Frankenstein Rhetorical Analysis Essay

Daniel Kokotz wrote “Frankenstein’s Failures” to examine the philosophical problems surrounding Victor Frankenstein and the creation of the daemon along with his failures. Throughout his article, Kokotz brings up several important points such as Victor’s goals, enhancement, faults with the monster, the Midas Problem, and desirability. Daniel Kokotz’s first idea is over Victor’s two main goals involving the creation of the daemon and its enhancements. Victor’s two goals were to discover the secrets of creation along with discovering a new way to combat disease.

In Chapter 10 of Mary Shelley’s Frankenstein, the monster employs an array of compelling rhetorical questions to underscore his anguish and despair in the hopes of winning his creator’s sympathy and understanding. Upon enduring Victor’s barrage of execration, the monster fitfully cries out, “Have I not suffered enough, that you seek to increase my misery?” (Shelley 81). Distraught, the monster demands for what higher purpose does the arbiter of his future whimsically desire to torture and “increase” his “misery”. Like clinging onto a frayed rope, the monster hopes that his pitiful coagulation of naive optimism and sorrow has the ability to trigger a sense of sympathy in his creator that would mark the end of his isolated and disheartened state.

Friends will determine the direction and quality of your life. Loneliness is a battle that all people will once face at a certain point in their life; it is how they handle it that determines the outcome of that battle. In Mary Shelley's Frankenstein loneliness is the most significant and prevailing theme throughout the entire novel. Shelley takes her readers on a wild journey that shows how loneliness can end in tragedy.

Mary Shelley makes us question who really the “monster” is. Is it the creature or Victor? While the creature does commit murder, he does not understand the consequences of his actions. He is like an infant who is unfortunately left to learn about the workings of society, and his place in it, on his own. He has no companions and feels a great sense of loneliness and abandonment. The creature voices his frustration and anger and seems to try to project his feelings of guilt onto Victor, as if to show him that he is the ultimate cause of the creature’s misery while he is simply the victim of Victor’s manic impulse. Shelley utilizes words, phrases, and specific tones when the creature vents his misery to Victor and this evokes, amongst the

Humans are known for bestowing their judgment irrationally and based on the “book cover” of a person, they may degrade their fellow human into the worst positions of the social ladder. Mary Shelley, in her novel Frankenstein, expands on this perspective by using mood and tone to parallel with the circumstances of an event occurring in her novel with shifts throughout the context of the book, symbolized by the changes in nature and seasons. This shift is made frequently between the agonized, desperate, frightful, maybe even suicidal mood and tone with the occurrence of dreadful acts of murder and execution, to the more calming, soothing, optimistic and life-full during a physical and spiritual recovery.

Victor emotions are full of anxiety and disconcert due to the recent traumatizing deaths of his loved ones and the mysterious role of his own grotesque creation in them; the speaker uses imagery and diction to express Victor’s suppression of these feelings to cope with his struggles. The speaker shows Victor’s vehement concern and desolation about his actions of putting together his monstrous creation by using imagery that evokes ominous and unsettling emotions. In the first paragraph of this passage, these vast and captivating surroundings, which are mainly composed of ice glaciers, mountains and trees, are described in thorough detail and all of which, have been regularly associated with tranquility and repose in conventional literature.

Initially, Frankenstein’s intentions are positive and elevated. Shelley uses simile to communicate Frankenstein’s energy and power, like the force of a hurricane, as he hopes to create life with the ultimate goal of restoring life. He alludes to the creative power of God when he describes his desire to “pour light into the dark (dead) world.” Here, Shelley juxtaposes Frankenstein’s naïve desire to create life against the stark horror of torturing and killing animals and dismembering the dead. A positively intentioned megalomaniac, he, striving to be like god, overreaches, attempting to control life and death. Shelley uses frightening imagery, painting a picture of Frankenstein’s physical metamorphosis as he grows pale, limbs trembling, eyes

•Meet Sam. A little guy, he comes into the room riding a dog-like creature and holding a sign that says "I am Sam" (1). Smiling, he tips his red Seven Dwarves-style hat. (No, he's not Dopey.) •Monstrous, massive, hugely important note: The only actual text here is what we just quoted you.

The creation of an artificial monster is an inherent horrific fiction and scientific fiction trope. The act of artificially fabricating life from natural elements is inherently unsettling, carrying with it an essence of horror. This fear is emphasized through Victor’s descriptions of his own unsettling feelings after he successfully creates the monster and dreams “that [he] held the corpse of [his] dead mother in [his] arms; a shroud enveloped her form” (Shelley 44). Creating this frightening mood is typical of the gothic genre, and attempts to scare the reader rather than promote pathos in a tragedy. Moreover, Frankenstein serves as a cautionary tale against the hubris of attempting to wield control over life through science, a theme more aligned with scientific fiction than horror or tragedy.

Ronald Britton is the writer and editorial manager of the article: Mary Shelley 's Frankenstein: What Made the Monster Monstrous. Throughout this article Britton will talk about the genesis of the renowned story of Frankenstein, which emerged from a fantasy experienced by Mary Shelley while on an occasion imparted to her spouse and her stride sister. The creator talked upon Shelley expressing that “She emphasizes that she was not confined to her own identity in these daydreams, she became others and so peopled them with creatures far more interesting than her own sensations” (Britton 2). As a kid Shelley composed stories that were sensible, fabulous, and pleasing; they were her shelter when irritated and her most profound joy when free. One night as Shelley is asleep, she has a striking dream. In the fantasy she sees a revolting apparition of a man extended and after that, on the working of some capable motor, hint at life. Shelley portrays how she is controlled by her wild creative energy. She expresses that “This clearly was no daydream. I would call it a night terrors a sleep-induced visual hallucination that persists on waking” (Britton 3). Shelley then builds up the thought that what frightened her will frighten others. She needs to depict the apparition which frequents her midnight pad, so the next day she started to recount to her story.

Mary Shelley intensifies the novel through her use of powerful diction in order to instill suspense and fear on the reader. Her diction makes her story vivid and so realistic as if she were painting images in the readers’ minds. She also changes the point of view from which the story is told several times to create depth and describe the different emotions of certain characters. She uses different perspectives in order to make the story more interesting and to illustrate the emotions of Victor Frankenstein and the monster. These techniques connect with what she was trying to address in her book about the time she lived in because it gives the reader the fear that all of the social attitudes that Shelley worried about, and wanted to change, might become a

A story that flourishes in a variety of emotions that range from anger to joy, Mary Shelley’s Frankenstein is a timeless piece of work that originated a little less than 200 years ago and can be described as arguably “the first authentic science-fiction novel in history” (Mary Shelley) and it is still being used for analysis across all spectrums of the country, and understandably so. It offers the reader much more than just a story surrounding an innocent young boy turned disillusioned, remorseful man determined to destroy the outcome of his arrogant, scientific endeavourer or a hideous creature on a rampage; it allows the reader to engage and relate to real-life circumstances, regardless of age, and what the true meaning of life represents.

“I was a poor, helpless, miserable wretch; I knew, and could distinguish, nothing; but feeling pain invade me on all sides, I sat down and wept” (Shelley 91). In Frankenstein by Mary Shelley, Mary depicts a hideous, macabre, creature as one of the main characters, who seeks to discover and connect with the unknown world that it has been born into. The creator, Victor Frankenstein, studies life cycle of human beings, ultimately learning the secret of creation through unnatural means. These experiments result in a monster, who must to learn and grow in consciousness, much as an infant would awaken gradually to life. He is, at first, overwhelmed by new sensations, experiencing hunger, thirst, and exhaustion. The monster begins on a clean slate, starting in his adolescence, but experiences continuous vulgar abuse from beings who show to be quick to judge. Though the monster proves to have a positive heart initially, maltreatment gradually changes his response to people and causes him to react negatively to negative stimuli from experiences and necessity. The creature’s response to society is constructed through the mistreatment by Victor Frankenstein, the DeLacey family’s rejection, and his first meeting with Victor Frankenstein in the Alps.

Frankenstein realizes that the only way that he will have freedom is through his death or that of his creation. He continues with slavery language as he states that the creature has a sort of power over him. His statement is similar to that of his previous quote were he claimed the creator oppressed him to the point of a fever. Both quotes show Frankenstein as oppressed with his creation to the point that it holds him as a slave. In addition to Frankenstein’s feeling of slavery, the monster sees Frankenstein as his oppressor and master by stating, “I knew that I was preparing for myself a deadly torture, but I was the slave, not the master, of an impulse which I detested yet I could not disobey” (238).The monster begins his statement claiming to have prepared for “a deadly torture” this is a similar attitude to of Frankenstein’s when he claims to be “oppressed by a slow fever” and “toil in the mines” like a slave might; both characters use metaphors of hard labor to indicate the passion they have for the destruction of each other.

Character Analysis: Give your ideas about the main characters(s). Include what you like and dislike about the characters and why they deserve praise or criticism. Does the author intend for you to like/dislike them? How do you know?