Autumn is a time traditionally associated with the beauty of nature, the changing of the leaves, the crisp air. However, Mary Shelley’s autumn, as depicted in the last paragraph on page 131, is a time of transition, a time between the joys of summer and the utter desolation of winter. In her best-known novel, Frankenstein, Shelley utilizes the change of the seasons to illustrate the monster’s position in between nature and civilization. Civilization is defined as human cultural, social, and intellectual development, or the comfort and convenience of modern life, as found in towns and cities. Knowledge is used to overcome the physical trials of nature and relationships with others make living bearable. It is important to note that civilization
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Initially, the monster shows “surprise and grief” at the changing of the seasons (131). The monster has been in the woods for a year, as evidenced by the fact that nature “again” assumes the bleak appearance (131). The fact that he cannot comprehend the cyclical nature of the seasons shows his naiveté and innocence. His misery highlights his position under the will of nature. His dependence on the seasons for pleasure illustrates his uncivilized temperament. The characteristics of summer are his “chief delights,” emphasizing the correlation between the external world and his state of mind (131). This reliance on nature serves to highlight his lack of civilization. Later, the joys of summer “desert” the monster, reinforcing the idea of abandonment and isolation through the personification of the season (131). The monster has no real relationships, so the personification of nature serves to only further develop his lack of civilization. And although he is disappointed by the changing climate, the monster is “better fitted by [his] conformation for the endurance of cold than heat” (131). The idea that he is more “fit” for one season more than another shows his coexistence with nature. A civilized being would find ways to exist in both climes, but he is subject to the dictates of nature in determining his
Initially, the monster shows “surprise and grief” at the changing of the seasons (131). The monster has been in the woods for a year, as evidenced by the fact that nature “again” assumes the bleak appearance (131). The fact that he cannot comprehend the cyclical nature of the seasons shows his naiveté and innocence. His misery highlights his position under the will of nature. His dependence on the seasons for pleasure illustrates his uncivilized temperament. The characteristics of summer are his “chief delights,” emphasizing the correlation between the external world and his state of mind (131). This reliance on nature serves to highlight his lack of civilization. Later, the joys of summer “desert” the monster, reinforcing the idea of abandonment and isolation through the personification of the season (131). The monster has no real relationships, so the personification of nature serves to only further develop his lack of civilization. And although he is disappointed by the changing climate, the monster is “better fitted by [his] conformation for the endurance of cold than heat” (131). The idea that he is more “fit” for one season more than another shows his coexistence with nature. A civilized being would find ways to exist in both climes, but he is subject to the dictates of nature in determining his