The theme of deformity regarding the importance of appearance appears early on in Stephen Crane’s “The Monster.” These subtle descriptions foreshadow future events of the story. More specifically in the opening of the story, Jimmie destroys a peony while playing outside and attempts to straighten it but fails. This scene symbolizes and foreshadows several other aspects of the story. For one, it can symbolize Henry’s literal and physical transition from “man” to “monster.” It can also foreshadow various relationships within the town that deteriorate. Both, however, contribute to the story’s overall theme of deformity. In terms of Henry’s literal transition to becoming the monster of the town, it begins directly after the fire when he is considered presumably dead to the townspeople. His death is announced in the morning paper before anyone thinks twice on the basis that “…he could not live. His body was frightfully seared, but more than that, he now had no face” (18). Simply the fact that Henry had no face was reason enough for the town to consider him already dead. This foreshadows the town’s future actions as they outcast Henry and those that defend him. Henry’s loss of face is even too much for fellow black man Alex Williams to handle. For example, in a conversation between Judge Hagenthorpe and Alek Williams, the two discuss Mr. Williams’ concerns regarding his children, explaining that Henry is preventing the children from eating. He describes to the judge how “Folks go round sayin’ he ain’t Hennery Johnson at all. They say he’s er devil” (22)! This type of gossip among the townspeople further propels Henry’s transition to monster. While the judge tells him to disregard what the town says, Williams’ reply is simply that Henry... ... middle of paper ... ...t to his friends, Jimmie accepts their dare and does so. This scene shows yet again how Johnson is dehumanized by Jimmie and his friends. In a way this event acts as a smaller scale version of what is going on in the town as a whole. To Jimmie, his status within his group of friends is now more important than his relationship with Henry. Jimmie’s newly deformed relationship with Henry therefore signifies the relationships Henry has with the rest of the town as the story progresses. Overall, we see the general theme of deformity develop throughout the story. Not only does Henry’s literal transition from a small town man to a “frightening” monster emerge, but so does his relationships with various characters in the story, particularly with Jimmie. The story serves to show that deformity is a powerful thing and that the real “monster” may not even look like one at all.
...s inner self. What is seen as a relationship amongst these two young men is now torn apart by the transformation of Henry caused from his witnesses during warfare.
Henry suffers from retrograde amnesia due to internal bleeding in the part of the brain that controls memory. This causes him to forget completely everything he ever learned. His entire life is forgotten and he has to basically relearn who he was, only to find he didn’t like who he was and that he didn’t want to be that person. He starts to pay more attention to his daughter and his wife and starts to spend more time with them.
Jeffery Cohen's first thesis states “the monster's body is a cultural body”. Monsters give meaning to culture. A monsters characteristics come from a culture's most deep-seated fears and fantasies. Monsters are metaphors and pure representative allegories. What a society chooses to make monstrous says a lot about that society’s people. Monsters help us express and find our darkest places, deepest fears, or creepiest thoughts. Monsters that scare us,vampires, zombies, witches, help us cope with what we dread most in life. Fear of the monstrous has brought communities and cultures together. Society is made up of different beliefs, ideas, and cultural actions. Within society there are always outcasts, people that do not fit into the norm or do not follow the status quo. Those people that do not fit in become monsters that are feared almost unanimously by the people who stick to the status quo.
Frankenstein is the story of an eccentric scientist whose masterful creation, a monster composed of sown together appendages of dead bodies, escapes and is now loose in the country. In Frankenstein, Mary Shelly’s diction enhances fear-provoking imagery in order to induce apprehension and suspense on the reader. Throughout this horrifying account, the reader is almost ‘told’ how to feel – generally a feeling of uneasiness or fright. The author’s diction makes the images throughout the story more vivid and dramatic, so dramatic that it can almost make you shudder.
In this 1700’s society the standards for society are quite different than what they are now, for one the general measure of someone’s worth and goodness is based primarily upon their appearance. Another of these societal standards that Shelley conveys is the social classes of the time with the cottagers and the monster’s description of them and how they are divided by wealth and family reputation. The last of the aforementioned societal standards is that of hiding one’s problems in the case of Victor Frankenstein and his hiding of his creation that became a monster, a monster that society
We recommend that you stop reading the book at the end of Henry's story (p. 86). You won't want to, because the ending is very bleak and you will be looking for some respite from the story, something to encourage you. Unfortunately, the final part of the book consists of H.L. Roush's theological reflections on the story, and for the most part they aren't edifying. Best to think through the story yourself, perhaps even read it to your children, and together as a family consider what went wrong for Henry, how he might have avoided the downward spiral, and what lessons can be applied to your own circumstances.
...ther." (14) Each of the grotesques depicted follow a unanimous theme of being gifted, creative dreamers. Unable to satisfy their hunger for life and expression, their desolation is multiplied. The most critical theme found throughout Anderson's stories is the clear reflection of real life. The problems faced by the people are actual troubles faced by society at large. The only difference is that these tribulations, as well as their effects, are exaggerated to make a point. Everyone lies to himself or herself at one time or another, and living outside one's heart is not uncommon. All individuals have some way of uniquely expressing themselves, some passion to focus their lives on. Perhaps Anderson is trying to warn us that the decision to establish all of one's existence on an absolute truth transforms people into grotesques, and thus their truths into lies.
The fact that Frankenstein’s creation turns on him and murders innocent people is never overlooked; it has been the subject of virtually every popularization of the novel. What is not often acknowledged is the fact that Frankenstein himself embodies some of the worst traits of humankind. He is self-centered, with little real love for those who care about him; he is prejudiced, inflexible and cannot forgive, even in death. While some of these traits could be forgivable, to own and flaunt them all should be enough to remind a careful reader that there are two "monsters" in Frankenstein.
Peter Brooks' essay "What Is a Monster" tackles many complex ideas within Mary Shelley's Frankenstein, and the main concept that is the title of the essay itself. What is the definition of a monster, or to be monstrous? Is a monster the classic representation we know, green skin, neck bolts, grunting and groaning? A cartoon wishing to deliver sugary cereal? or someone we dislike so greatly their qualities invade our language and affect our interpretation of their image and physical being? Brooks' essay approaches this question by using Shelley's narrative structure to examine how language, not nature, is mainly accountable for creating the idea of the monstrous body.
Lancaster, Ashley Craig. "From Frankenstein's Monster To Lester Ballard: The Evolving Gothic Monster." Midwest Quarterly 49.2 (2008): 132-148. Literary Reference Center. Web. 12 Mar. 2014.
Do not judge a book by its cover. A famous American proverb that says a person’s character cannot by judged by their appearance. A prime example of this is the monster from Frankenstein. On the outside, he has a terrible appearance but he is a kind soul simply looking for a little compassion. He is a victim however due to his monstrous appearance and is left in bitter misery in the story. Both the book and the play present him as a sufferer in a cruel world but ultimately the book does a better job portraying his pain and creating compassion for him. The monster in the book details his suffering in greater detail, is more eloquent and persuasive and also experiences a more tragic ending and as a result a reader feels more sympathy towards him than an audience member would feel towards the monster in the play.
A monster can be characterized by an extreme deviation from the normal standards of society including an internal or external wickedness. In the case of Mary Shelley’s Creature, his appearance overwhelms those who lay eyes upon him. A mere glance can send a villager running for the hills. It was not until the Creature caught a glance of his own reflection that he understood why villagers were so afraid of him. The realization of his ghastly appearance began the monster’s journey into hopelessness. In Peter Brooks’ article he writes, “Self recognition as the ‘filthy type’ completes the mirror stage of the Monsters development.” (Brooks 377). Seeing oneself as ugly and slovenly can cast shadows on even the most compassionate of hearts.
The definition of ‘monstrosity’ and what it means to be ‘monstrous’ can be understood to mean something that is visually unattractive, malformed and/or terrifying. However, monstrosity is not exclusively about something aesthetically ugly, it can also apply to what differs from what is considered ‘normality’. What is ‘normal’ versus what is ‘monstrous’ is closely linked when exploring ideas about the human condition. The representations of monstrosity in Frankenstein and in The Tempest reveal how what is monstrous and what is normal are often found side by side, challenging the idea that it is limited to outcasts who do not ‘fit-in’, and that deep down, a desire to be understood, accepted and included and to live life with meaning are central to the human condition and that monsters in society often reveal our deep seated fears and anxieties about our own existence.
Throughout every individuals life there are experiences of unfair judgments based on someone’s appearance. While this is never a good thing, it is an action that everyone takes part in, whether it is purposeful or not. In Frankenstein, Mary Shelley’s message is very clear as she illustrates the cruel events that take place in a society focused only on outside beauty. The central message that Shelley communicates with Frankenstein, is that while appearance is just one of an individuals many characteristics; it is always a factor they are judged on regardless of all the other qualities they may possess.
Henry’s character is introduced in the movie when his cousin Mark, who is just about the same age as him, suddenly comes to stay with their family because his father had to go away on business. Mark’s mother recently passed away right in front of his eyes and he was still dealing with the repercussions of it all. Dealing with feelings of loneliness, Mark immediately developed a close bond with Henry. He found Henry to be adventurous and nice but was not aware of who Henry really was and what he was experiencing. At first, Henry seemed like a decent young boy who enjoyed experimenting with new things. On ...