to be considered the greatest scientist ever known, but in his obsessive toil, he loses sight of the ethical motivation of science. His production would ultimately grieve him throughout his life, and the consequences of his undertaking would prove disastrous and deadly. Frankenstein illustrates the creation of a monster both literally and figuratively, and sheds light on the dangers of man’s desire to play God.
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...
This paper will concentrate on the definition of human nature, the controversy of morality and science, the limits to scientific inquiry, and how this novel ties in with today’s world. Mary Shelley’s novel Frankenstein expresses human nature specifically through the character of the “Creature” and its development. The Creature has an opportunity to explore his surroundings, and in doing so he learns that human nature is to run away from something so catastrophic in looks. The Creature discovers that he must limit himself in what he does due to the response of humans because of his deformities. I feel that Mary Shelley tries to depict human nature as running away from the abnormal, which results in alienation of the “abnormal.”
Mary Shelley’s Frankenstein or; The Modern Prometheus, published in 1818, is a product of its time. Written in a world of social, political, scientific and economic upheaval it highlights human desire to uncover the scientific secrets of our universe, yet also confirms the importance of emotions and individual relationships that define us as human, in contrast to the monstrous. Here we question what is meant by the terms ‘human’ and ‘monstrous’ as defined by the novel. Yet to fully understand how Frankenstein defines these terms we must look to the etymology of them. The novel however, defines the terms through its main characters, through the themes of language, nature versus nurture, forbidden knowledge, and the doppelganger motif. Shelley also shows us, in Frankenstein, that although juxtaposing terms, the monstrous being everything human is not, they are also intertwined, in that you can not have one without the other. There is also an overwhelming desire to know the monstrous, if only temporarily and this calls into question the influence the monstrous has on the human definition.
Gender inequality will always affect the way women are portrayed in society, the weaker, unnecessary, and other sex. It is not just a subject of the past, but still holds a name in society, however in the olden eras the way women were treated and are looked at, in a much more harsh condition. In Shakespeare’s Othello and Shelley’s Frankenstein women’s roles in the books are solely based on the way they are treated in their time period. The way women are portrayed in these books, demonstrate that they can never be in the same standing as men, considered the second option, and therefore will never have the same respect as men. In both Othello and Frankenstein women are treated as property, used to better men’s social standards, and lack a voice,
Walter Scott’s critique in the 1818, Blackwood's Edinburgh Magazine Review of Frankenstein, is that Frankenstein is a novel of romantic fiction depicting a peculiar nature that narrates the real laws of nature and family values. This review explains that Mary Shelley manages the style of composition, and gives her characters an indirect importance to the reader as the laws of nature takes course in the novel. In addition, Walter Scott appreciates the numerous theme...