English Essays Frankenstein

English Essays FrankensteinWhy is Frankenstein considered a Gothic fable and Fathers and Sons and grand Expectations considered realist? Discuss in an essay of 2000 words with reference to Frankenstein and either Fathers and Sons or Great Expectations.Great Expectations and Frankenstein provide us with faces of the 19th degree Celsius English romance frequently labeled realist and Gothic respectively. This essay aims to discuss the characteristics that contri merelye to these labels and how furthest this sets the two novels unconnected.The realist novel is classified as such by its attempt to represent sociable types of the snip and symbolize the community of a historical era by portraying particular individuals. Consequently, characters within the novel serve as examples of their particular neighborly type. One of the aims of the realist novel was to bring life sentence to hi report, to add a human viewpoint to a real historical situation. This means that the realist taradiddle focuses on the e trulyday concerns, thoughts and savours of societys people. non concerned solely with immediate feelings, the ambitions and desires of a person ar also of considerable interest to the realist writer. As a result we are presented with a picture not however of how the world was, but how divers(prenominal) social types imagined it to be.Great Expectations is set in early Victorian England at a snip when outstanding social changes were taking place. The Industrial Revolution of the late eighteenth and nineteenth century had transformed the social landscape, enabling capitalists and manufacturers to amass huge fortunes that would otherwise have been unattainable social class was no protracted a billet dependent purely on birth. This is the dynamic environment into which hellion places his protagonist, Pip. Pips sudden version from country laborer to metropolis gentleman allows demon to commentate on the differences between social extremes. Pips d ecisions are constantly influenced by the strict rules and expectations that governed Victorian England at this time. The picture of the novel would have been familiar to its readership and indisputable aspects can distinctly be linked to historical truth. For example, in 1841 there would have been three gee civilian prisoners held aboard nine hulk ships anchored in English waters. It is reasonable to believe, therefore, that Magwitch could have escaped from a ship that found itself anchored off the Essex coast.The moral of the news report is clear social standing is a seeming(prenominal) and insufficient guide to character. Pip swiftly sustains driven by the semblance of becoming a gentleman, and it is these great expectations that form the basic plot of the novel. As a result Dickens is able to satirise the very class system that he is a part of. The consequences of Pips actions allow us an insight into Dickens social ideals Pips life as a gentleman is no much satisfying or moral than his life as a country laborer. Indeed it is done Joe, Biddy and Magwitch that Pip learns that social and educational feeler are irrelevant to a persons true worth. Consequently, it essential be say that the realist novel is heavily influenced by the way that the realist novelist sees the world Dickens focuses firmly on those in the community who have earned their status through commerce and as a result, the post-Industrial revolution class system portrayed largely ignores the brilliance and aristocracy by birth. In this respect the realist novel can be read as more subjective social criticism and raises the issue of how reliable one author can be when it comes to presenting an butt view of the world. Characters in the novel naturally present us with conflicting views of society and it is left to Dickens to reconcile these ideas and present us with the answer, an answer that is heavily influenced by his own ideals. It can be argued that this proficiency over-sim plifies social issues, in the words of Joe, one mans a blacksmith, and ones a whitesmith, and ones a goldsmith, and ones a coppersmith. Divisions among such must come, and must be met as they come. There seems to be little in between and each must be met as they are presented by Dickens.Other factors may also have come into acquire when producing this realist novel, particularly, the novels market. The content of Great Expectations would have been heavily influenced by the requirements of All the Year Round, one of the magazines for which Dickens wrote. Having just published a rather unsuccessful serial by another author, Dickens saw Great Expectations as a means of drawing in readers and getting the magazine back on railing financially an ironic influence considering the moral of the story which condemns the pursuit of financial and social gain.As mentioned previously, the setting of Great Expectations would have been familiar to its contemporary readers, allowing them to relate to characters. Setting is one factor that sets the realist novel apart from the black letter. The landscape presented in Frankenstein would have been wholly alien to readers of the time. Gothic novels tend to locate narratives in inexplicable locations and this convention is clearly adhered to in Frankenstein, with action taking place in continental Europe and diametrical regions places it is unlikely Shelleys readers would have ever visited. In the same respect Victors experiments take place in an unknown region setting as the majority of readers would have been unfamiliar with laboratories and scientific experiments. The use of strange and eerie settings succeeds in creating a mood of distrust and unsettling atmosphere, Who shall conceive the horrors of my secret toil as I dabbled among the deconsecrate damps of the graveAnother characteristic of the gothic novel is the use of the spectral. Moers writes that, in Gothic writings fantasy predominates over reality, the strang e over the commonplace, and the apparitional over the natural, with one definite authorial intent to scare. Shelley uses the supernatural elements of raising the dead to frighten her readers. Through the eyes of Victor the monster is repulsive and altogether unnatural, noble the reader out of reality, I suddenly beheld the figure of a man, at some distance, advancing toward me with superhuman speed. At a time of great scientific advancement this would have been a consequenceal story that pushed the boundaries, presenting readers with a truly shocking idea removed from reality, but remotely possible. Not only is this topic unknown and mysterious, it is presented in such a macabre manner that affright consumes the reader. Victors decision to stop make a female monster is driven by fear that a race of devils would be propagated upon the res publica who might make the very existence of the species of man a condition precarious and full of terror and this is the very feeling that has already been sparked in the reader during the creation of the first monster.The gothic tradition thrives on the sensational. In her essay on the Female Gothic, Moers argues that the gothic novel is primarily concerned with producing a physiologic reaction, a story that chills the spine and curdles the blood. Victor himself experiences this bodily reaction induced by fear sometimes my pulse beat so quickly and hardly that I felt the palpitation of every artery. In this respect, Shelleys novel clearly meets the criteria of the gothic traditions, illustrated by Lord Byron who is said to have run from the room scream on first hearing the story of Frankenstein. Indeed, such sensationalist literature was highly sought by and by in this period and pandered to by such gothic fiction. These sensations are enhanced by the feeling of suspense that runs through Frankenstein, particularly from the moment the monster threatens Victor with the words, I will be with you on your wedding-night , a phrase that echoes through the novel from the moment it is spoken.Nature in the gothic novel is presented as sublime, a retreat from both physical and emotional strain. This is evident in Victors journey to the mountains to revive his spirits and the monsters feel when spring arrives. Nature is often used in conjunction with darkness to construe a feeling of foreboding or evil. This is the case as Victor creates the monster, an endeavor that forces him to shun daylight and lead a solitary life, the moon gazed on my midnight labours, while, with unrelaxed and breathless eagerness, I pursued nature to her hiding-places. As the novel progresses we would not expect life to be injected into the monster on any other night but a dreary night in November. Nature is used to a similar effect within Great Expectations where the mist that occurs on the nights when Pip visits Magwitch, The mist was heavier yet when I got out upon the marshes, and subsequently returns when he leaves for Lond on, suggests that all will not run smoothly when he reaches the city.Through multiple narratives Shelley forces us to drumhead our sympathies. In a Russian doll narrative style we are told the story of Frankenstein through Walton, who in turn tells the story of the monster, who in turn tells the story of Safie and the cottagers. However, it is not until halfway through the novel that we are subject to the monsters narrative and by this time we have already been influenced by Victors biased account of events. Consequently, we become aware of the complex nature of truth and the power of our own subjectivity. In the questions that are asked of us, supernatural becomes impendent to natural than we may have first imagined. Although we are terrorized in true gothic fashion, we are simultaneously forced to question the source of this terror.Having said this, the complex narrative structure and the portrayal of the supernatural clearly invites more of a gothic reading. In his essay, Readi ng Frankenstein, Richard Allen points to narration as a signifier for narrative form, stating that Pips first person narrative makes his presentation in terms of what we might read as gothic excess in fact rather plausible, since it can also be understood as the harvest-time of a young imagination replete with the monsters and ogres of folk and fairy-tale tradition. The realist narrative directs us towards a more raw and natural explanation, toning down what may be gothic content by presenting it from a realist perspective. This realist understanding of supernatural events can be identified in the reaction of the magistrate to whom Victor explains his story to, He had heard my story with that half kind of belief that is given to a tale of spirits and supernatural events.Both Dickens and Shelley draw from their own experiences in writing their respective novels. Dickens would have been extremely familiar with the city of London and the marshes surrounding Kent, and would also have see the law system, with his own father spending time in prison. Shelley was also frequently exposed to the ideas expressed in her novel, spending time with radical thinkers through her father and husband. Great Expectations may well be more openly realistic, but the subtext of Frankenstein connects to the natural more than a first reading may imply. There is a vast undercurrent of birth and spontaneous abortion illustrated by a link that is often made between the creation of the monster and Marys loss of a child. Her journals explain that the baby died before it was given a name (just as Frankensteins monster remained nameless) and that she also experienced a vivid dream in which she was able to bring it back to life.It must be noted that neither novel can be classified by one single form. Great Expectations for example can also be read as a bildungsroman, another popular nineteenth century novel form which depicts growth and personal development by transition from childhood to a dulthood. Much of the gothic novel also draws from the Romantic tradition, Shelleys portrayal of human feeling, compassions and discontent towards all that is commercial and inhuman is closely aligned with this movement. Walden observes this cross-over of genres, stating that what is especially interesting about Dickens writings is the degree to which they anticipate the continuing hybridity of genre expectations, a statement that can equally be applied to Shelley.BibliographyFrankenstein, Mary Shelley (Everymans Library, 1992)Great Expectations, Charles Dickens (Marshall Cavendish, 1986)The endurance of Frankenstein Essays on Mary Shelleys Novel, Edited by George Levine and U. C. Knoepflmacher (University of California Press, 1979)The Realist Novel, Edited by Dennis Walder (Routledge, 1995)http//intolerablehulks.com/intro.html