The role of nature, in Mary Shelley's novel Frankenstein, presents itself as one of the major themes depicted throughout the novel. The natural imagery in "Frankenstein" is comparable to the best in the Romantic literature. She willfully connects the imposing vision of Mother Nature with the horrendous spectacle of a man-made monster and his gruesome deeds. Mary's message to mankind is loud and clear; do not mess with Nature for your own good. Humans should best live like humans. Any attempt to change
Romantic’s fears of over industrialisation, emotionless connections, the devalue of nature and loss of childhood are heightened. During the time of the Enlightenment period, these ideas that were once seen as glorious started to fade. However, the Romantics urged to remind people of the beauty in natural life and dangers when playing with science. Mary Shelley helps to expose these great concerns in her gothic novel, Frankenstein. She uncovers the transformation of a young boy who is constantly amazed by
this is all because her famous horror novel, Frankenstein. Frankenstein is story that is told from the perspective of Victor Frankenstein, a scientist who is so consumed with his thirst for knowledge that he brings a monster to life in vain. Frankenstein realizes his own fault as soon as his creation comes to life and he tries to run from it but throughout the novel Frankenstein is haunted by his creation both physically and mentally. Frankensteins is meant to be simply a horror novel but Mary Shelley
In the short story “Paper” by Catherine Lim, Tay Soon’s greed is a major component in his fall from euphoria to his inescapable termination. Tay Soon and his wife, Yee Lain, developed an obsession to obtain a “big beautiful house” (Lim 1) to replace the terrace house that they shared with Tay Soon’s mother. Tay soon let the notion of this dream home become “the consuming passion of his life” (Lim 1), and devoted all of his savings to financing it. After realizing the potential capital gain Tay
Rebecca by Daphne Du Maurier can be read through the lens of formalist criticism, which requires the readers to analyze the structure of a particular text that also shows the author's style, tone, imagery etc. This novel revolves around suspense and Max De Winter’s mysterious late wife, Rebecca. The moment in the book when the new Mrs. De Winter runs into a mentally challenged man named Ben, foreshadows or reveals the dual personality of Rebecca when he says “don’t take me to the asylum” hinting