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Literary analysis
Common themes in stories and poems
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A stylistic and thematic comparison of ‘Dulce Et Decorum Est.’ and ‘Frankenstein and His Creature
In this piece of work I hope to compare successfully Wilfred Owens ‘Dulce Et Decorum Est’ with Mary Shelley’s ‘Frankenstein’. I will compare the similarities and differences between the two texts in themes, styles and linguistic features. When first reading both pieces of writing you wouldn’t assume there are many similarities between the two authors, as they were written one hundred years apart and came from completely opposite social and historical backgrounds.
Mary Shelley was a young educated aristocrat, her father being a leading anarchist thinker and her mother a strong feminist; this enabled her to have a wealthy lifestyle. She was married
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However this transformation isn’t so evident within Dulce the poem but in fact in Wilfred Owen the man. Throughout the war he experienced a personal change; he was raised with strong religious beliefs and before the war was considering whether to become a priest. During the war his experiences made him re – consider his beliefs, he had joint for the purpose of ‘helping the boys as best as we can’ and in doing so had become a trained killer. Some would see this as being a monster and seeing the real transition in character of Wilfred Owen.
When reading Frankenstein a transformation of Victor Frankenstein is evident, we can see clear similarities between the monster he had created and Frankenstein himself. Shelley opens with ‘Convulsive motion agitated its limbs’ to describe the movements of the creature. Later on similarly she says ‘every limb became convulsed’ using this describe victors movements, showing clear links between the creature and Victor which was the sole purpose of repeating the same words to describe them both to indicate how victor was changing alongside the creation of the creature some would say he became the
in Frankenstein: Contexts, nineteenth century responses, criticism. By Mary Shelley. Ed. J. Paul Hunter. Norton Critical Edition.
"Frankenstein By Mary Shelley Critical Essays Major Themes." Major Themes. N.p., n.d. Web. 05 May 2014. .
In Mary Shelley’s Frankenstein, Victor Frankenstein and the monster that he creates are very similar. For example, Victor creates the monster to be like himself. Another similarity is that the anger of both Victor and the monster is brought about by society. One more parallel between Victor and the monster is that they both became recluses. These traits that Victor and the monster possess show that they are very similar.
Works Cited for: Shelley, Mary. Frankenstein: A Norton Critical Edition. ed. a. a. a. a. a J. Paul Hunter. New York: W. W. Norton, 1996.
Baldick, Chris. In Frankenstein's Shadow: Myth, Monstrosity, and Nineteenth-Century Writing. Oxford: Oxford University Press, 1990. Print.
This paper seeks to address the literacy and stylistic issues presented in two texts. Specifically, an extract from Mary Shelley’s Frankenstein and Wilfred Owens’s Dulce ET Est. Decorum. Initially, the paper will outline the prevailing social and historical contexts associated with the two texts. The principal purpose of this work is to address the themes common to both texts. For this to be achieved, an initial investigation and critique of both authors use of language will also need to be looked at.
Shelley, Mary. Frankenstein: A Norton Critical Edition. Ed. J. Paul Hunter. New York: W. W.
Mary Shelley’s Frankenstein is a nineteenth century literary work that delves into the world of science and the plausible outcomes of morally insensitive technological research. Although the novel brings to the forefront several issues about knowledge and sublime nature, the novel mostly explores the psychological and physical journey of two complex characters. While each character exhibits several interesting traits that range from passive and contemplative to rash and impulsive, their most attractive quality is their monstrosity. Their monstrosities, however, differ in the way each of the character’s act and respond to their environment.
Baldick, C. "Making Monstrous - 'Frankenstein', Criticism, Theory - Botting,F." Review Of English Studies 45 (1994): 90-99.
Mary Shelley’s world renowned book, “Frankenstein”, is a narrative of how Victor Frankenstein, a brilliant chemist, succeeds in creating a living being. Although Frankenstein’s creation is benevolent to begin with, he soon turns murderous after being mistreated by humans. His anger turns towards Frankenstein, as he was the one who brought him into the world that shuns him. The Monster then spends the rest of the story trying to make his creator’s life as miserable as his own. This novel is an excellent example of the Gothic Romantic style of literature, as it features some core Gothic Romantic elements such as remote and desolate settings, a metonymy of gloom and horror, and women in distress.
Like all works that have been taught in English classes, Frankenstein has been explicated and analyzed by students and teachers alike for much of the twentieth and all of the twenty-first century. Academia is correct for doing so because Frankenstein can appeal to the interests of students. Students, teachers and experts in the areas of medicine, psychology, and sociology can relevantly analyze Frankenstein in their respective fields. However, Peter Brooks explains in “Godlike Science/Unhallowed Arts: Language and Monstrosity in Frankenstein” that Shelly had presented the problem of “Monsterism” through her language. According to Brooks, Monsterism is explicitly and implicitly addressed in Shelly’s language. While this may be correct, Brooks does it in such a way that requires vast knowledge of subjects that many readers may not be knowledgeable in. After summarizing and analyzing the positive and negative qualities of Brooks’ work, I will explain how the connection of many different fields of study in literature creates a better work.
“The doctor [Victor Frankenstein] and his monster represent of one another and their relationship mirrors that of the head and the heart, or the intellect and the emotion. In this context, the monster’s actions have been viewed as manifestations of the doctor’s—and Shelley’s—repressed desires” (Bomarito and Whitaker). The motif of doppelgänger is established when Victor created the creature. As Victor is alone and obsessed with science, he resorts to creating a “being of a gigantic stature, that is to say, about eight feet in height, and proportionally large” (Shelley 38). Whenever the creature comes to life, Victor is frightened and flees from the creature, even though he does not realize, that he has subsequently created a double of himself.
Mary Shelley’s Frankenstein or The Modern Prometheus, published in 1818, is a product of its time. Written in a world of social, political, scientific and economic upheaval, it highlights human desire to uncover the scientific secrets of our universe, yet also confirms the importance of emotions and individual relationships that define us as human, in contrast to the monstrous. Here we question what is meant by the terms ‘human’ and ‘monstrous’ as defined by the novel. Yet to fully understand how Frankenstein defines these terms, we must look to the etymology of them. The novel however, defines the terms through its main characters, through the themes of language, nature versus nurture, forbidden knowledge, and the doppelganger motif.
In Frankenstein, Victor is extremely excited about his creation, but once the monster becomes animated with life, he is horrified and abandons his work. Dr. Frankenstein, upon seeing the reality of what he had created, had a moment of realization, ? . . . when those muscles were rendered capable of motion, it became a thing such as Dante could not have conceived? (Shelley 57). In the previous quotation, we, the reader, see Victor?s utter shock and abandonment of the project. When Victor notices the creature?s muscles twitching, his eyes are opened to what he has really done: ?Oh! No mortal could support the horror of that countenance? (Shelley 57). He had not thought about the consequences of creating a being, only the actual task.
Walter Scott’s critique in the 1818, Blackwood's Edinburgh Magazine Review of Frankenstein, is that Frankenstein is a novel of romantic fiction depicting a peculiar nature that narrates the real laws of nature and family values. This review explains that Mary Shelley manages the style of composition, and gives her characters an indirect importance to the reader as the laws of nature takes course in the novel. In addition, Walter Scott appreciates the numerous theme...