Victor Frankenstein Essays

Victor Frankenstein Essays Victor Frankenstein Paper Victor Frankenstein Paper I have been given the assignment of comparing three stories of anticipation in three dissimilar styles of script. Throughout this essay, I will converse on the subject of the way each story is written, how and why particular special effects are accomplished and what rudiments and elements contribute to the atmosphere and anticipation of the story. Finally, I will conclude as to which story I have found the most successful and explain why I liked it in detail. A principal feature to examine when studying a story, in my opinion, is the title. Titles of some stories give away the plots or endings, whereas others are totally abstract and thought provoking, providing absolutely no clue as to what the story will be about. Either Frankenstein or The Raven has the best titles out of the three stories that I have read. They give away that the story is about someone named Frankenstein or a raven, but nothing else that would ruin the plot or ending. This is beneficial to the reader, who would be able to get more involved in the story as more of the plot unfolds, particularly in a novel. The title Man Overboard, tells us that the story is about a man falling overboard. Primarily I considered it could be a metaphor, but after reading the story, I found that it wasnt. A story with a title that gives away the plot has some advantages and disadvantages. Giving away some of the plot could make the reader interested and make him or her want to know how that certain event happened, for example, how the man fell overboard. A lot of the time that is not always what happens. In some cases, the plot is given away too much by the title, which makes the story less exhilarating and impulsive for the reader. The three stories I read were in the form of a novel, a short story and a poem. This had a striking outcome on the way I thought about the stories and how I could scrutinize them. The novel contained many characters and minor plots scattered around a central story line. This made it exceptionally complex and hard to understand at times, which in fact kept me interested for the reason that I was determined to understand the story. Eventually, all of the smaller plots merged into one main plot. The novel contained various distinct ideas and philosophies about crucial and valuable subjects such as life, death and religion. The short story contained one plot and one main character and was a great deal easier to grasp. The plot was portrayed in a fair amount of detail and didnt contain any ideas or philosophies like the novel. The poem, in contrast, was written in structured verses and contained an even-handed amount of rhyme in each verse. It contained nineteenth century ideas about superstition and death, which made it more similar to the novel, but only had one plot neighbouring one main character. In Frankenstein, Mary Shelley creates many differences amid Victor Frankenstein and his creation, but simultaneously creates parallels between the two. Victors siblings and parents are perfect in his eyes and never deny him anything; whereas the creature is rejected by everyone who sees him from the moment he begins breathing. In spite of these differences, both characters develop problems as adults based on these childhood experiences, which ultimately cause others deaths as well as their own. Although Victors seemingly idyllic upbringing sharply contrasts with the creatures neglected childhood, both of these scenarios lead to their mutual destruction. While Victor experienced an apparently perfect, but in truth, overindulgent childhood, the creature is faced with constant rejection from the moment he is given life despite his inborn warmth and compassion. From the beginning of each of their existences, the two beings grew up under totally dissimilar pressures and influences. Victors parents respond to his birth as a gift from Heaven, whereas from the moment the creature draws breath, Victor, his father, abhors him. Indicating that as a child he never experienced unhappiness to any degree, Victor explains that his earliest memories are his mothers tender caresses and his fathers smile of benevolent pleasure while regarding him. When the creature is born, conversely, the first thing that happens to him is that his creator irrationally abandons the new being in his state of innocence because he is unable to endure the aspect of the being he had created. Shelley even uses parallel scenes where both Victor and the creature reach out for a parents love and reassurance and meet opposite responses to demonstrate their differing childhood experiences. Victor later becomes a egotistic adult who does not understand consequences and the creatures natural kindness develops into vengeful misery. Because Victor was never denied anything as a child, he grows up to be a self-centred being. While during his childhood he supposedly receives lessons of patience, of charity, and of self-control, he was so guided by a silken cord that all seemed but one train of enjoyment to him and, as a result, he never makes any mistakes and does not learn that there are in fact consequences to his actions. The creation of the monster itself is a selfish act that results from his pampered childhood because he never considers that there might be ramifications of some sort for the rest of humanity or even for himself. Because he develops this feeling of his own invincibility, when he decides to unfold to the world the deepest mysteries of creation, Victor is really only thinking of his own personal glory as a scientist and fails to recognise the possible problems that controlling nature to this extent can present. Victors and the creatures individual faults arising from their upbringings ultimately lead to their mutual destruction. Victors selfishness and the creatures vengefulness as adults lead to the deaths of those close to Victor. Because Victor denies the creature everything from love and compassion to acceptance, the creatures anger deepens and he is driven to kill Victors brother William as punishment. Williams death consequently causes the death of innocent Justine who is believed to be guilty of his murder. These deaths occur because Victor grew up without the understanding of consequences and he, as a result, selfishly denied the creature of the necessities that would have prevented him from committing such abhorrent crimes. By killing Victors closest friend Clerval and then Elizabeth, his lifelong companion, the creature continues to act on his vengeful feelings because Victor continues to deny him necessities and destroys the monsters own future companion before his eyes. The creature resorts to this life of despondency and violence because of his childhood of neglect and the resulting adult rejection he later experiences.

Renaissance King Francis I of France

Renaissance King Francis I of France King Francis I was also known as Francis of Angoulà ªme (in French, Franà §ois dAngoulà ªme) King Francis I was known for His sponsorship of the arts; he has been called Frances first Renaissance King. Francis is also known for his bitter rivalry with Emperor Charles V. Occupations and Role in Society KingMilitary Leader Places of Residence and Influence France Important Dates Born: Sept. 12, 1494Crowned: Jan. 1, 1515Cloth of Gold Meeting Ends: June 24, 1520Treaty of Madrid ends imprisonment: Jan. 14, 1526Captured at Battle of Pavia: Feb. 24, 1525Died: March 31, 1547 About Francis I Known as Francis of Angoulà ªme (in French, Franà §ois dAngoulà ªme) until he succeeded his cousin at age 20, Francis was a passionate, intelligent, chivalrous knight who loved life. His trusting nature made him a poor politician, but he nevertheless saw success as a conqueror and a peacemaker before the accession of his bitter rival, Emperor Charles V, made his life and reign a tragedy. Late in his reign, Francis wish to diffuse the fanaticism of Reformation conflict was overrun by his staunchly Catholic ministers, and France became the site of severe persecutions of Protestants. As a young man, Francis was also a humanist and sponsor of the arts, and is sometimes considered Frances first Renaissance King. He supported and encouraged many fine artists, among them Leonardo da Vinci, who died at Cloux (now called le Clos-Lucà ©), the summer residence of the French king.