Use of pathetic fallacy in Mary Shelley's Frankenstein Essay

than their related Romance counterparts do. Frankenstein is just one of the numerous novels in the Gothic style. Mary Shelley employs the common Gothic elements of suspense, supernatural events, intense emotion, women in distress, and pathetic fallacy in her popular novel. Suspense and mystery are common builds to the plot in Gothic novels and in Frankenstein specifically. As the monster follows Victor Frankenstein on his journey through England, when he will next encounter his creature is mystery to him and to the readers. When the monster does arrive, he threatens Victor after his refusal to create a companion. Now Victor does know when he will next see the creature, but suspense still builds, as Victor appears to await his death on his wedding night. Shelley also employs suspense in the beginning of Frankenstein, particularly as Victor undertakes his creation. The process of constructing the monster entraps both Victor and the readers. As “winter, spring, and summer passed away with [Victor’s] labor,” the anticipation for the success…

scientific and industrial advancement span between Mary Shelly’s gothic novel Frankenstein (1818) and Ridley Scott’s dystopic film Bladerunner (1992), both composers utilise a variety of different language techniques in order to reiterate the same timeless concerns of man’s transgression over nature and his innate desire to foster technology for his own gain. Shelley’s Frankenstein draws upon both the Enlightenment and Romantic movement of the 1800’s whereas Scott’s Bladerunner reflects the…

In Volume 1 of Mary Shelley‘s ‘Frankenstein’, horror and terror are themes that evidently run strongly throughout, for example the horror of the creation and the awakening of the Creature, and Victor Frankenstein’s fearful response. According to James. B. Twitchell – “Horror – horrére means to stand on end or bristle”, which most definitely applies to Frankenstein. Written in the early 19th century, Shelley took inspiration from society at the time – particularly science – with the use of…

The gloomy image that is attached to the idea of Victor Frankenstein piddling away at a soon-to-be living being as lightning cracks in the sky does not come from the unsettling nature of the story, but from the careful placement of weather imagery in the novel. Shelley greatly incorporated weather into Frankenstein, especially bringing it to the forefront in the pivotal scenes where characters were experiencing earth-shattering events and harrowing trials. To give an example of foreshadowing…

Romanticism, a literary and cultural movement from the early 19th century, rebelled against its predecessor, the Enlightenment, which stressed logic over emotion. By valuing nature, the unknown, and the supernatural, Romanticism was based in emotion over logic. This was especially seen in literature, when authors would use nature to reflect mood, as is evident in Mary Shelley’s, Frankenstein. Shelley cleverly uses nature to not only reflect the mood of her characters, but to also represent the…

Despite being separated by their respective contextual influences, Mary Shelley’s Frankenstein (1818) and Ridley Scott’s Blade Runner (Director’s cut) both highlight humanity’s ambition and desire to overstep natural boundaries as an enduring aspect of humanity. The question of human identity is put forward by both texts, and through the study of the respective Romanian and Postmodern contexts, the values of human nature can be identified. Frankenstein cautions against humanity’s ambition and…

romantic novels, acting as the bringer of life while also being an agent of death on many occasions. In Mary Shelley’s horrific novel, Frankenstein, nature serves as a docile yet powerful backdrop for the story, constantly reflecting the emotions of the characters, while also guiding them to their ruin. A key force of nature that appears as both good and bad throughout the novel is lightning. Lighting serves as a beautiful but powerful force that aids the characters and guides them, but also…