"Humans are sound bad things to the earth." This quote emphasizes how people treat the earth wrong. In the story "A Dirge" it shows how the earth cries because the humans are wrong. In addition to that, the "from Plastics: A Toxic Love Story" states how the humans are wrong by polluting plastics. A couple creates fine art from the plastics but then realizes they polluted the beach, also.
The two texts, "A Dirge" and "from Plastic: A Toxic Love Story" both emphasizes how humans are doing bad things to the earth. As stated in Shelley's text, the earth is crying because the humans are wrong. It shows how there's a thunder storm, and how it leaves the world afterwards. On the other hand, the humans were wrong by polluting plastics
Conclusively, Shelley’s Gothic piece accentuates a cautionary tale of man’s destructive desires of conquering science and the secrets of life. Scott extends Shelley’s premise as he presents our possible future, utterly devoid of nature due to man’s destructive pursuits. The bible states ‘he that increaseth knowledge increaseth sorrow’, reflected by man's destructive desires in both pieces.
Graham Greene, a Canadian actor, once said, “Human nature is not black and white but black and grey.” Carver brings this quote into light, when he describes the outcome of an argument that a couple has. Carver, the author of “Popular Mechanics,” uses imagery, symbolism, and voice to convey that humanity is inherently bad, violent, evil and in times of darkness. One can easily destroy ones own beautiful creations, but in all it’s just a part of human nature.
The natural imagery and specified strong diction present in “Mutability” work in service to express humans and human nature as protean. Shelley uses imagery to metaphorically compare humans to clouds and lyres that undergo change. His intent is to convey the rationale for mutability specifically to humans though. Shelley’s diction in relation to his biography and the Romantic period also illustrate underlying thoughts about mutability.
Shelley envisioned a strong sense of humanity in her novel. She encapsulated the quintessence of the period in which she lived by expressing ideologies, such as humanity’s relationship with God and the hypothesis of nature versus nurture. The relationship with God was vividly changed during the industrial era.
In his poem, 'Ode to the West Wind,'; Shelley uses a poignant and heart-rending tone to describe the power of nature and more specifically the wind. Shelley's reference to the wind, as the 'sister of Spring'; and a 'Maenad,'; shows how the wind is like a woman, spontaneous and free, with the liberty to be a gentle soul or a vicious amazon. He sees the wind with wonderment, and at the same time respects it and or even fears it. Shelly not only uses tone to depict his conception of nature, but he goes on to use personification to characterize the strength and vigor the wind possesses. He gives the wind human characteristics by referring to the wind as 'her'; and 'she.'; For example, 'Her clarion over the dreaming earth, and fill (Driving sweet buds like flocks to feed in air) With loving hues and odors plain and hill,'; can be paralleled with a woman tending to her garden with love and devotion. Along with a heart-rending tone and personification Shelley uses imagery to d...
Oscar Wilde, an acclaimed Irish Poet, novelist, dramatist and critic once aptly commented, “Men become old, but they never become good”. The philosophical aspect of this quote relies on the basis that human beings are inherently malevolent. Through his pessimistic perspective, Wilde clearly captures the ill-disposed mindset of mankind. Moreover, there are various deductive arguments that discredit the optimistic depiction of human nature. One of the prime examples can be found in Kurt Vonnegut’s literature. In Kurt Vonnegut’s Cat's Cradle, through the illustration of his characters, the author symbolizes the four elements of human fallibility.
Mary Shelley’s Frankenstein has undoubtedly withstood the test of time. Frankenstein’s direct association with fundamental Gothic literature is extremely renowned. However, the novel’s originality is derived from the foundational thematic values found within the relationship (or lack there of) between Victor Frankenstein and the monster he had created, in combination with a fascinatingly captivating plot. Understandably, Frankenstein can often be associated with a multitude of concepts; however, in this particular instance, the circumstances in the book seemed remarkably coherent with Shelley’s Romantic beliefs in preserving the natural world, and one’s natural existence. These values present themselves as metaphorical symbols that represented Shelley’s Romantic beliefs. The allusions suggesting that pushing the boundaries of knowledge leading to consequential repercussions is extremely fundamental for the comprehension of this essay, especially when it contrasts cohesively with Shelley’s lucid references to “the sublime.” Over-reliance on scientific information and progression, eventually leads to environmental diminishment. During the period of time when Shelley was writing this piece, she would’ve been exposed to the consequential factors of the Industrial Revolution in England. Modernization was resulting in the destruction of the natural world the Romantics favoured so heavily. These allusions suggesting the environmental destruction in Shelley’s Frankenstein is represented most thoroughly using: the thematic importance of stretching science’s boundaries, the passionate representations of the sublime, and the direct association with the beliefs of the Victorian Romantics, of whom Shelley was at the forefront of.
Shelley’s use of unique metaphors for humanity leaves the reader questioning the significance of the human condition. Whether we surrender to the burdens of the night and vanish like a cloud, or are simply a 'forgotten lyre' to a musician, this mutability will always consistently happen. The only true reliability in the world is this change. This poem searches for an answer to humanity's struggle to combat with change and time, revealing that the only option left is to accept these inevitabilities into our lives and embrace them all we
Beginning with first wave ecocriticism, the focus on 19th century literature positions Frankenstein right in the radar of the early period of American "nature writing" as well as British writers dealing with humanity and nature as an effect of Romanticism, such as William Wordsworth, John Keats, Samuel Taylor Coleridge among others. Mary Shelley directly quotes Wordsworth and Coleridge through the voice of what could be considered the most "human" of the main characters within Frankenstein, Victor. While lamenting over the loss of his friend Clerval, Victor refers to a passage from Wordsworth's "Tintern Abbey" to express the high value he holds for his departed friend, highlighting important interactions between human interests and nature. Many of the images of beauty expressed through Wordsworth's lines shows the appreciation for nature and its importance over human concerns, and an examination of the deep connections between humanity and nature that ideally should b...
Edgar Allen Poe’s “The Tell-Tale Heart” and “The Cask of Amantialdo” are two good examples of this concept of human nature.
Nature is a key element in romanticism as the early romantics stressed the divine beauty they saw in nature. Mary Shelley uses the elements of nature to further the emotions of her characters and create a safe place for them to think. She also goes into the aspects of science and nature, "[Scientists] penetrate into the recesses of nature and show how she works in her hiding-places” (Shelley 33). In Frankenstein, Mary Shelley creates a novel based around science overreaching to boundaries. Many scientific experiments of the early 1800s make an excellent base in history for Frankenstein. Trials such as biomedical trials that began during along with the continuing studies into human anatomy and the natural world. Weather is an important element of nature which is commonly used to reflect and supplement human emotions. After William’s death, whilst Victor is returning to Geneva to talk to his father “the heavens were clouded, and [soon] the rain was coming slowly in large drops” (Shelley 62). Therefore, the storm reflects Victor’s mournful attitude and as the storm p...
When you venture outside of our urban society and visit the realm of nature, a unique transformation takes place. As the buzz and clamor of the cities recedes, and gives way to untouched earth, you can feel something change inside you. When you are experiencing nature, you can feel your spirit being lifted by the nature surrounding you. This is an interesting concept, and one Percy Bysshe Shelley was very fond of. Of him, John Simkin wrote that he sought in nature inspiration for much of his work. He found inspiration from wind rushing through a forest to write Ode to the West Wind. In this poem, he writes about the relation between nature and spirit. In Ode to the West Wind, Percy Bysshe Shelley uses the images of boyhood, the lyre, and driving his thoughts across the universe in parts IV and V to suggest the connection between nature and spirit.
Throughout the poem there is close observation of wind, water, wood, cloud and sky. The imagery is scientific, mythical and biblical which combine to form a very powerful setting. Shelley is using the natural to portray the social. The wind symbolises the force of renewal in nature and the change needed for political reform and to restructure society. As the destruction of the autumn wind indicates the end of summer, so the changes necessary to bring about a fairer society will be destructive at first too.
Shelley’s writing differs in form from Plato’s in that Shelley’s is more straight forward and seems almost as if it were meant to be preached. “Reason is to the imagination as the instrument to the agent, as the body to the spirit, as the shadow to the substance.” (429) The analogy that Shelley uses portrays that reason is the basis of the imagination, implying that poetry holds truth, yet it is an idealized truth, which is determined by Plato in The Republic to be essentially false.
While Shelley is truly inspired by the Wind, the Wind in the poem may be something more omniscient and fierce, like the true free Spirit of God. Once that assertion is made, the rest of the poem flows more easily and can be understood better. The first part, while at first glance may be showing a simple picture of the transition between fall and spring, is actually depicting how life is forever changing and adapting, never staying static, due to the Spirits of God constant disturbance. The leaves and plants are metaphors for human kind, showing how religion can awaken or destroy them: “Thou from, whose unseen presence the leaves dead… fill wish living hues and odours plain and hill” (lines 2 and 12). The second and third parts shows that even though, humans are terrified of change, they are still able to adapt and evolve to even the fiercest winds of change. The “sapless foliage of the ocean” (line 40) are metaphors for human life and their fear of hearing God’s voice show how no matter how frightened they are, they can still overcome whatever obstacle is thrust in their path. The fourth and fifth parts are now understood to be prayers to God, not just a simple wish to be free. Shelley draws inspiration and strength from his belief in God and wants to use that strength to be the source of empowerment for other people