Literary Techniques In Mary Shelley's Frankenstein

The creature went on to terrorize Victor’s family and life by killing William and blaming Justine. “Remember that I am thy creature; I ought to be they Adam, but I am rather the fallen angel. Whom thou drive from joy for no misdeed. Everywhere I see bliss, from which I alone am irrevocably excluded…” (87) The monster compares himself to devil.

In Mary Shelley's Frankenstein, Shelley uses language and effectiveness of her writing to describe imagery, tone, and theme to make the monster seem more of a human than the monster people perceive him to be. The monster is learning on how to be a human without the help of his creator, Frankenstein. Shelley’s usage of the language that she presents in her imagery, tone and theme clearly make you relate to the monster and show you what Shelley was thinking when she was scripted the monster. Shelley clearly shows imagery to express how the monster feels about the world around him.

”(Millhauser). This violent rejection is a repetition of Victor’s lack of acceptance for the monster and attention to his family. Victor knows that the monster will never be able to live within society and that his ability to create life is the only hope the monster has of achieving companionship. Victor's own aversion to companionship surfaces as he, “ fails to give him the human companionship, the Eve, the female creature, that he needs to achieve some sort of a normal life.” (Mellor).

Throughout the story Mary Shelley presents the idea of knowledge and how much of it Victor Frankenstein has. This enormous supply of intelligence will have a consequence on the product of his scientific actions. Frankenstein has been engrossed

As he does not even have a name as a marker of identity, he longs for parental recognition from Victor in order to end the confusion about who he is, and the more he understands the fear and hatred he unintentionally provokes in others, including Victor, the more hopeless his view of the world and his future becomes, which leads him to try and gain that recognition through violence. The murder of William, as Knoepflmacher argues, marks also the irreversible loss of “the ‘benevolent’ or feminine component” of the creature’s identity, which makes him “indistinguishable from Victor Frankenstein, similarly alienated from his feminine self” due to the loss of his mother and later on, his wife. The identities of the two are, indeed, intertwined and become fragmented in relation to Milton’s Paradise Lost, to which the novel constantly alludes. The creature reads Milton’s work and although he at first sees himself in Adam, he soon finds himself forced to identify with Satan. Chris Baldick argues that not only the creature but Victor himself starts to feel more like Satan than God – with whom he should identify in this instance – as the story progresses in the sense that “he too bears a hell within him”.

Dreanna Hypes Lit comp per 7 Mary Shelley’s novel Frankenstein, tells the horrific story of Victor Frankenstein, a scientist devoured by ambition, seeks to revive life to the deceased. Thus, a horrific monster is created. Terrified of its unsightly stature, Dr Frankenstein flees his creation, neglecting it severely a result, the monster. Lonely and depressed, seeks revenge on his creator, killing several members of his family and his closest friend. Throughout shelley uses imagery and toner to amplify the horror

However, Victors reckless and unthoughtful actions pushes the monster into a state of rage and hatred that overrides his ability to stop from exacting revenge on Victor. Victor initially creates the monster thinking that it will be an amazing creature, built from the best human body parts Victor could procure. After he views the outcome of his work he is repulsed by it and abandons it, hoping that it would cease to exist. Not only did the monster survive, but it learned to speak, write, and read. After reading the book Paradise Lost, the monster thinks of its own situation and states the following:

This shows the humanity in the monster and his tendency to be amiable. He was also able to learn from his mistakes. For example, the creature realized that he needed to stop stealing the family’s supplies after he noticed how much they needed them. Victor, however, didn’t learn from his mistake of creating the monster, and created another. The monster also refers to the family in the cabin as “[his] friends” when they didn’t know of his existence (103).

Victor creates the Creature, but there are many situations throughout the novel where the Monster displays as the victim. He seeks love from different people, but everyone treats him bad. His anger towards his father drives him to kill Victor’s family. The Monster later feels devastated for the murders he commits. All the monster wants is love.

In the novel Frankenstein, by Mary Shelley, Robert Walton is on a voyage to discover unexplored knowledge. While on this journey he finds Victor Frankenstein, who tells the reader of his own journey to discover the unknown. In this novel, Mary Shelley employs literary devices such as repetition, imagery, and rhetorical questions to provide meaning to the audience. For example, the author uses repetition to emphasize Elizabeth’s confidence. Expressing her frustration with the situation Elizabeth repeats, “But she was innocent.

Horror, death and dramatic plots all combined to create Mary Shelley’s Frankenstein, which generated the standards for every Science Fiction book ever written. Mary Shelley’s style of writing remained particularly unique, considering the narration rotated between the main characters. All the characters had a special dramatic quality, which separated them from a typical group, and gave them a specific personality. Mary Shelley incorporated elements of weather, and gave its relation to themes of internal and external conflicts. Frankenstein elements are distinctive and show originality, whether it be the characters, setting, narration or conflicts.

ENG-3U0 November 20 2015 Frankenstein: The Pursuit of Knowledge Throughout the course of their individual journeys, Victor Frankenstein’s extreme passion for gaining knowledge about creating life, Robert Walton’s curiosity to discover land beyond the North Pole and the monster’s eagerness to obtain knowledge about humans was the principal cause of each of their suffering. As such, In Mary Shelley’s Frankenstein, the pursuit of knowledge is a dangerous path which leads to suffering. Victor Frankenstein develops a keen interest in discovering knowledge about living beings which ultimately results in his personal suffering as well as others suffering. To begin with, Victor embarks on an assignment through combining body parts and following various

Numerous research has concluded that several emotional bonds exist between humanity and nature that can impact everything from attitude to anxiety. Novels of the romanticism period, a significant literary era that encompassed most European works written in the early 1800’s, are most known for describing the impacts that nature has on people and implying that unexpected consequences can arise out of this relationship; Mary Shelley’s Frankenstein is a prime example of such a novel. The prime conflict of this 1818 science-fiction story occurs between the titular character, Victor Frankenstein, and a monster he creates through his own scientific innovations. Because of Victor’s abandonment of the monster, it becomes intent on destroying the scientist’s

Conversely, when the monster imagines his creator, Victor, he curses “‘his crimes & malice”’ thoughts of hatred and revenge consume him (Shelley 96). This dichotomy highlights the incompetence of Victor as a parent. This helps to reassert that the monster’s “wickedness originates not with his soul but his treatment,” (Ferguson). Victor’s negligence as a parent, a trait caused by his poor upbringing, caused the corruption of his

Mary Shelley’s Frankenstein Critical Analysis About the author Naomi Hetherington is a member of the University of Sheffield, the department of lifelong learning. She is an early researcher in sexuality, religious culture, the 19th-century literature, and gender. She holds a BA in Theology and religious studies, an MA and a Ph.D. in Victorian Literature. She currently teaches four-year pathway literature degree at Sheffield University for students who have already attained foundation degrees. Among the books, she has written the critique of Frankenstein.