Honore de Balzac, a French novelist, once said, “Equality may perhaps be a right, but no power on earth can ever turn it into a fact”. Tomson Highway’s story “Hearts and Flowers” relates the despairing experiences of an eight-year-old Cree boy whose personal achievement at a small-town music festival takes place on the same day that Parliament provides the franchise to Native people. To begin, the white people were ignorant towards the Native people. Secondly, the white people treated the Native people with a lack of respect. Finally, Native people are revoked from their right to vote as well as being thought of as non-human.…
Horrified by his creation, Victor abandons the monster in an act of selfishness with no care or compassion for the beast. Feeling bitter rejection from its creator, the monster’s mentality becomes skewered and warped by exclusion. From that point on its…
Literature is an art form unlike any other, with a special ability to allow us to peer into the lives of others. In turn, we then are able to peer into the lives of these characters, revealing a more nuanced, complex portrait of human nature. The two books, Song of Solomon by Toni Morrison and Such a Long Journey by Rohinton Mistry both allow the reader to experience this complexity, by contrasting the characters reactions to the extraordinary and mundane events in their lives. By doing so, they both provide the same insight into human nature: the key to achieving one’s dreams is balance, and it is only by accepting the complexity of one’s own life, that one truly gets what they desire.…
The monster showed his ability to care and reason in the cabin with the family. Seeing how the family interacted with each other made him wish that he had a family of his own. Previously in the book, the monster hadn't shown…
One feature of the behaviour of mankind is the capacity for knowledge and the creative use of it. An example of this is literature, and the creature is exposed to this through the three books he finds in the “wood”. It is clear that these three books, which the creature considers to be a “prize”, have a great effect on him, but it is not so much that behaviour of man which is required to produce these books, than the behaviour of man which is presented in the contents of the writing, which shapes the creature’s attitude to life. The significance of these books for the creature is that they provide an explanation for the actions and emotions of men and women which he has already seen at first hand, as well as for those he can only read about. This enables the creature to have a more profound understanding of life as a concept and a preoccupation, and thus he is able to consciously and subconsciously construct an attitude to life which is the cause for his ensuing actions. The other significance of his access to written text is that it facilitates the opportunity to him of not only understanding the language, but learning how to express himself, speak with reason, and construct an argument. As Peter Brooks writes, “As a verbal creation, he [the creature] is the very opposite of the monstrous. He is a sympathetic and persuasive participant in Western Culture.” While I agree with this idea which is vital for the effectiveness of the creature’s plea for “acceptance” from his “father” and for Victor to “consent” to his “request”, I believe there is, on the other hand, something monstrous in the way that such eloquence, logic and persuasiveness comes from the mouth of such a “hideously deformed and loathsome” creature.…
Initially, the novel demonstrates the monsters significance of justice by murder. For instance, his creator, victor, rejected him because of his appearance . This lead the monster to sadness which eventually became revenge. The consequences of his anger killed many people that were just afraid of him for his appearance.…
I believe that when the Monster read Milton's "Paradise Lost", it influenced him greatly, shown when the Monster said, "But Paradise Lost excited different and far deeper emotions"(132). This book provided him with the base that allowed him to later become evil. During his reading of the book, he identified himself with Satan, as he read it as a historical…
Monsters are imaginary creatures that humans created. People’s fears, worries, or anxieties have been used to create the fictional monsters. Monsters have features that society deem to be scary or bad. The novel Frankenstein by Mary Shelley and the novella The Metamorphosis by Franz Kafka follow the story of a 'monster'. Pushed away from society, and labeled as an outcast, the monster is often hurt by the people around it. However, the monsters in these stories were not always monsters. They were once simple creatures, loving and kind, who were pushed away by society, turned into outcasts and deemed unfit to live among the rest of society. Once deemed unfit for society, both Frankenstein's monster and Gregor turned towards monstrosity. Both…
Three events led to the creature’s turning point at which he started doing evil things. He was completely rejected by society when the DeLaceys chased him away, when [they] shot him after he saved a girl from downing, and when he discovered Victor Frankenstein’s papers describing his disgust in his creation. These overwhelmingly negative experiences led the creature to commit evil deeds. He was angered that he was forced to live an isolated life, even by his own creator. The creature was driven to murder Victor Frankenstein’s closest family and friends because of his immense…
The “monster”, his creation, set his sights out on figuring out why his creator decided to abandon him. This again ties in the theme of acquiring knowledge. He began studying the actions and language outside a cottage of a nearby family, which enabled him to understand why humans shrieked at his appearance and ultimately why his creator disowned him,”accursed creator! Why did you form a monster so hideous that even YOU turned from me in disgust?” (Shelley 119). With his understanding, the “monster” became enraged “I know not; despair had not yet taken possession of me; my feelings were those of rage and revenge” (Shelley 120) In that moment the “monster” decided that he was going to take his anger out on his creator. Traveling near and far, the monster set out on a killing spree, which included the family members of Victor, his…
While reading parts of the novel and seeing the film it is clear that the monster encounters troubles almost everywhere he goes. Why? It is because…
The Monster compares Victor to God, as they both act as creators, although immediately points out every reason Victor cannot be a God. He then continues on to create his own hierarchy where even the devil reigns supreme to Victor and himself. This contrasts Victor’s previous imagery of hierarchy since the Monster places Victor at the bottom, confronting Victor on the consequences of his actions. Victor’s character suffers due to his quest for knowledge to solve answers, yet the Monster suffers for his knowledge of the very same answers Victor suffers to find. The misfortunes for both Victor and the Monster due to their knowledge links readers to question the determination each character had in their fate, as a construed creature and a human, and what this can say about their own…
Before The Fall, Adam and Eve existed together as one in the Garden of Eden, but soon their unity began to dismantle throughout the course of Paradise Lost (Sims 1). Tempted by the lavish fruit from The Tree of Knowledge of Good and Evil, Eve is persuaded to take a bite of the fruit by Satan, God’s second in command, who is now the leader of fallen angels. Then Adam, lead on by Eve, took a bite as well, which lead to The Fall of humanity. But this whole experience is different; the temptation by Satan is not felt, but linked second-hand. The original meaning of The Fall is that it was Eve’s fault, but in Paradise Lost Milton places the blame on Adam.…
The creature created by Victor Frankenstein was very vicious and evil as described in the story. The book creates an image of the creature as a monster that murders people close to Victor. The monster is actually a victim of an injustice taking place. The creature understands that in his life there is no justice, he tries to make himself perfect in order to change his injustice, and the willingness of searching for fairness gives the story a sense of inspiration and life lessons.…
The monster continually calls out for sensibility from the romantic. The monster has a desire for companionship, and implores of his creator to make him a being of his own species. The monster also desires to be accepted by mankind. The final way the monster displays sensibility is through his desire to learn. He displays his capabilities of learning at the beginning of his creation, and continues to grow throughout the novel. Victor Frankenstein shows the individualistic, mystic, and love of nature side of romanticism. He displays individualism through his desire to be his own creator. He also rejects the help from others, and strives on selfish ambition. Victor shows the mysticism, through gaining power of being his own god. Finally, he shows a love for nature, through taking the time to breathe and admire the beautiful countryside around him. Romanticism is concluded in the comparison of the two characters, and how similar their situations are. Victor Frankenstein and the monster both have a strong desire for love from others around them. They also show great passion for sympathy from others, which they do not necessarily receive. Their situations are unrealistic, and portray the case of non-neoclassicism. Both Frankenstein and the monster experience deep sorrow throughout the entire novel. This experience is heightened when the monster is denied a companion and Victor loses all of his loved ones. In the end, both Victor and the creature share their desire for friendship, which neither fully obtain, due to the circumstances of the rejection and bitterness. Mary Shelley’s Frankenstein, displays the aspects of Romanticism through Frankenstein and his creature; they display sensibility, individualism, love of nature, non-neoclassicism, and…