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Essay on romantic literature
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Essay on romantic literature
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Romantic literature, at its very essence, attempts to deal with the subject of human nature (Wang, 2011). Both Mary Shelley’s ‘Frankenstein’ and Herman Melville’s ‘Moby-Dick,’ being Romantic texts, each offer their own perspective on the true essence of humanity. While their perspectives are largely similar due to the era they originated in, with both reasoning that humanity possesses an excessive pride in the desire to exceed its limits that is capable of immense devastation and corruption of others (Penguin Group, 2011; Ross, 2001), they are also somewhat different when it comes to the ability characters possess to recognise the damage they cause (eNotes.com, 2010; Macmillan Publishers Ltd., 2010), a separating factor that differentiates just how destructive each author believes human nature can be (Kim, 2011).
Beginning with the similarities ‘Frankenstein’ and ‘Moby-Dick’ possess in terms of their reflections on the human condition, the protagonists of each, Victor and Ahab respectively, both possess an evident hubris that causes them to elevate themselves to the role of God in a desire to take control of their surroundings (Penguin Group USA, 2011; Ross, 2001). This quality is evident in Victor particularly during the early stages of the novel where he wishes to excel natural limits by removing death from the world (Harris, 2008). As literary scholar Michael Cummings (2009) explains, “Victor Frankenstein believes he has the right as a scientist to pursue truth and knowledge even when his quest ventures into the domain of the divine.” However, because Victor’s pride in himself causes him to possess this belief, he subsequently fails to consider the moral impacts of his activities and thus his creation eventually wrecks dest...
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...kenstein, viewed November 11, and 12, 2011,
• Ross, J, 2001, Moby Dick Themes, viewed November 11, and 12, 2011,
• Shelly, M, 1831, ‘Frankenstein’, in Shelly, M, Stoker, B, & Stevenson, R. Frankenstein; Dracula; Dr. Jekyll and Mr. Hyde (Signet Classics), Published in 1978 by the New American Library Inc., New York.
• Shmoop Editorial Team, 2008, Queequeg in Moby-Dick, viewed November 12, 2011,
• SparkNotes Editors, 2002, Moby-Dick: Context, viewed November 12, 2011,
• Wang, C, 2011, On the Features of the Active Romantic Literature, viewed November 11, 2011,
Previously portrayed through Frankenstein’s letters as the sole cause of both his and society’s despair, the monster’s use of the word “abortion” instead demonstrates Victor’s individual contribution towards his creature’s destructive path. Since the definition of abortion serves as the premediated act of terminating life, Frankenstein’s deliberate decision to desert his artificial creature exhibits society’s lack of sympathy for those with uncontrollable differences such as the monster’s physical deformities. Nevertheless, the textual irony of the monster’s frustrations eventually becomes apparent when the creature exclaims “Was there no injustice to this?”. Setting off a chain reaction of several more questions, Shelly’s text further mirrors the monster’s bafflement with the careless actions of Victor Frankenstein. That is, although Frankenstein gave his creation the “gift” of life, the monster has been perpetually denied every chance to live happily because of mankind’s relentless and inescapable hatred. More so, explained as the abandonment or failure of a process, Frankenstein’s ultimate refusal to love his own creation typifies how the creator’s ironic choices remain accountable for failing both the monster and
‘Frankenstein’ or ‘The Modern Prometheus‘ is a 19th century gothic novel written by Mary Shelley. Shelley’s interest in the physical sciences had led her to writing a novel that is based on creating human life in an unnatural way. Victor is one if the narrators who has an unnatural obsession with the sciences led him to discover the secret of life; creating the abomination that is his monster. Walton serves as the neutral narrator that has no personal impact on Victor’s and the monster’s tales. It is through Walton that the monster was able to express his feelings at the death of his creator.
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. We are shown that this ‘monster’ is a ‘creature’ and more of a human than we think.
Although humans have the tendency to set idealistic goals to better future generations, often the results can prove disastrous, even deadly. The tale of Frankenstein, by Mary Shelley, focuses on the outcome of one man's idealistic motives and desires of dabbling with nature, which result in the creation of horrific creature. Victor Frankenstein was not doomed to failure from his initial desire to overstep the natural bounds of human knowledge. Rather, it was his poor parenting of his progeny that lead to his creation's thirst for the vindication of his unjust life. In his idealism, Victor is blinded, and so the creation accuses him for delivering him into a world where he could not ever be entirely received by the people who inhabit it. Not only failing to foresee his faulty idealism, nearing the end of the tale, he embarks upon a final journey, consciously choosing to pursue his creation in vengeance, while admitting he himself that it may result in his own doom. The creation of an unloved being and the quest for the elixir of life holds Victor Frankenstein more accountable for his own death than the creation himself.
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.
Victor Frankenstein, blinded by pride, remained unaware of how his experiment would affect not only him, but the world around him as he formed his new discovery. His secret to creating life only caused more life to be lost. Because of Victor’s reckless behavior, he caused the depressed and lonely world around his own creation, one who, in the end, Victor did not want to take responsibility for making, no matter how remarkable. The Creation, a being of unfortunate circumstance, exemplifies how knowledge has dangerous and everlasting effects if not used safely or for good intentions. Unfortunately, The Creation leaves his own damage behind as well, again showing how knowledge is harmful, by killing Elizabeth, Victor’s wife, Henry Clerval, his dearest friend, and other members a part of Victor’s family and friends. This demonstrates how knowledge, if not used wisely, can lead to death and suffering. The power of knowledge, in Mary Shelley’s writing, is a gift bestowed on those who can handle the power responsibly, as opposed to using it for selfish boasting. In contrast, she uses these two characters to show the importance of being knowledgeable in both science and responsibility and the unforgivable mutilation that comes if you fail to overcome
Mary Shelley’s Frankenstein originated as a ghost story told among her close friends. "It was a dreary night of November that I beheld the accomplishment of my toils" (Shelley 34) is the first line Shelley conceived when she began composing her famous novel. In this sentence, the "accomplishment" to which Victor Frankenstein refers is the creation, which receives animation on this "dreary night." By calling the creation his "accomplishment," Victor unintentionally names the creation. However, by the end of this "dreary night," Victor names the creation no less than six times, each time getting progressively more derogatory, and more insulting. This evolution of Victor’s attitude about the creation occurs during the time immediately following the creation. In these few hours, Victor’s imagination creates an increasingly grotesque image of the creation. This developed condemnation that Victor imposes onto the creation is similar to all of the creation’s other encounters with human beings. This repeated rejection causes the creation to realize that "All men hate the wretched; how then must I be hated, who am miserable beyond all living things" (Shelley 65). Eventually, therefore, the creation accepts its role as a monster based solely on the reactions it receives from other human beings. However, these spiteful reactions are inspired by irrational fears that result from the human nature of the characters to form preconceptions about the creation based on their prior experiences.
In the late eighteenth century arose in literature a period of social, political and religious confusion, the Romantic Movement, a movement that emphasized the emotional and the personal in reaction to classical values of order and objectivity. English poets like William Blake or Percy Bysshe Shelley seen themselves with the capacity of not only write about usual life, but also of man’s ultimate fate in an uncertain world. Furthermore, they all declared their belief in the natural goodness of man and his future. Mary Shelley is a good example, since she questioned the redemption through the union of the human consciousness with the supernatural. Even though this movement was well known, none of the British writers in fact acknowledged belonging to it; “.”1 But the main theme of assignment is the narrative voice in this Romantic works. The narrator is the person chosen by the author to tell the story to the readers. Traditionally, the person who narrated the tale was the author. But this was changing; the concept of unreliable narrator was starting to get used to provide the story with an atmosphere of suspense.
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.
In the novel "Frankenstein" by Mary Shelley, the relationship of external apperence and internal feelings are directly related. The creature is created and he is innocent, though he is seaverly deformed. His nature is to be good and kind, but society only views his external appereance which is grotesque. Human nature is to judge by external apperence. He is automatically ostracized and labeled as a monster because of his external apperence. He finnaly realized that no matter how elequintly he speaks and how kind he is, people will never be able to see past his external deformities. Children are fearful of him, Adults think he is dangerous, and his own creator abandons him in disgust. The creature is treated as a monster, therefore he begins to internalize societies view of him and act the like a monster.
Victor Frankenstein, the monster’s creator, is the victim of his own pride. An ego unchecked is a dangerous thing. But in truth, it really just shows Victor’s humanity. He is privileged, educated, talented, loved, adored, but he is not perfect. His flaw is his own ego and pride. Without doubt, this is the result of a childhood where he was overindulged. Overindulged to the extent he was given a little girl “Elizabeth” as a “present”, whom he considered from childhood “mine only” (Shelley 21). Little wonder the twenty year old Victor would think he could create, control and command life. But Victor as with any indulged child did not take the time to learn much from his parents about parenting and fath...
In Frankenstein, Shelley creates two very complex characters. They embody the moral dilemmas that arise from the corruption and disturbance of the natural order of the world. When Victor Frankenstein is attending school, he becomes infatuated with creating a living being and starts stealing body parts from morgues around the university. After many months of hard work, he finishes one stormy night bringing his creation to life. However, “now that [Victor] had finished, the beauty of the dream vanished, and breathless horror and disgust filled [his] heart” (Chambers). Right after Victor realizes what he has done, he falls into deep depression and must be nursed back to health by his friend. Victor spends the rest of the story facing consequences and moral problems from creating unnatural life. When he realizes that the ‘monster’ has killed his brother, even though no one believes him, he feels responsible for his brother’s murder because he was responsible for the existence of the ‘monster’. Also feeling responsible, Victor...
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.
Shelley, Percy Bysshe. "On Frankenstein." The Athenaeum 263 (10 Nov. 1832): 730. Rpt. in Nineteenth-
Shelley, Mary. Frankenstein. Ed. J. Paul Hunter. 2nd. New York: W.W. Norton and Company, 1818.