Creativity In Frankenstein

Humans have found the idea of finding another intellectual living creature fascinating through history. Whether it’s testing the intelligence of other living beings on Earth or sending messages to space, we’re always trying to find beings with whom we could communicate with.

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

Mary Shelley’s Frankenstein has several literary devices- such as structure, imagery, and many intricate details. She perfectly places words and puts them in such a way that the passage has a dual tone. Shelley begins with establishing the monster’s nature as being peaceful, because he wanted to reason with Victor. Him wanting to reason shows the importance of his decision to meet with Victor and shows that even though he has been through a great deal, he is still respectable to others. The audience gets to see the creature’s humble nature and makes the audience feel sympathetic towards him. This creates a peaceful tone to the passage. The monster wants to be loved by “any being and if they showed benevolence to me, I would return them hundred an hundred fold” (Shelley 148). The creature’s begging makes it sound like Victor will answer his plea. Using a broad term like “being”, demonstrates the monster’s need to be loved, putting him in a position with the audience again feeling empathetic towards him. Eventually, Victor’s compassion begins to fluctuate. The desperation the creature has looks like the desperation a human might have. This only gives the readers another reason to relate to him which leads to the other tone, impossible. Victor’s unreasonableness heightens this shared discontent as not only has the build up of the creature’s wistful nature made him an utmost identifiable character, but our views are adjusted in such as way that Frankenstein is seen

Topic: Mary Shelley has Victor Frankenstein create a living being, who then becomes a murderer. Who or what is responsible for the wretch’s behavior? Is Shelley casting blame on a society that refuses to accept the wretch? Does she hold Victor responsible for his negligence as a “parent” (both father and mother) or is the wretch himself responsible for the chaos he creates?

The novel Frankenstein; or the Modern Prometheus cannot be categorized into only one genre because it has various features of different genres. It is certainly a tragedy. Although the core narration starts with a story of how Frankenstein’s father meets and marries the protagonist’s mother, she first has to endure the death of her father called Beaufort. Thus, the novel already begins as a tragic exposition. As a result, the narrative fiction ends with almost everyone including the protagonist and the antagonist as dead.

I nodded. It hadn't been bad at all. While I had been expecting an event to occur, we hadn't even interacted with a single person.

Tragic hero’s can come in all shapes and sizes. They may appear as a villain in multiple works of literature. In the novel, Frankenstein, by Mary Shelley, the tragic hero is the creature. He is a main character whose faults led to his overall downfall. Often, the creature is misinterpreted by people to be named Frankenstein because he is such a prominent character. While the creature is able to identify the faults in mankind it is only after extreme suffering on his own part.

The Creation in Frankenstein did not owe Victor anything. Victor did the monster wrong by creating him in the first place. The monster went through so many hardships by being an outcast and a looser. But to top it all off he felt abandoned and lost because when his creator first saw him he freaked out and ran away and locked himself in his room. So the Creations reasons were justified because he felt abandoned by his creator, alone or an outcast, and was given nothing to help him survive or enjoy life.

She paced along the cold, stone floor of the confinement of her tower, her long hair trailing behind her. She could hear someone climbing up the side of the outside wall and she had no idea who it was. Fearful, she walked over to the small window and gazed out. The figure several hundred feet below her was clad in all black, with wild, curly hair flying around the head that was too big for its slender body. It climbed much faster than possible for any normal human, making the girl realize that it wasn’t human at all.

The story starts as four letters. A man is writing to his sister, she is in England. He is far from home. He is searching for a new discovery in science.  He’s heading north, on a ship.  People say that it’s a dangerous journey. The story is written in the last letter Mr.Walton wrote to his sister.

The story of Frankenstein is a tale told for many years and although the story has changed over time, the theme and questions that arise have remained the same. Creating life or modifying it can be very risky and could have horrible side effects as seen in many books such as Frankenstein and The Hunger Games. While some say genetic engineering is attempting to play the role of “God”, many scientists believe it is a test of our ability to learn and create. Like Victor Frankenstein, we should open our minds to the possibilities of new life and bettering our society with scientific exploration. Before there was even talk about pursuing genetic engineering, there was the fascination with electricity.

This is a literary criticism on the book Frankenstein, by Mary Shelley, in which the education, science, history, imagery, language, symbols, and themes in Frankenstein will be discussed. Along with these the following paragraphs will contain personal insight on the novel and its author. While talking about education stops will be made in large interests in the novel including the letters at the beginning of the novel. Science and history will be in the same paragraph and will explain a few different thoughts and facts about the novel, some of them being like Victor’s interest in electricity, biology, and anatomy. In the region of imagery, language, and symbols many ideas will be talked about including description of Frankenstein’s monster and what a couple of his features and his dialogue.

"The faults of Frankenstein were the occasional extravagance and overwriting;... everything is cold, crude, inconsecutive, and wearisome; -- not one flash of imagination, not one spark of passion.” (Knights Quarterly Review 1824). These words from an unknown man have sparked a literary debate. Moreover, these words dive into the opinions of whoever reads Mary Shelley's novel, Frankenstein, and makes the reader formulate his own opinion on the literary work. The critic is correct in some matters of the quote, yet in others, he could not be further from the truth.

Unlike the ideas from the period of Enlightenment, which were comparatively more scientific and rational in nature, the ideas from the period of Romanticism aimed to elevate the role of emotion, instinct, spirit and soul. Although a number of critics argue that Frankenstein does not conform to the brighter themes and subjects of the works of Mary Shelley’s contemporaries, many critics argue that Victor Frankenstein’s story “initiates a rethinking of romantic rhetoric” (Guyer 76). Several central themes and characteristics from the Romantic era are highlighted in the text. Romantic poets always seemed to capture the sublime moment and experience, comparing the beautiful to

The floorboards creaked and groaned beneath me as I stumbled through the door to this house that sat on the edge of town. It had lain forlorn for at least a year now, a curtain of moss and debris littered the lawn and porch, the interior of the house was surprisingly in good shape, victorian-era furniture covered by a veil of dust sat by the grand fireplace, the kitchen still had appliances such as a stove, fridge, and microwave. In a place like this, you would think that someone would have broken in and took this stuff to sell or pawn. I walk slowly up the grand staircase, praying that the floorboards wouldn’t crumble beneath me as I trekked to the top. I finally reach the top and let out a sigh of relief, my breath fogs in front of me and