Dialogue between Frankenstein and the Creation

Frankenstein, the creator, has a stubborn, accusatory diction towards his creation, and he lacks to use evidence to back his judgments which makes him the weaker perspective throughout the argument, and leads the reader to gain the creation’s favor. For example, Frank’s first word to formally speak to his creation results in an insult, “Devil” and he continually reiterates patronizing insults like “vile insect,” “abhorred monster,” and “fiend” to demonstrates a clearly biased, accusatory tone. The only claim Frank uses to back his claim is the murders that his creation caused. However, the creation quickly rebuttals, “You accuse me of murder, and yet you would, with a satisfied conscience, destroy your own creature. Oh, praise the eternal justice of man!” This destroys Frankenstein’s argument and the creature continues, “Yet you, my creator, detest and spurn me, thy creature, to whom thou art bound by ties only dissoluble by the annihilation of one of us.” The monster states the obvious lack of responsibility his creator takes and emphasizes on Frank’s weaker mental. Yet, the creator’s only response is minutiae ridicule and a fiery attitude to fight instead of talk. Frank most likely understands in both verbal and physical argument he will most likely lose, but there is more credentials for Frank losing a fist fight over an intellectual argument on his moral lapse. Also, to emphasize on Frank’s bad character, the fight is in vain. The reader understands Frank’s perpetual misery, the fight would only finish to end Frank’s ceaseless suffering with death. This proves more so the sympathy the reader holds for the creation over its creator.

Actions of a Fearful Man

How does Frank demonstrate a fear of the powers of nature and science?

Frankenstein acquires his spirit for mastering forbidden knowledge early in his childhood. Frankenstein was surrounded by indulgent parents who showered him in love and praise. For Frank, there was no evil in the world. Most children have some exposure to sin and evil and learn to stay away. For Frank, the pursuit of knowledge had no limits, so much so he tested the boundary between life and death. When Frank created life to his being from dead objects, the reality of evil hits him and hits him hard. Frank walked blindly into the evils of nature and knowledge (or so is his perspective), and his first reaction of course is to run. This is common in dangerous (fearful) situations-- it's part of our innate evolutionary genetics-- the problem is: Frank doesn’t stop running. He takes every opportunity to shun his creation, and shun his own desires that have any relation to the so-called monster. Frank is so entrenched in fear he allows its to cripple him and destroy all and any social bonds or sanity. This truly in the underlying definition of fear… to avoid. Only Frank takes fear to a whole new level and allows it to be his stronger counterpart. However, Frank is responsible for his own misery; he makes no attempt to compromise, listen, or take responsibility. So do we blame Frank for his faulty character or would you think it is appropriate for the circumstances?

Frank’s actions are very relatable to modern America and the fear that guides individuals in their daily lives. It’s not a lie, we Americans love to avoid scary things even if it is the truth that scares us. But don’t worry, citizens, we have propaganda to lead us and shape us. It’s easy to not take responsibility, not try to compromise or even listen to those who are enlightened BECAUSE, there may be a chance, if we do listen, that it will break our reality and make us uncomfortable. But, take it from Frankenstein, will we ended up being the sole perpetrator for our misery or is that even worth thinking about because it may make us uncomfy?

Frankenstein's Ironic Climax

“One man’s life or death were but a small price to pay for the acquirement of the knowledge which I sought…” This is a quote from the novel Frankenstein, from the ‘protagonist’ Victor while he is in a frenzy state of passion finishing his creation. However, this is an important symbol of foreshadowing: “one man’s life or death” ends up applying to Victor himself. Victor’s well being, family, and friends ends up being the “price” for his “acquirement of knowledge.” The quote itself has a vain attitude “life or death were but a small price” and sinister appeal “knowledge which I sought…”. The ironic climax that shifts on Victor himself serves him right. Good cannot root from evil; in this case, lust and vain for non-acquirable knowledge cannot stem into benevolent being.

Power Corrupts

Too much of anything is vain. Lord Acton’s famous phrase, “Power tends to corrupt, and absolute power corrupts absolutely. Great men are almost always bad men” is an example that supports the foundation of this statement. It is proven several times throughout literature the evils of “too much”. For example, as Shelley quotes in her novel Frankenstein, “A human being in perfection ought always to preserve a calm and peaceful mind and never to allow passion or a transitory desire to disturb his tranquility.” Her character Frankenstein simply was in love with knowledge beyond normal science, and that led him to his own destruction and agonizing torture. Other examples can be concluded from history; Hitler, Castro, Mussolini, etc., were men in absolute power of their people, and in each result pain broke through. As a nation in the United States, we rely on moderation. Compromise is key because absolute certainty in one subject is dangerous.

Frankenstein's components of Gothicism and Romanticism.

Frankenstein, a novel sui generis, uses an impressive tool of crossing between boundaries of Romanticism and Gothicism. The author Mary Shelley, as stated in her prefatory, engendered her very inspiration from the waking dream of extraordinary vividness. Shelley’s idealistic writing brings themes of surrealistic and hallucinatory fantasy within her literature, which thus creates the foundation of Frankenstein’s crossed roots.

Shelley’s introduction to the themes starts with her declaration of passionate emotions. One of the most prominent characteristics of her novel is the fierce passions of her characters. It almost seems as if each character devotes their lives to an emotion and attends to it, ever fueling the emotion with surroundings of passionate pursuits. This shouts of Romantic genre; however, all the while, Shelley maintains deep roots of 

Gothicism. 
For example, Shelley keeps a cool overall atmosphere of deep gloominess, which only entrenches the setting more as the novel progresses. Moreover, Shelley takes a walk from reality into supernatural realms of spirits, and unconventional creations of beings. Shelley uses a heavy idea of fate and omens to guide the character’s into their lives rather than action and free will. And lastly there is the component of a hero, in this case, an unlikely hero brought upon from the least likely character, the monster, or as Oates would call “Frankenstein’s Fallen Angel.” 

The author's advantage to her manipulation of genres lies in her writing style. Shelley envelopes multiple levels of narration to allow the content to travel in different genres and perspective.

The creation of the book and the monster, sprang from the deepest level of surrealism. This abstract process complements the smooth flow of different genres. 

The value of studying this type of literature lays in the emerging themes of passionate emotions. It helps the reader see the connection between passionate response and willing action-- or in this case, negligence for action-- of the character.

Jelly filled doughnuts
Every day
None for him
None for her
I eat them all
Fat, you say? I go
Eat some more
Really, good jelly filled doughnuts

Jelly in your belly
Eating, but following a map
Looking for the center
Lovely delicious
Yummy gummy
Dough but no nuts
Occasionally offered with some coffee
Not taken for granted, but with
Utmost gratitude
Tummy aches
So many doughnuts

poetry personal questions

How would you define the word poem?
The word poem can be defined as a carefully constructed piece of work with manipulation of language with hidden emotional triggers.

What kinds of words are in poems?
There is heavy use of figurative language to convey meaning. Along with figurative language to convey meaning abstractly; the words in poems creates images that can pull at the reader’s emotions.

What do poems sound like?
Poems may have rhythm for the most part with the carefully chosen words, or can resemble somewhat a more formal prose structure.

How is a poem like a song?
Poems usually flow with their words, much like songs.

How can it be like a story?
With poetry’s heavy usage of figurative language, many images are created in the reader’s head to help imply meaning. This is much like a story with the reader being active in the writing with incorporation of imagination.

Have you ever written a poem?
Yes