Tuesday:
Snow day!
Thursday:
There is no way I can give you a quiz. I know that hurts. Oh well. I have been trying very hard (spending hours) to give you notes on important parts of the novel, and am worn out. We'll talk about the novel on Thursday and I'll give you the short story to read. After that, we will see where things take us. There will be a test, but it will not be next week. We have more work to do.
Saturday, February 28, 2009
Sunday, February 22, 2009
Week of February 23, 2009--Bring Texts Vol. B!
Tuesday:
Make sure that you have your textbooks (Volume B). The substitute will check that you do (with your name written in it and with the corresponding number identifying you for a grade). Definite reading quiz on Frankenstein (through volume I). Turn in. Turn to "The Rime of the Ancient Mariner" in your textbooks. Read and answer questions. Turn in. You must answer all questions individually and completely, using evidence from the assigned text.
For Thursday, you should have read through Volume II. This should be easy to accomplish as you have most of the class period to do this.
Thursday:
You will have time to ask any questions about the assigned reading. I might review a few things of importance, so bring your notebooks. Expect a reading quiz on Volume II and on "The Rime of the Ancient Mariner" on Friday. If you are prepared and have kept up with the reading, this should make Friday's reading quiz easy.
Friday
Reading quiz on assigned readings. Begin reading the weekend's homework. You should finish the novel over the weekend. Expect a reading quiz on Tuesday.
Make sure that you have your textbooks (Volume B). The substitute will check that you do (with your name written in it and with the corresponding number identifying you for a grade). Definite reading quiz on Frankenstein (through volume I). Turn in. Turn to "The Rime of the Ancient Mariner" in your textbooks. Read and answer questions. Turn in. You must answer all questions individually and completely, using evidence from the assigned text.
For Thursday, you should have read through Volume II. This should be easy to accomplish as you have most of the class period to do this.
Thursday:
You will have time to ask any questions about the assigned reading. I might review a few things of importance, so bring your notebooks. Expect a reading quiz on Volume II and on "The Rime of the Ancient Mariner" on Friday. If you are prepared and have kept up with the reading, this should make Friday's reading quiz easy.
Friday
Reading quiz on assigned readings. Begin reading the weekend's homework. You should finish the novel over the weekend. Expect a reading quiz on Tuesday.
Saturday, February 21, 2009
Frankenstein
By the way, bring your textbooks (British Lit anthologies--version B) on Tuesday. We will be reading "The Rime of the Ancient Mariner."
Letter 1
Know the date (time of year) and location. Know his sister's name.
Pay attention to the pretentious diction and what it tells us about Walton. He's a little full of himself. He's also a big whiner. Poor me, poor me. "My education was neglected" (8), etc. Also, he bemoans the fact that his father did not want an adventurer's life for his son. Victor Frankenstein will also have daddy issues. Maybe their daddies knew more about their sons than their sons want to admit.
Oh, and super-barf! "I also became a poet, and for one year lived in a Paradise of my own creation: I imagined that I also might obtain a niche in the temple where the names of Homer and Shakespeare are consecrated" (8). Give me a break.
Look at Walton and Frankenstein as literary alter-egos. They are very much alike. They both think they are better than everyone else. They are both lonely because of this. Also, both, like Faustus, kind of play God, exploring in areas that are somehow forbidden.
Faustus--Chorus: Now is he born, his parents base of stock,/ In Germany within a town called Rhode;/ At riper years to Wittenberg he went/ Whereas his kinsmen chiefly brought him up;/ So much he profits in divinity,/ The fruitful plot of scholarism graced,/ That shortly he was graced with Doctor's name,/ Excelling all whose sweet delight disputes/ In th' heavenly matters of theology,/ Till, swollen with cunning [learning], of self-conceit,/ His waxen wings did mount above his reach/ And melting, heavens conspired his overthrow./ For, falling to devilish exercise/ And glutted more with learning's golden gifts,/ He surfeits upon cursed necromancy;/ Nothing so sweet as magic is to him,/ Which he prefers before his chiefest bliss" (11-27).
Look at all the words that have associations with "heaven" and all the words that relate to "passion." They are all marks of the over-reacher.
Letter II:
Here he describes his crew, and though he seems to compliment them, he always throws in a bit of an insult. Not only that but he says he is "occupied in collecting my sailors" (8). This sounds more like a kid collecting toy soldiers.
He talks a lot about Uncle Thomas. Why?
How old is R. Walton?
From what port do they depart? What do you make of the name of this port--in terms of the over-reacher's theme?
Note how he describes his lieutenant. What about the description is complimentary. What is not? Why might one not want to hire this guy?
Pay special attention to what he says about the master. Is this the kind of ship-master you would want for a dangerous mission? I doubt it. Explain why.
He also alludes to "The Rime of the Ancient Mariner" in this line: "It is impossible to communicate to you a conception of the trembling sensation, half pleasurable and half fearful, with which I am preparing to depart. I am going to unexplored regions, to 'the land of mist and snow;' but I shall kill no albatross, therefore do not be alarmed for my safety" (11).
"The Rime of the Ancient Mariner" (1798) is by romantic poet Samuel Taylor Coleridge. Romantics were known for celebrating a kind of natural pantheism, that is, a love for the wonders and beauties of this world. It's almost worshipful of nature, thus the Ancient Mariner's fate and his eventual penance.
Letter III
It's not too bad because it is summer.
Letter IV
Note the dates of the letter and the encounter with something strange. Describe the strange thing.
He also meets a man with a dog on a ship. Where is the man from?
This is where Walton meets his alter-ego. Consider how these two are alike. In what condition is this man?
What "aroused the stranger's attention"?
Next letter--not enumerated like the others but dated. Note the date.
Walton's "affection"--why? What is it about this "guest"? How does he see him as he sees himself? How is Walton projecting on to Victor?
In what ways were their childhood experiences similar?
Volume I: Chapter I
Where is the stranger from? What kind of a family does he have?
Who is Beaufort? What happened to him?
Who is Caroline Beaufort?
How does Victor describe his childhood? Is he perhaps a little spoiled? Explain.
Who is Elizabeth Lavenza?
Note how he describes her. What does it tell you about how he regards her? Is she a friend? Is she a sibling? Is she a pet? Is she a toy?
"She was docile and good tempered, yet gay and playful as a summer insect. Although she was lively and animated, her feelings were strong and deep, and her disposition uncommonly affectionate. No one could better enjoy liberty, yet no one could submit with more grace than she did to constraint and caprice. Her imagination was luxuriant, yet her capability of application was great. Her person was the image of her mind; her hazel eyes, although as lively as a bird's, possessed an attractive softness. Her figure was light and airy; and, though capable of enduring great fatigue, she appeared the most fragile creature in the world. While I admired her understanding and fancy, I loved to tend on her, as I should on my favorite animal; and I never saw so much grace both of person and mind united to so little pretension" (19-20).
Does he think she's a little simple-minded?
Or is she like Dante's Beatrice--a little girl--who becomes an angel of sorts?
"Every one adored Elizabeth [note that it is not "everyone" but "every one"]. If the servants had any request to make, it was always through her intercession" (20).
He is canonizing her! Intercession--that is what Beatrice does for Dante--acts through Divine Intercession--to "save" him and to "save the world" by telling his story. Is that what is going on here?
"The world was to me a secret, which I desired to discover; to her it was a vacancy; which she sought to people with imaginations of her own" (20).
Does Victor consider himself superior? Or is he lauding her as something equally important, perhaps complementary?
Know about Henry Clerval and his background. Consider Clerval's background with Faustus' background and compare to Victor's "noble" background.
How is Henry like Elizabeth? How is then, perhaps, inferior to Victor?
What is wrong with Victor's upbringing? He describes it as ideal, but he implies otherwise.
Where does he imply it? Look for quotes.
Natural Philosophy: "the study of nature (i.e. science). Attendant spirit or demon"--from your book (21).
Note the passive language. You might argue that it arises from a style of writing of the time; I would argue that it has more to do with not taking responsibility. See if this style changes later in the novel or in one of the narratives.
"Natural philosophy is the genius that has regulated my fate [the book's footnotes about the demon apply here]; I desire therefore, in this narration, to state those facts which led to my predilection for science. When I was thirteen years of age, we all went on a party of pleasure to the baths near Thonon: the inclemency of the weather obliged us to remain a day confined to the inn. In this house I chanced to find a volume of the works of Cornelius Agrippa [footnoted as 'German physician, author of De Occulta Philosophia (1531), and a reputed magician'--Faustus also liked Agrippa]. I opened it with apathy; the theory which he attempts to demonstrate, and the wonderful facts which he relates, soon changed this feeling into enthusiasm. A new light seemed to draw upon my mind; and, bounding with joy, I communicated my discovery to my father. I cannot help remarking here the many opportunities instructors possess of directing the attention of their pupils to useful knowledge, which they utterly neglect. My father looked carelessly at the title-page of my book, and said, 'Ah! Cornelius Agrippa! My dear Victor, do not waste your time upon this; it is sad trash'
"If, instead of this remark, my father had taken the pains to explain to me, that the principles of Agrippa had been entirely exploded, and that a modern system of science had been introduced, which possessed much greater powers than the ancient, because the powers of the latter were chimerical ['imaginary, fanciful'], while those of the former were real and practical; under such circumstances, I should certainly have thrown Agrippa aside, and, with my imagination warmed as it was, should probably have applied myself to the more rational theory of chemistry which has resulted from modern discoveries. It is even possible, that the train of my ideas would never have received that fatal impulse that led to my ruin. But the cursory glance my father had taken of my volume by no means assured me that he was acquainted with its contents; and I continued to read with the greatest avidity"(21-22).
Note how it might be written in active voice and without saying "the devil made me do it"--or, as you can plainly see, "It's all Dad's fault. I had a bad childhood," which, by the way, contradicts what he said only a couple of paragraphs earlier. Call Child Protective Services!
Here is the way I would translate it in a more active voice (though I'm still blaming Dad):
I fell in love with the old-fashioned kind of "natural science" when I was thirteen. My family had been on vacation, and because the weather was bad, I went into the library. There, I found one of Agrippa's books. Excited, I told my dad about my discovery. "That is a bunch of B.S.," he told me, which made me feel like an idiot. Because I was such a spoiled child, and my parents had always told me I was right about everything and that I would never fail at anything, I got angry. Now I knew that even my dad was an idiot. If only he had cared enough to explain why Agrippa was wrong, I might not--strike that-- I would never have done what I did.
Then, when he's fifteen, they go to their other house at Belrive. Again,the weather is bad. What "catastrophe" does Victor witness? What does he decide to do?
Who else does he study?
How smart his he--according to himself? How is Victor's education similar to Walton's?
Who is Ernest? How old is he? What is wrong with him?
Chapter II
Now he's seventeen. His parents want him to go to which university?
Elizabeth gets sick with what?
What is the outcome?
What happens to Victor's mom? What is her last wish?
What does Clerval decide to do with his life? Or, what is decided for Clerval's life? Why?
At least Victor acknowledges that he allowed himself to "indulge...in the most melancholy reflections" (26).
"I, who had ever been surrounded by amiable companions, continually engaged in endeavoring to bestow mutual pleasure, I was now alone. In the university, whither I was going, I must form my own friends, and be my own protector. My life had hitherto been remarkably secluded and domestic; and this had given me invincible repugnance to new countenances....I ardently desired the acquisition of knowledge. I had often, when at home, thought it hard to remain during my youth cooped up in one place, and longed to enter the world, and take my station among other human beings. Now my desires were complied with, and it would, indeed, have been folly to repent" (26).
Who is Professor M. Krempe? How does he influence poor, lonely young Victor?
What does he say about Magnus and Paracelsus?
How does Victor react to this? Do you think Victor has father issues? The answer is yes. Why?
Note how he describes M. Krempe.
Instead, Victor develops a child-like crush on M. Wladman. What is it about Waldman that attracts Victor? How does Waldman say exactly what Victor wants to hear?
Waldman, a teacher, calls Victor his "disciple" (28). What is up about that?
Is it Waldman's fault too, then, that Victor gets in trouble?
Chapter III
Victor admits that he gets things from both Krempe and Wladman. What does he get from Krempe? What does he get from Waldman--something that might be considered a little (not a lot--or in other words, not physical) inappropriate for a relationship between a teacher and a student.
Why does Victor decide to drop out of college? How does this remind you of Dr. Faustus?
"Whence, I often asked myself, did the principle of life proceed? It was a bold question, and one that has ever been considered as a mystery; yet with how many things are we on the brink of becoming acquainted, if cowardice or carelessness did not restrain our inquiries" (30).
"To examine the causes of life, we must first have recourse to death. I became acquainted with the science of anatomy: but this was not sufficient; I must also observe the natural decay and corruption of the human body" (30).
"I saw how the fine form of man was degraded and wasted; I beheld the corruption of death succeed to the blooming cheek of life; I saw how the worm inherited the wonders of the eye and brain. I paused, analyzing all the minutiae of causation, as exemplified in the change from life to death, and death to life, until from the midst of this darkness a sudden light broke in upon me--a light so brilliant and wondrous, yet so simple, that while I became dizzy with the immensity of the prospect which it illustrated, I was surprised that among so many men of genius, who had directed their inquiries toward the same science,that I alone should be reserved to discover so astonishing a secret" (30).
From Act I, scene i of Marlowe's Doctor Faustus:
Faustus: "Be a physician, Faustus, heap up gold/ And be eternized for some wondrous cure" (14-15).
Faustus: The end of physic is our bodies' health:/ Why, Faustus, hast thou not attained that end?/ Is not thy common talk sound aphorisms?/ Are not thy bills hung up as monuments/ Whereby whole cities have escaped the plague/ And thousand desperate maladies been cured?/ Yet art thou still but Faustus, and a man./ Couldst thou make men to live eternally/ Or, being dead, raise them to life again,/ Then this profession were to be esteemed" (17-26)
Back to Frankenstein:
"After days and nights of incredible labour and fatigue, I succeeded in discovering the cause of generation and life; nay, more, I became myself capable of bestowing animation upon lifeless matter" (30).
Labor--he's giving birth!
Animate: to give spirit and support to: encourage. To give life to. To give vigor and zest to. To move to action. To make or design in such a way as to create apparently spontaneous life-like movement (Merriam-Webster's Collegiate Dictionary--tenth edition).
The experience "soon gave place to delight and rapture" (31).
Rapture: a state or experience of being carried away by overwhelming emotion. A mystical experience in which the spirit is exalted to a knowledge of divine tings. An expression or manifestation of ecstasy or passion (Merriam-Webster's Collegiate Dictionary--tenth edition).
"After so much time spent in painful labor, to arrive at once at the summit of my desires, was the most gratifying consummation of my toils" (31).
Interesting diction, isn't it?
Note how often "light" is mentioned--in various forms. What do you make of that?
"Learn from me, if not by my precepts, at least by my example, how dangerous is the acquirement of knowledge, and how much happier that man is who believes his native town to be the world, than he who aspires to become greater than his nature will allow" (31).
Note how often he uses the word "labor" too.
How big is the creature that he creates?
Why does it have to be so big?
How does he build this creature? What is the scientific process? By the way, don't go by the movie versions....
What happens to Victor's health as he works on his creature? How does Victor's family react to his behavior? How does Victor respond to these entreaties?
"A human being in perfection ought always to preserve a calm and peaceful mind, and never to allow passion or a transitory desire to disturb his tranquillity. I do not think that the pursuit of knowledge is an exception to this rule" (33).
Amazingly, then Victor compares his pursuits to what great world-events?
Chapter IV
Note the time of year and the time of day. What do you make of this?
"His limbs were in proportion, and I had selected his features as beautiful. Beautiful!--Great God!" (34).
Not a very good assessment. Why? What does he really look like?
What happens in his dream of Elizabeth?
He quotes Dante. Why? What does Victor do--literally?
Who does he run into? What does he learn? What does Victor's friend do for him? How much does he know about what has happened?
The friend brings a letter from which other character? How does the friend refer to this character (relatively speaking)?
Chapter V
What does Victor learn about Ernest? How old is Ernest now?
Who is Justine Moritz? Who became Justine's protector? Why?
How is Justine similar to Elizabeth?
What was Justine's life at home?
Who is "little darling William"?
Who is Miss Mansfield?
How does Victor now feel about natural philosophy?
How does he physically react to such instruments?
Note how M. Krempe's talk irritates Victor:
"M. Krempe had now commenced an eulogy on himself, which happily turned the conversation that was so annoying to me" (43). What topic irritates Victor?
"Languages were his principal study; and he sought, by acquiring their elements, to open a field for self-instruction on his return to Geneva. Persian, Arabic, and Hebrew, gained his attention, after he made himself perfectly master of Greek and Latin. For my own part, idleness had ever been irksome to me; and now that I wished to fly from reflection, and hated my former studies, I felt great relief in being the fellow-pupil with my friend, and found not only instruction but consolation in the work of the orientalists. Their melancholy is soothing, and their joy elevating to a degree I never experienced in studying the authors of any other country. When you read their writings, life appears to consist in a warm sun and garden of roses,--in the smiles and frowns of a fair enemy, and the fire that consumes your own heart. How different from the manly and heroical poetry of Greece and Rome" (43).
What is Victor implying about "eastern" works of literature?
What is he implying about his friend?
"...he again taught me to love the aspect of nature, and the cheerful faces of children. Excellent friend! how sincerely did you love me, and endeavor to elevate my mind, until it was on a level with your own. A selfish pursuit had cramped and narrowed me, until your gentleness and affection warmed and opened my senses; I became the same hapy creature who, a few years ago, loving and beloved by all, had no sorrow or care. When happy, inanimate nature had the power of bestowing on me the most delightful sensations. A serene sky and verdant fields filled me with ecstasy. The present season was indeed divine; the flowers of spring bloomed in the hedges, while those of summer were already in bud: I was undistrubed by thoughts which during the preceding year had pressed upon me, notwithstanding my endeavors to throw them off, with an invincible burden" (43-44).
Chapter VI
Who writes to Victor?
What does Victor learn about William? Be specific.
What happened to Elizabeth?
What will Victor do as a result of what has happened? Who will accompany him?
Where does Victor stay for two days? What is that place like?
What is the name of the mountain that he sees from a distance? How does he react to the sight of that mountain?
Besides noticing all the "light"-associated words, and the "labor"--associated words, also notice the weather and its association with various events.
He sees his monster--how and where? How is that a little like Till We Have Faces? Do you think Lewis could have borrowed the image?
Note the passiveness of this language: "Day dawned; and I directed my steps towards the town" (49). The language is also dissociative. Look that up.
How is Victor's relationship with his monster similar to Victor's relationship with his father--or vice versa?
How does Victor excuse himself for not following through and actively pursuing his monster?
How long has it been since Victor has been home?
What does Victor learn about Justine Moritz?
Chapter VII
What happens at the trial?
How does the defendant behave?
What is his/her story about the events of that night?
What does Elizabeth say about the defendant?
Why does the defendant confess?
How does Victor react when the defendant says, "'Sir, you are very kind to visit me; you, I hope, do not believe that I am guilty'"?
The chapter and Volume ends with "But I--I was a wretch, and none ever conceived of the misery that I then endured" (58).
Why does and should Victor feel guilty?
END OF VOLUME I
VOLUME II: CHAPTER I
How does Victor's father react to Victor's grief? It reminds me a little of "Hamlet."
The family goes where to recover?
In what kind of activity does Victor engage in in order to try to find peace?
How is Victor's father?
How is Elizabeth?
The word "despair" is used a lot--either by or regarding Victor.
Despair: to lose all hope or confidence (Merriam-Webster). A kind of hubris that some characters use to justify their bad behavior--a kind of "victimization" and, frankly, whiney (Ms. Losen).
As a result of Victor's despair, the family journeys to the valley of what?
What is this place like?
What mountain can be seen there?
What river is nearby, loud enogh to be heard under Victor's window?
VOLUME II: CHAPTER II
They arrive at Arveiron and Victor revels in the awesomeness of nature. "They elevated me from all littleness of feeling; adn although they did not remove my grief, they subdued and tranquilized it" (63).
What does Victor's father think about Victor's new state of mind?
Note how the weather causes his feelings to change yet again. How does he try to hide this? Why?
Know what he resolves to do and where (Montanvert). Be able to recognize it by description. Victor is also happy to be alone. Remember what I said about early forms of psychology. Spending too much time alone was considered a kind of pathology that was treated by alienists.
Know who he quotes in the poetic passage on page 64. Mary's putting in a plug for her husband.
In the distance, what mountain does he see?
Note how Victor perceives the monster: "He bounded over the crevices in the ice, among which I had walked with caution; his stature also, as he approached, seemed to exceed that of man. I was troubled: a mist came over my eyes [note the passive language here], and I felt a faintness sieze me; but I was quickly restored by the cold gale of the mountains. I perceived, as the shape came nearer, (sight tremendous and abhorred!) that it was the wretch whom I had created. I trembled with rage and horror, resolving to wait his approach, and then close in on him in mortal combat. He approached; his countenance bespoke bitter anguish, combined with disdain and malignity, while its unearthly uglinesss rendered it almost too horrible for human eyes. But I scarcely observed this; anger and hatred had at first deprived me of utterance, [again passive] and I recovered only to overwhelm him with words expressive of detestation and contempt" (65).
By the way, you might notice that I am putting a lot of quotes in this section. I have a reason for this. Pay attention. Now, remember these words:
"'Devil!' I exclaimed, 'do you dare approach me? and do not you fear the fierce vengeance of my arm wreaked on your miserable head? Begone, vile insect! or rather stay, that I may trample you to dust! and, oh, that I could, with the extinction of your miserable existence, rstore those victims whom you have so diablically murdered!'" (65).
And the creature's response:
"'All men hate the wretched....Yet you, my creator, detest and spurn me, thy creature, to whom thou art bound by ties only dissoluble by the annihilation of one of us. You purpose to kill me. How dare you sport thus with life? Do your duty towards me, and I will do mine towards you and the rest of mankind'" (65).
What does the monster then promise to do if Victor does not comply?
Again, note Victor's response: "'Abhorred monster! fiend that thou art! the tortures of hell are too mild a vengeance for thy crimes. Wretched devil! you reproach me for your creation; come on then, that I may extinguish the spark which I so negligently bestowed'" (65-66).
I don't know about you, but I'm putting my money on the creature.
"My rage was without bounds; I sprang on him, impelled by all the feelings which can arm one being against the existence of another" (66).
Uncontrolled passions always seem to be at the root of all tragedies.
Remember the monster's response. Pay special attention to the old-fashioned diction:
"'Be calm! I entreat you to hear me, to give vent to your hatred on my devoted head. Have I not suffered enough, that you seek to increase my misery? Life, although it may only be an accumulation of anguish, is dear to me, and I will defend it. Remember, thou hast made me more powerful than thyself; my height is superior to thine; my joints more supple. But I will not be tempted to set myself in opposition to thee. I am thy creature, and I will be even mild and docile to my natural lord and king, if thou wilt also perform thy part, the which thou owest me. Oh, Frankenstein, be not equitable to every other, and trample upon me alone, to whom thy justice, and even thy clemency and affection, is most due. Remember, that I am thy creature: I ought to be thy Adam; but I am rather the fallen angel, whom thou drivest from joy for no misdeed. Every where I see bliss, from which I alone am irrevocably excluded. I was benevolent and good; misery made me a fiend. Make me happy, and I shall again be virtuous'" (66).
Remember this, students, one only finds true happiness from within. You cannot get it from someone else.
Note Victor's response: "'Begone! I will not hear you. There can be no community between you and me; we are enemies. Begone, or let us try our strength in a fight, in which one must fall'" (66).
Pretty Biblical, eh? Fall? Adam and Eve?
"'How can I move thee? Will no entreaties cause thee to turn a favorable eye upon thy creature, who implores thy goodness and compassion. Believe me, Frankenstein: I was benevolent; my soul glowed with love and humanity: but am I not alone, miserably alone? You, my creator, abhor me; what hope can I gather from your fellow creatures, who owe me nothing? they spurn and hate me....Shall I not then hate them who abhor me? I will keep no terms with my enemies. I am miserable, and they shall share my wretchedness....Let your compassion be moved, and do not disdain me'" (66).
Instead of soothing him, Victor says all the wrong things: "'Why do you call to my remembrance circumstances of which I shudder to reflect, that I have been the miserable origin and author? Cursed be the day, abhorred devil, in which you first saw light! Cursed (althogh I curse myself) be the hands the formed you! You made me wretched beyond expression. You have left me no power to conside whether I am just to you, or not. Begone! relieve me from the sight of your detested form'" (67).
What ever happened to letting someone down easy?
Note the monster's response:
"Thus I relieve thee, my creator,' he said, and placed his hated hands before my eyes, which I flung from me with violence; 'thus I take from thee a sight which you abhor'" (67).
Volume II, Chapter III
The monster tells his story. He is a huge baby. Pay attention to how like childbirth and infancy his early experiences are. "'The light became more and more oppressive to me; and, the heat wearying me as I walked, and I believe, descended...'" (68).
Developmentally, he really is an infant too, unable to differentiate things early on.
Pay attention to his diction. He is off-and-on passive, whereas Victor is much more passive overall.
Pay attention to the words he uses--especially related to seeing--light, visions, "fixed my eyes" (68), etc.
Light/enlightenment. The monster's light is primarily the moon, however.
Note the several references (footnoted) to Milton's Paradise Lost.
Pay attention to the weather. Compare to Victor.
In chapter 3, the monster finds himself in a village. Understandably, the villagers are scared and angry. Note all the references to fire.
Fire and ice--the bottom of Hell (at least according to Dante) is a frozen lake.
He references (and uses as a comparison) the nightingale. Remember, birds of prey generally forbode bad things. The Nightingale is an especially bad omen because it is a night-bird.
Where does the monster begin to live?
Be able to recognize the young man and the young woman. How are they related? WHo is the old man?
Volume II, Chapter IV
Here we see "monster as stalker." It's creepy and pitiful.
Why are these people sad?
How does the creature try to mitigate their unhappiness?
How does the monster learn how to speak?
What are his first words?
Note how much more empathic the monster is (as compared to his creator): "'The gentle manners and beauty of the cottagers greatly endeared them to me: when they were unhappy, I felt depressed; when they rejoiced, I sympathized in their joys'" (75). Unlike the monster's family (Victor), these peope try to help each other out, to cheer each other up.
What other good things does the monster do for these people? What other wonderful words does he learn? Which of the cottagers possesses (or is there more than one?) musical talents? What instrument? What kind of music?
The monster loves nature a lot more than Victor: "'The pleasant showers and genial warmth of spring greatly altered the aspect of the earth. Men, who before this change seemed to have been hid in caves, dispersed themselves, and were employed in various arts of cultivation. The birds sang in more cheerful notes, and the leaves began to bud forth on the trees. Happy, happy earth! Fit habitation for gods, which, so short a time before, was bleak, damp, and unwholesome. My spirits were elvated by the enchanting appearance of nature; the past was blotted from my memory, the present was tranquil, and the future was gilded by bright rays of hope, and anticipations of joy'" (77).
VOLUME II--CHAPTER V
The monster is a true romantic.
Why is Felix unhappy in love?
Be ready to describe Felix's beloved and her background.
Know the names of the family and their history.
Remember that the monster keeps referring to the family as his "protectors."
Pay attention to the way the monster sees the family--the way he gazes upon them, etc. Safie is associated with the Nightingale. Remember what I said about Nightingales.
In what way is the monster similar to Safie?
Know the names of the books mentioned.
Besides looks, how else are human beings judged--according to the monster's observations?
Volume II, Chapter VI
Know the family name of these people. Note also that the spelling changes later.
Know about their "noble" background and from where they hail. I hope you noticed the racist nature of the diction. Maybe Safie's father is awful or maybe the author has some prejudices. On the other hand, Mary Shelley would have known all about sexism in her own culture.
What kind of work did Safie's father do?
What was Safie's mother?
Pay attention to the courtly love aspects of this love story. Be able to recognize some of the common motifs.
How does Safie's father trick Felix? Where was the family exiled?
How long were they in prison?
How did they end up where they ended up?
Where did Safie's father end up going?
VOLUME II--CHAPTER VII
Which books does the monster happen to find? Looking at the footnotes in your book, what is significant about these works?
Is it the fault of those books that the monster is unhappy? Think about that. It reminds me of Paolo and Francesca in Inferno--and how they complain about that naughty story of Lancelot and Guenivere--"that pander"--they call it--for their bad behavior.
What other "book" or "text" does the monster find? What does he learn from this? It seems a little contrived, if you ask me.
"'Hateful day when I received life!' I exclaimed in agony. 'Cursed creator! why did you form a monster so hideous that even you turned from me in disgust? God in pity made man beautiful and alluring, after his own image; but mine is a filthy type of your's, more horrid from its very resemblance. Satan had his companions, fellow-devils, to admire and encourage him, but I am solitary and detested'" (87-88).
What is wrong with this logic?
Now, notice how he gets all passive: "'...but when I contemplated the virtues of the cottagers, their amiable and benevolent dispositions, I persuaded myself that when they should become acquainted with my admiration of their virtues, they would compassionate [ug, not a word] me, and overlook my personal deformity'" (88).
Then he gets active again and there's all that resolving! Of whom does that remind you?
"Could they turn from their door one, however monstrous, who solicited their compassion and friendship? I resolved, at least, not to despair, but in every way fit myself for an interview with them which would decide my fate'" (88).
"'I endeavored to crush these fears, and to fortify myself for the trial which in a few months I resolved to undergo; and sometimes I allowed my thoughts, unchecked by reason, to ramble in the fields of Paradise, and dared to fancy amiable and lovely creatures sympathizing with my feelings and cheering my gloom; their angelic countenances breathed smiles of consolation. But it was all a dream: no Eve soothed my sorrows, or shared my thoughts; I was alone. I remembered Adam's supplication to his Creator, but where was mine? he had abandoned me, and in the bitterness of my heart, I cursed him'" (88).
How does the monster plan to introduce himself? What is his plan?
How do the children react when they see the creature?
VOLUME II, CHAPTER VIII
Again, note the references to light: "'Cursed, cursed creator! Why did I live? Why, in that instant, did I not extinguish the spark of existence which you had so wantonly bestowed?'" (91).
Let there be light!
Then he gets all passive, even dissociative: "'I know not; despair had not yet taken possession of me; my feelings were those of rage and revenge'" (92).
Then he gets active: "'I could with pleasure have destroyed the cottage and its inhabitants, and have glutted myself with their shrieks and misery'" (92).
I don't think this guy would be a good candidate for a long-term relationship. He only wants the "better" of the "for better or for worse" part. It also reminds me of Clytemnestra ("Agamemnon") triumphing, doing the touch-down dance, just after she has murderd her husband.
He gives "'vent to my anguish in fearful howlings. I was like a wild beast that had broken the toils; destroying the objects that obstructed me, and ranging through the wood with a stag-like swiftness. Oh! what a miserable night I passed! the cold stars shone in mockery, [this sounds so self-important!] and the bare trees waved their branches above me: now and then the sweet voice of a bird burst forth amidst the universal stillness. All, save I, were at rest or in enjoyment: I, like the arch fiend, bore a hell within me, and then to have sat down and enjoyed the ruin'" (92).
Notice how his heart is hardening. He hears the "sweet voice" of the bird, but then he chooses to see everything else in a negative light. Also, no one has ever suffered more than he? That is a little--no, a lot--naive. We have all probably felt like that, but it is not necessarily true. All you have to do is to open your newspaper. In other words, his statement is narcissistic.
"...bore a hell within me" also reminds me of Mephistophilis words in Act I, scene iii of Doctor Faustus:
"FAUSTUS: ...This word 'damnation' terrifies not me
For I confound hell in Elysium;
My ghost be with the old philosophers!
But leaving these vain trifles of men's souls--
Tell me, what is that Lucifer thy lord?
MEPHISTOPHILIS: Arch-regent and commander of all spirits.
FAUSTUS: Was not that Lucifer an angel once?
MEPHISTOPHILIS: Yes, Faustus, and most dearly loved of God.
FAUSTUS: How comes it, then, that he is prince of devils?
MEPHISTOPHILIS: O, by aspiring pride and insolence,
For which God threw him from the face of heaven.
FAUSTUS: And what are you that live with Lucifer?
MEPHISTOPHILIS: Unhappy spirits that fell with Lucifer,
Conspired against our God with Lucifer,
And are forever damned with Lucifer.
FAUSTUS: Where are you damned?
MEPHISTOPHILIS: In hell.
FAUSTUS: How comes it, then, that thou art out of hell?
MEPHISTOPHILIS: Why, this is hell, nor am I out of it;
Thinkst thou that I who saw the face of God
And tasted the eternal joys of heaven
Am not tormented with ten thousand hells
In being deprived of everlasting bliss?
O Faustus, leave these frivolous demands
Which strike a teror to my fainting soul!" (61-86) .
Has the creature seen the face of God in these lovely cottagers?
Back to Frankenstein:
Like Victor, the monster is "restored" by good weather.
Note the dissociative and passive language:
"When my hunger was appeased, I directed my steps towads the well-known path that conducted to the cottage. All there was at peace. I crept into my hovel, and remained insilent expectationof the accustomed hour when the family arose. The hour past, the sun mounted high in the heavens, but the cottagers did not appear. I trembled violently, apprehending some dreadful misfortune. The inside of the cottage was dark, and I heard no motion; I cannot describe the agony of this suspense" (93).
Felix appraches--with "back-up." He's actually rather nice in telling the monster to go. He doesn't shoot him or anything.
Free will: "My protectors had departed, and had broken the only link that held me to the world. For the first time the feelings of revenge and hatred filled my bosom [passive and dissociative] , and I did not strive to control them [active] ; but, allowing myself to be borne away by the stream, [passive] I bent my mind towards injury and death.[active]. When I thought of my friends, of the mild voice of De lacy, the gentle eyes of Agatha, and the exquisit beauty of the Arabian, these thoughts vanished and a gush of tears somewhat soothed me[passive]. But again, when I reflected that they had spurned and deserted me [active], anger returned [active], a rage of anger; and, unable to injure any thing human, I turned my fury towards inanimate objects" (93).
Do you see how he is hardening his heart? This is willful. He cannot "injure anything human"--yet, but he is taking the first steps in that direction. Each step, as any D.A. or even police detective will tell you, means that he is "escalating." Violent crimes, unless they are "crimes of passion," rarely begin with cold-blooded murder.
Again, note how this sounds like Doctor Faustus (though the editors reference Paradise Lost):
"And now, with the world before me, whither should I bend my steps?" (94).
By the way, remember how many times Doctor Faustus uses the word resolve. Also, Faustus loved Agrippa in Act I, scene i:
"Tis magic, magic, that hath ravished me!/ Then, gentle friends, aid me in this attempt,/ And I, that have with concise syllogisms,/ Graveled the pastors of the German church,/ And made the flowering pride of Wittenberg/ Swarm to my problems as the infernal spirits/ On sweet Musaeus when he came to hell,/ Will be as cunning as Agrippa was/ Whose shadows made all Europe honor him" (111-118).
And, like this monster, Faustus resolves to sign the contract with the devil. Remember, his blood congeals. Now, note how these words sound a lot like this monster in Act II, scene i:
"'Homo, fuge!' Whither should I fly?/ If unto God, he'll throw me down to hell./ My sense are deceived; here's nothing writ./ O yes, I see it plain: even here is writ/ 'Homo, fuge!' Yet shall not Faustus fly" (78-81).
The monster also reminds me a lot of Cain, a marked man (from Genesis, in the Old Testament), who is forced to wander forever.
His wanderings begin in the winter, but then spring arrives. He sees a young girl. What transpires between the monster and the little girl? How is he "misread"? How is the monster injured? Where does he go to heal?
Note his description of young William; it sounds almost like a description of the beloved, mostly because he gazes upon him. Then the gazing gets transposed with an act of violence:
"Suddenly, as I gazed on him, an idea seized me [passive], that this little creature was unprejudiced, and had lived too short a time to have imbibed a horror of deformity. If, therefore, I could seize him, and educate him as my companion and friend, I should not be so desolate in this peopled earth" (96).
I don't know about you, but I don't think I would be someone's friend if he abducted (or seized) me.
How does little William react? He's kind of a snotty little kid. No manners. So, of course, the monster kills him. Again, note the diction. Gazing and killing really don't go together. Glaring, yes, but not gazing.
"I gazed on my victim, and my heart swelled with exultation and hellish triumph: clapping my hands, I exclaimed, 'I, too, can create desolation; my enemy is not impregnable; this death will carry despair to him, and a thousand other miseries shall torment and destroy him" (97).
What artifact does the monster take from William? Be very specific. What does he do with this object?
VOLUME II--CHAPTER IX
The monster orders Victor to create a woman for him. That will make him happy. Obviously, the monster hasn't seen a real marriage before. Some of us are happy, but there is no guarantee that this will be the case. People have to work at marriage to make it happy. There is no Cinderella story where people automatically live happily-ever-after, without any bumps in the road. People can live happily, but they won't be happy all the time. That's only in the fairy tales and in the movies. Even those with the best marriages go through trials. But life itself is a trial.
Note how Victor vacillates. And the monster does a great job of using reason: "'You are in the wrong,' said the fiend; 'and, instead of threatening, I am content to reason with you. I am malicious because I am miserable; am I not shunned and hated by all mankind? You, my creator, would tear me to pieces, and triumph; remember that, and tell me why I should pity man more thna he pities me? You would not callit murder, if you could precipitate me into one of those ice-rifts, and destroy my frame, the wokr of your own hands. Shall I respect man, when he condemns me? Let him live with me in the interchange of kindness, and, instead of injury, I would bestow [sounds like God speaking here--the Monty Python one in the clouds] every benefit upon him with tears of gratitude at his acceptance. But that cannot be; the human senses are insurmountable barriers to our union. Yet mine shall not be the subjmission of abject slavery. I will revenge my injuries: if I cannot inspire love, I will cause fear; and chiefly towards you my arch-enemy, because my creator, do I swear inextinguishable hatred. Have a care: I will work at your destruction, nor finish until I desolate your heart so that you cures the hour of your birth'" (98).
If Victor will create a companion, the monster will go where? Note, he also says he will become a vegetarian.
To be continued....
Letter 1
Know the date (time of year) and location. Know his sister's name.
Pay attention to the pretentious diction and what it tells us about Walton. He's a little full of himself. He's also a big whiner. Poor me, poor me. "My education was neglected" (8), etc. Also, he bemoans the fact that his father did not want an adventurer's life for his son. Victor Frankenstein will also have daddy issues. Maybe their daddies knew more about their sons than their sons want to admit.
Oh, and super-barf! "I also became a poet, and for one year lived in a Paradise of my own creation: I imagined that I also might obtain a niche in the temple where the names of Homer and Shakespeare are consecrated" (8). Give me a break.
Look at Walton and Frankenstein as literary alter-egos. They are very much alike. They both think they are better than everyone else. They are both lonely because of this. Also, both, like Faustus, kind of play God, exploring in areas that are somehow forbidden.
Faustus--Chorus: Now is he born, his parents base of stock,/ In Germany within a town called Rhode;/ At riper years to Wittenberg he went/ Whereas his kinsmen chiefly brought him up;/ So much he profits in divinity,/ The fruitful plot of scholarism graced,/ That shortly he was graced with Doctor's name,/ Excelling all whose sweet delight disputes/ In th' heavenly matters of theology,/ Till, swollen with cunning [learning], of self-conceit,/ His waxen wings did mount above his reach/ And melting, heavens conspired his overthrow./ For, falling to devilish exercise/ And glutted more with learning's golden gifts,/ He surfeits upon cursed necromancy;/ Nothing so sweet as magic is to him,/ Which he prefers before his chiefest bliss" (11-27).
Look at all the words that have associations with "heaven" and all the words that relate to "passion." They are all marks of the over-reacher.
Letter II:
Here he describes his crew, and though he seems to compliment them, he always throws in a bit of an insult. Not only that but he says he is "occupied in collecting my sailors" (8). This sounds more like a kid collecting toy soldiers.
He talks a lot about Uncle Thomas. Why?
How old is R. Walton?
From what port do they depart? What do you make of the name of this port--in terms of the over-reacher's theme?
Note how he describes his lieutenant. What about the description is complimentary. What is not? Why might one not want to hire this guy?
Pay special attention to what he says about the master. Is this the kind of ship-master you would want for a dangerous mission? I doubt it. Explain why.
He also alludes to "The Rime of the Ancient Mariner" in this line: "It is impossible to communicate to you a conception of the trembling sensation, half pleasurable and half fearful, with which I am preparing to depart. I am going to unexplored regions, to 'the land of mist and snow;' but I shall kill no albatross, therefore do not be alarmed for my safety" (11).
"The Rime of the Ancient Mariner" (1798) is by romantic poet Samuel Taylor Coleridge. Romantics were known for celebrating a kind of natural pantheism, that is, a love for the wonders and beauties of this world. It's almost worshipful of nature, thus the Ancient Mariner's fate and his eventual penance.
Letter III
It's not too bad because it is summer.
Letter IV
Note the dates of the letter and the encounter with something strange. Describe the strange thing.
He also meets a man with a dog on a ship. Where is the man from?
This is where Walton meets his alter-ego. Consider how these two are alike. In what condition is this man?
What "aroused the stranger's attention"?
Next letter--not enumerated like the others but dated. Note the date.
Walton's "affection"--why? What is it about this "guest"? How does he see him as he sees himself? How is Walton projecting on to Victor?
In what ways were their childhood experiences similar?
Volume I: Chapter I
Where is the stranger from? What kind of a family does he have?
Who is Beaufort? What happened to him?
Who is Caroline Beaufort?
How does Victor describe his childhood? Is he perhaps a little spoiled? Explain.
Who is Elizabeth Lavenza?
Note how he describes her. What does it tell you about how he regards her? Is she a friend? Is she a sibling? Is she a pet? Is she a toy?
"She was docile and good tempered, yet gay and playful as a summer insect. Although she was lively and animated, her feelings were strong and deep, and her disposition uncommonly affectionate. No one could better enjoy liberty, yet no one could submit with more grace than she did to constraint and caprice. Her imagination was luxuriant, yet her capability of application was great. Her person was the image of her mind; her hazel eyes, although as lively as a bird's, possessed an attractive softness. Her figure was light and airy; and, though capable of enduring great fatigue, she appeared the most fragile creature in the world. While I admired her understanding and fancy, I loved to tend on her, as I should on my favorite animal; and I never saw so much grace both of person and mind united to so little pretension" (19-20).
Does he think she's a little simple-minded?
Or is she like Dante's Beatrice--a little girl--who becomes an angel of sorts?
"Every one adored Elizabeth [note that it is not "everyone" but "every one"]. If the servants had any request to make, it was always through her intercession" (20).
He is canonizing her! Intercession--that is what Beatrice does for Dante--acts through Divine Intercession--to "save" him and to "save the world" by telling his story. Is that what is going on here?
"The world was to me a secret, which I desired to discover; to her it was a vacancy; which she sought to people with imaginations of her own" (20).
Does Victor consider himself superior? Or is he lauding her as something equally important, perhaps complementary?
Know about Henry Clerval and his background. Consider Clerval's background with Faustus' background and compare to Victor's "noble" background.
How is Henry like Elizabeth? How is then, perhaps, inferior to Victor?
What is wrong with Victor's upbringing? He describes it as ideal, but he implies otherwise.
Where does he imply it? Look for quotes.
Natural Philosophy: "the study of nature (i.e. science). Attendant spirit or demon"--from your book (21).
Note the passive language. You might argue that it arises from a style of writing of the time; I would argue that it has more to do with not taking responsibility. See if this style changes later in the novel or in one of the narratives.
"Natural philosophy is the genius that has regulated my fate [the book's footnotes about the demon apply here]; I desire therefore, in this narration, to state those facts which led to my predilection for science. When I was thirteen years of age, we all went on a party of pleasure to the baths near Thonon: the inclemency of the weather obliged us to remain a day confined to the inn. In this house I chanced to find a volume of the works of Cornelius Agrippa [footnoted as 'German physician, author of De Occulta Philosophia (1531), and a reputed magician'--Faustus also liked Agrippa]. I opened it with apathy; the theory which he attempts to demonstrate, and the wonderful facts which he relates, soon changed this feeling into enthusiasm. A new light seemed to draw upon my mind; and, bounding with joy, I communicated my discovery to my father. I cannot help remarking here the many opportunities instructors possess of directing the attention of their pupils to useful knowledge, which they utterly neglect. My father looked carelessly at the title-page of my book, and said, 'Ah! Cornelius Agrippa! My dear Victor, do not waste your time upon this; it is sad trash'
"If, instead of this remark, my father had taken the pains to explain to me, that the principles of Agrippa had been entirely exploded, and that a modern system of science had been introduced, which possessed much greater powers than the ancient, because the powers of the latter were chimerical ['imaginary, fanciful'], while those of the former were real and practical; under such circumstances, I should certainly have thrown Agrippa aside, and, with my imagination warmed as it was, should probably have applied myself to the more rational theory of chemistry which has resulted from modern discoveries. It is even possible, that the train of my ideas would never have received that fatal impulse that led to my ruin. But the cursory glance my father had taken of my volume by no means assured me that he was acquainted with its contents; and I continued to read with the greatest avidity"(21-22).
Note how it might be written in active voice and without saying "the devil made me do it"--or, as you can plainly see, "It's all Dad's fault. I had a bad childhood," which, by the way, contradicts what he said only a couple of paragraphs earlier. Call Child Protective Services!
Here is the way I would translate it in a more active voice (though I'm still blaming Dad):
I fell in love with the old-fashioned kind of "natural science" when I was thirteen. My family had been on vacation, and because the weather was bad, I went into the library. There, I found one of Agrippa's books. Excited, I told my dad about my discovery. "That is a bunch of B.S.," he told me, which made me feel like an idiot. Because I was such a spoiled child, and my parents had always told me I was right about everything and that I would never fail at anything, I got angry. Now I knew that even my dad was an idiot. If only he had cared enough to explain why Agrippa was wrong, I might not--strike that-- I would never have done what I did.
Then, when he's fifteen, they go to their other house at Belrive. Again,the weather is bad. What "catastrophe" does Victor witness? What does he decide to do?
Who else does he study?
How smart his he--according to himself? How is Victor's education similar to Walton's?
Who is Ernest? How old is he? What is wrong with him?
Chapter II
Now he's seventeen. His parents want him to go to which university?
Elizabeth gets sick with what?
What is the outcome?
What happens to Victor's mom? What is her last wish?
What does Clerval decide to do with his life? Or, what is decided for Clerval's life? Why?
At least Victor acknowledges that he allowed himself to "indulge...in the most melancholy reflections" (26).
"I, who had ever been surrounded by amiable companions, continually engaged in endeavoring to bestow mutual pleasure, I was now alone. In the university, whither I was going, I must form my own friends, and be my own protector. My life had hitherto been remarkably secluded and domestic; and this had given me invincible repugnance to new countenances....I ardently desired the acquisition of knowledge. I had often, when at home, thought it hard to remain during my youth cooped up in one place, and longed to enter the world, and take my station among other human beings. Now my desires were complied with, and it would, indeed, have been folly to repent" (26).
Who is Professor M. Krempe? How does he influence poor, lonely young Victor?
What does he say about Magnus and Paracelsus?
How does Victor react to this? Do you think Victor has father issues? The answer is yes. Why?
Note how he describes M. Krempe.
Instead, Victor develops a child-like crush on M. Wladman. What is it about Waldman that attracts Victor? How does Waldman say exactly what Victor wants to hear?
Waldman, a teacher, calls Victor his "disciple" (28). What is up about that?
Is it Waldman's fault too, then, that Victor gets in trouble?
Chapter III
Victor admits that he gets things from both Krempe and Wladman. What does he get from Krempe? What does he get from Waldman--something that might be considered a little (not a lot--or in other words, not physical) inappropriate for a relationship between a teacher and a student.
Why does Victor decide to drop out of college? How does this remind you of Dr. Faustus?
"Whence, I often asked myself, did the principle of life proceed? It was a bold question, and one that has ever been considered as a mystery; yet with how many things are we on the brink of becoming acquainted, if cowardice or carelessness did not restrain our inquiries" (30).
"To examine the causes of life, we must first have recourse to death. I became acquainted with the science of anatomy: but this was not sufficient; I must also observe the natural decay and corruption of the human body" (30).
"I saw how the fine form of man was degraded and wasted; I beheld the corruption of death succeed to the blooming cheek of life; I saw how the worm inherited the wonders of the eye and brain. I paused, analyzing all the minutiae of causation, as exemplified in the change from life to death, and death to life, until from the midst of this darkness a sudden light broke in upon me--a light so brilliant and wondrous, yet so simple, that while I became dizzy with the immensity of the prospect which it illustrated, I was surprised that among so many men of genius, who had directed their inquiries toward the same science,that I alone should be reserved to discover so astonishing a secret" (30).
From Act I, scene i of Marlowe's Doctor Faustus:
Faustus: "Be a physician, Faustus, heap up gold/ And be eternized for some wondrous cure" (14-15).
Faustus: The end of physic is our bodies' health:/ Why, Faustus, hast thou not attained that end?/ Is not thy common talk sound aphorisms?/ Are not thy bills hung up as monuments/ Whereby whole cities have escaped the plague/ And thousand desperate maladies been cured?/ Yet art thou still but Faustus, and a man./ Couldst thou make men to live eternally/ Or, being dead, raise them to life again,/ Then this profession were to be esteemed" (17-26)
Back to Frankenstein:
"After days and nights of incredible labour and fatigue, I succeeded in discovering the cause of generation and life; nay, more, I became myself capable of bestowing animation upon lifeless matter" (30).
Labor--he's giving birth!
Animate: to give spirit and support to: encourage. To give life to. To give vigor and zest to. To move to action. To make or design in such a way as to create apparently spontaneous life-like movement (Merriam-Webster's Collegiate Dictionary--tenth edition).
The experience "soon gave place to delight and rapture" (31).
Rapture: a state or experience of being carried away by overwhelming emotion. A mystical experience in which the spirit is exalted to a knowledge of divine tings. An expression or manifestation of ecstasy or passion (Merriam-Webster's Collegiate Dictionary--tenth edition).
"After so much time spent in painful labor, to arrive at once at the summit of my desires, was the most gratifying consummation of my toils" (31).
Interesting diction, isn't it?
Note how often "light" is mentioned--in various forms. What do you make of that?
"Learn from me, if not by my precepts, at least by my example, how dangerous is the acquirement of knowledge, and how much happier that man is who believes his native town to be the world, than he who aspires to become greater than his nature will allow" (31).
Note how often he uses the word "labor" too.
How big is the creature that he creates?
Why does it have to be so big?
How does he build this creature? What is the scientific process? By the way, don't go by the movie versions....
What happens to Victor's health as he works on his creature? How does Victor's family react to his behavior? How does Victor respond to these entreaties?
"A human being in perfection ought always to preserve a calm and peaceful mind, and never to allow passion or a transitory desire to disturb his tranquillity. I do not think that the pursuit of knowledge is an exception to this rule" (33).
Amazingly, then Victor compares his pursuits to what great world-events?
Chapter IV
Note the time of year and the time of day. What do you make of this?
"His limbs were in proportion, and I had selected his features as beautiful. Beautiful!--Great God!" (34).
Not a very good assessment. Why? What does he really look like?
What happens in his dream of Elizabeth?
He quotes Dante. Why? What does Victor do--literally?
Who does he run into? What does he learn? What does Victor's friend do for him? How much does he know about what has happened?
The friend brings a letter from which other character? How does the friend refer to this character (relatively speaking)?
Chapter V
What does Victor learn about Ernest? How old is Ernest now?
Who is Justine Moritz? Who became Justine's protector? Why?
How is Justine similar to Elizabeth?
What was Justine's life at home?
Who is "little darling William"?
Who is Miss Mansfield?
How does Victor now feel about natural philosophy?
How does he physically react to such instruments?
Note how M. Krempe's talk irritates Victor:
"M. Krempe had now commenced an eulogy on himself, which happily turned the conversation that was so annoying to me" (43). What topic irritates Victor?
"Languages were his principal study; and he sought, by acquiring their elements, to open a field for self-instruction on his return to Geneva. Persian, Arabic, and Hebrew, gained his attention, after he made himself perfectly master of Greek and Latin. For my own part, idleness had ever been irksome to me; and now that I wished to fly from reflection, and hated my former studies, I felt great relief in being the fellow-pupil with my friend, and found not only instruction but consolation in the work of the orientalists. Their melancholy is soothing, and their joy elevating to a degree I never experienced in studying the authors of any other country. When you read their writings, life appears to consist in a warm sun and garden of roses,--in the smiles and frowns of a fair enemy, and the fire that consumes your own heart. How different from the manly and heroical poetry of Greece and Rome" (43).
What is Victor implying about "eastern" works of literature?
What is he implying about his friend?
"...he again taught me to love the aspect of nature, and the cheerful faces of children. Excellent friend! how sincerely did you love me, and endeavor to elevate my mind, until it was on a level with your own. A selfish pursuit had cramped and narrowed me, until your gentleness and affection warmed and opened my senses; I became the same hapy creature who, a few years ago, loving and beloved by all, had no sorrow or care. When happy, inanimate nature had the power of bestowing on me the most delightful sensations. A serene sky and verdant fields filled me with ecstasy. The present season was indeed divine; the flowers of spring bloomed in the hedges, while those of summer were already in bud: I was undistrubed by thoughts which during the preceding year had pressed upon me, notwithstanding my endeavors to throw them off, with an invincible burden" (43-44).
Chapter VI
Who writes to Victor?
What does Victor learn about William? Be specific.
What happened to Elizabeth?
What will Victor do as a result of what has happened? Who will accompany him?
Where does Victor stay for two days? What is that place like?
What is the name of the mountain that he sees from a distance? How does he react to the sight of that mountain?
Besides noticing all the "light"-associated words, and the "labor"--associated words, also notice the weather and its association with various events.
He sees his monster--how and where? How is that a little like Till We Have Faces? Do you think Lewis could have borrowed the image?
Note the passiveness of this language: "Day dawned; and I directed my steps towards the town" (49). The language is also dissociative. Look that up.
How is Victor's relationship with his monster similar to Victor's relationship with his father--or vice versa?
How does Victor excuse himself for not following through and actively pursuing his monster?
How long has it been since Victor has been home?
What does Victor learn about Justine Moritz?
Chapter VII
What happens at the trial?
How does the defendant behave?
What is his/her story about the events of that night?
What does Elizabeth say about the defendant?
Why does the defendant confess?
How does Victor react when the defendant says, "'Sir, you are very kind to visit me; you, I hope, do not believe that I am guilty'"?
The chapter and Volume ends with "But I--I was a wretch, and none ever conceived of the misery that I then endured" (58).
Why does and should Victor feel guilty?
END OF VOLUME I
VOLUME II: CHAPTER I
How does Victor's father react to Victor's grief? It reminds me a little of "Hamlet."
The family goes where to recover?
In what kind of activity does Victor engage in in order to try to find peace?
How is Victor's father?
How is Elizabeth?
The word "despair" is used a lot--either by or regarding Victor.
Despair: to lose all hope or confidence (Merriam-Webster). A kind of hubris that some characters use to justify their bad behavior--a kind of "victimization" and, frankly, whiney (Ms. Losen).
As a result of Victor's despair, the family journeys to the valley of what?
What is this place like?
What mountain can be seen there?
What river is nearby, loud enogh to be heard under Victor's window?
VOLUME II: CHAPTER II
They arrive at Arveiron and Victor revels in the awesomeness of nature. "They elevated me from all littleness of feeling; adn although they did not remove my grief, they subdued and tranquilized it" (63).
What does Victor's father think about Victor's new state of mind?
Note how the weather causes his feelings to change yet again. How does he try to hide this? Why?
Know what he resolves to do and where (Montanvert). Be able to recognize it by description. Victor is also happy to be alone. Remember what I said about early forms of psychology. Spending too much time alone was considered a kind of pathology that was treated by alienists.
Know who he quotes in the poetic passage on page 64. Mary's putting in a plug for her husband.
In the distance, what mountain does he see?
Note how Victor perceives the monster: "He bounded over the crevices in the ice, among which I had walked with caution; his stature also, as he approached, seemed to exceed that of man. I was troubled: a mist came over my eyes [note the passive language here], and I felt a faintness sieze me; but I was quickly restored by the cold gale of the mountains. I perceived, as the shape came nearer, (sight tremendous and abhorred!) that it was the wretch whom I had created. I trembled with rage and horror, resolving to wait his approach, and then close in on him in mortal combat. He approached; his countenance bespoke bitter anguish, combined with disdain and malignity, while its unearthly uglinesss rendered it almost too horrible for human eyes. But I scarcely observed this; anger and hatred had at first deprived me of utterance, [again passive] and I recovered only to overwhelm him with words expressive of detestation and contempt" (65).
By the way, you might notice that I am putting a lot of quotes in this section. I have a reason for this. Pay attention. Now, remember these words:
"'Devil!' I exclaimed, 'do you dare approach me? and do not you fear the fierce vengeance of my arm wreaked on your miserable head? Begone, vile insect! or rather stay, that I may trample you to dust! and, oh, that I could, with the extinction of your miserable existence, rstore those victims whom you have so diablically murdered!'" (65).
And the creature's response:
"'All men hate the wretched....Yet you, my creator, detest and spurn me, thy creature, to whom thou art bound by ties only dissoluble by the annihilation of one of us. You purpose to kill me. How dare you sport thus with life? Do your duty towards me, and I will do mine towards you and the rest of mankind'" (65).
What does the monster then promise to do if Victor does not comply?
Again, note Victor's response: "'Abhorred monster! fiend that thou art! the tortures of hell are too mild a vengeance for thy crimes. Wretched devil! you reproach me for your creation; come on then, that I may extinguish the spark which I so negligently bestowed'" (65-66).
I don't know about you, but I'm putting my money on the creature.
"My rage was without bounds; I sprang on him, impelled by all the feelings which can arm one being against the existence of another" (66).
Uncontrolled passions always seem to be at the root of all tragedies.
Remember the monster's response. Pay special attention to the old-fashioned diction:
"'Be calm! I entreat you to hear me, to give vent to your hatred on my devoted head. Have I not suffered enough, that you seek to increase my misery? Life, although it may only be an accumulation of anguish, is dear to me, and I will defend it. Remember, thou hast made me more powerful than thyself; my height is superior to thine; my joints more supple. But I will not be tempted to set myself in opposition to thee. I am thy creature, and I will be even mild and docile to my natural lord and king, if thou wilt also perform thy part, the which thou owest me. Oh, Frankenstein, be not equitable to every other, and trample upon me alone, to whom thy justice, and even thy clemency and affection, is most due. Remember, that I am thy creature: I ought to be thy Adam; but I am rather the fallen angel, whom thou drivest from joy for no misdeed. Every where I see bliss, from which I alone am irrevocably excluded. I was benevolent and good; misery made me a fiend. Make me happy, and I shall again be virtuous'" (66).
Remember this, students, one only finds true happiness from within. You cannot get it from someone else.
Note Victor's response: "'Begone! I will not hear you. There can be no community between you and me; we are enemies. Begone, or let us try our strength in a fight, in which one must fall'" (66).
Pretty Biblical, eh? Fall? Adam and Eve?
"'How can I move thee? Will no entreaties cause thee to turn a favorable eye upon thy creature, who implores thy goodness and compassion. Believe me, Frankenstein: I was benevolent; my soul glowed with love and humanity: but am I not alone, miserably alone? You, my creator, abhor me; what hope can I gather from your fellow creatures, who owe me nothing? they spurn and hate me....Shall I not then hate them who abhor me? I will keep no terms with my enemies. I am miserable, and they shall share my wretchedness....Let your compassion be moved, and do not disdain me'" (66).
Instead of soothing him, Victor says all the wrong things: "'Why do you call to my remembrance circumstances of which I shudder to reflect, that I have been the miserable origin and author? Cursed be the day, abhorred devil, in which you first saw light! Cursed (althogh I curse myself) be the hands the formed you! You made me wretched beyond expression. You have left me no power to conside whether I am just to you, or not. Begone! relieve me from the sight of your detested form'" (67).
What ever happened to letting someone down easy?
Note the monster's response:
"Thus I relieve thee, my creator,' he said, and placed his hated hands before my eyes, which I flung from me with violence; 'thus I take from thee a sight which you abhor'" (67).
Volume II, Chapter III
The monster tells his story. He is a huge baby. Pay attention to how like childbirth and infancy his early experiences are. "'The light became more and more oppressive to me; and, the heat wearying me as I walked, and I believe, descended...'" (68).
Developmentally, he really is an infant too, unable to differentiate things early on.
Pay attention to his diction. He is off-and-on passive, whereas Victor is much more passive overall.
Pay attention to the words he uses--especially related to seeing--light, visions, "fixed my eyes" (68), etc.
Light/enlightenment. The monster's light is primarily the moon, however.
Note the several references (footnoted) to Milton's Paradise Lost.
Pay attention to the weather. Compare to Victor.
In chapter 3, the monster finds himself in a village. Understandably, the villagers are scared and angry. Note all the references to fire.
Fire and ice--the bottom of Hell (at least according to Dante) is a frozen lake.
He references (and uses as a comparison) the nightingale. Remember, birds of prey generally forbode bad things. The Nightingale is an especially bad omen because it is a night-bird.
Where does the monster begin to live?
Be able to recognize the young man and the young woman. How are they related? WHo is the old man?
Volume II, Chapter IV
Here we see "monster as stalker." It's creepy and pitiful.
Why are these people sad?
How does the creature try to mitigate their unhappiness?
How does the monster learn how to speak?
What are his first words?
Note how much more empathic the monster is (as compared to his creator): "'The gentle manners and beauty of the cottagers greatly endeared them to me: when they were unhappy, I felt depressed; when they rejoiced, I sympathized in their joys'" (75). Unlike the monster's family (Victor), these peope try to help each other out, to cheer each other up.
What other good things does the monster do for these people? What other wonderful words does he learn? Which of the cottagers possesses (or is there more than one?) musical talents? What instrument? What kind of music?
The monster loves nature a lot more than Victor: "'The pleasant showers and genial warmth of spring greatly altered the aspect of the earth. Men, who before this change seemed to have been hid in caves, dispersed themselves, and were employed in various arts of cultivation. The birds sang in more cheerful notes, and the leaves began to bud forth on the trees. Happy, happy earth! Fit habitation for gods, which, so short a time before, was bleak, damp, and unwholesome. My spirits were elvated by the enchanting appearance of nature; the past was blotted from my memory, the present was tranquil, and the future was gilded by bright rays of hope, and anticipations of joy'" (77).
VOLUME II--CHAPTER V
The monster is a true romantic.
Why is Felix unhappy in love?
Be ready to describe Felix's beloved and her background.
Know the names of the family and their history.
Remember that the monster keeps referring to the family as his "protectors."
Pay attention to the way the monster sees the family--the way he gazes upon them, etc. Safie is associated with the Nightingale. Remember what I said about Nightingales.
In what way is the monster similar to Safie?
Know the names of the books mentioned.
Besides looks, how else are human beings judged--according to the monster's observations?
Volume II, Chapter VI
Know the family name of these people. Note also that the spelling changes later.
Know about their "noble" background and from where they hail. I hope you noticed the racist nature of the diction. Maybe Safie's father is awful or maybe the author has some prejudices. On the other hand, Mary Shelley would have known all about sexism in her own culture.
What kind of work did Safie's father do?
What was Safie's mother?
Pay attention to the courtly love aspects of this love story. Be able to recognize some of the common motifs.
How does Safie's father trick Felix? Where was the family exiled?
How long were they in prison?
How did they end up where they ended up?
Where did Safie's father end up going?
VOLUME II--CHAPTER VII
Which books does the monster happen to find? Looking at the footnotes in your book, what is significant about these works?
Is it the fault of those books that the monster is unhappy? Think about that. It reminds me of Paolo and Francesca in Inferno--and how they complain about that naughty story of Lancelot and Guenivere--"that pander"--they call it--for their bad behavior.
What other "book" or "text" does the monster find? What does he learn from this? It seems a little contrived, if you ask me.
"'Hateful day when I received life!' I exclaimed in agony. 'Cursed creator! why did you form a monster so hideous that even you turned from me in disgust? God in pity made man beautiful and alluring, after his own image; but mine is a filthy type of your's, more horrid from its very resemblance. Satan had his companions, fellow-devils, to admire and encourage him, but I am solitary and detested'" (87-88).
What is wrong with this logic?
Now, notice how he gets all passive: "'...but when I contemplated the virtues of the cottagers, their amiable and benevolent dispositions, I persuaded myself that when they should become acquainted with my admiration of their virtues, they would compassionate [ug, not a word] me, and overlook my personal deformity'" (88).
Then he gets active again and there's all that resolving! Of whom does that remind you?
"Could they turn from their door one, however monstrous, who solicited their compassion and friendship? I resolved, at least, not to despair, but in every way fit myself for an interview with them which would decide my fate'" (88).
"'I endeavored to crush these fears, and to fortify myself for the trial which in a few months I resolved to undergo; and sometimes I allowed my thoughts, unchecked by reason, to ramble in the fields of Paradise, and dared to fancy amiable and lovely creatures sympathizing with my feelings and cheering my gloom; their angelic countenances breathed smiles of consolation. But it was all a dream: no Eve soothed my sorrows, or shared my thoughts; I was alone. I remembered Adam's supplication to his Creator, but where was mine? he had abandoned me, and in the bitterness of my heart, I cursed him'" (88).
How does the monster plan to introduce himself? What is his plan?
How do the children react when they see the creature?
VOLUME II, CHAPTER VIII
Again, note the references to light: "'Cursed, cursed creator! Why did I live? Why, in that instant, did I not extinguish the spark of existence which you had so wantonly bestowed?'" (91).
Let there be light!
Then he gets all passive, even dissociative: "'I know not; despair had not yet taken possession of me; my feelings were those of rage and revenge'" (92).
Then he gets active: "'I could with pleasure have destroyed the cottage and its inhabitants, and have glutted myself with their shrieks and misery'" (92).
I don't think this guy would be a good candidate for a long-term relationship. He only wants the "better" of the "for better or for worse" part. It also reminds me of Clytemnestra ("Agamemnon") triumphing, doing the touch-down dance, just after she has murderd her husband.
He gives "'vent to my anguish in fearful howlings. I was like a wild beast that had broken the toils; destroying the objects that obstructed me, and ranging through the wood with a stag-like swiftness. Oh! what a miserable night I passed! the cold stars shone in mockery, [this sounds so self-important!] and the bare trees waved their branches above me: now and then the sweet voice of a bird burst forth amidst the universal stillness. All, save I, were at rest or in enjoyment: I, like the arch fiend, bore a hell within me, and then to have sat down and enjoyed the ruin'" (92).
Notice how his heart is hardening. He hears the "sweet voice" of the bird, but then he chooses to see everything else in a negative light. Also, no one has ever suffered more than he? That is a little--no, a lot--naive. We have all probably felt like that, but it is not necessarily true. All you have to do is to open your newspaper. In other words, his statement is narcissistic.
"...bore a hell within me" also reminds me of Mephistophilis words in Act I, scene iii of Doctor Faustus:
"FAUSTUS: ...This word 'damnation' terrifies not me
For I confound hell in Elysium;
My ghost be with the old philosophers!
But leaving these vain trifles of men's souls--
Tell me, what is that Lucifer thy lord?
MEPHISTOPHILIS: Arch-regent and commander of all spirits.
FAUSTUS: Was not that Lucifer an angel once?
MEPHISTOPHILIS: Yes, Faustus, and most dearly loved of God.
FAUSTUS: How comes it, then, that he is prince of devils?
MEPHISTOPHILIS: O, by aspiring pride and insolence,
For which God threw him from the face of heaven.
FAUSTUS: And what are you that live with Lucifer?
MEPHISTOPHILIS: Unhappy spirits that fell with Lucifer,
Conspired against our God with Lucifer,
And are forever damned with Lucifer.
FAUSTUS: Where are you damned?
MEPHISTOPHILIS: In hell.
FAUSTUS: How comes it, then, that thou art out of hell?
MEPHISTOPHILIS: Why, this is hell, nor am I out of it;
Thinkst thou that I who saw the face of God
And tasted the eternal joys of heaven
Am not tormented with ten thousand hells
In being deprived of everlasting bliss?
O Faustus, leave these frivolous demands
Which strike a teror to my fainting soul!" (61-86) .
Has the creature seen the face of God in these lovely cottagers?
Back to Frankenstein:
Like Victor, the monster is "restored" by good weather.
Note the dissociative and passive language:
"When my hunger was appeased, I directed my steps towads the well-known path that conducted to the cottage. All there was at peace. I crept into my hovel, and remained insilent expectationof the accustomed hour when the family arose. The hour past, the sun mounted high in the heavens, but the cottagers did not appear. I trembled violently, apprehending some dreadful misfortune. The inside of the cottage was dark, and I heard no motion; I cannot describe the agony of this suspense" (93).
Felix appraches--with "back-up." He's actually rather nice in telling the monster to go. He doesn't shoot him or anything.
Free will: "My protectors had departed, and had broken the only link that held me to the world. For the first time the feelings of revenge and hatred filled my bosom [passive and dissociative] , and I did not strive to control them [active] ; but, allowing myself to be borne away by the stream, [passive] I bent my mind towards injury and death.[active]. When I thought of my friends, of the mild voice of De lacy, the gentle eyes of Agatha, and the exquisit beauty of the Arabian, these thoughts vanished and a gush of tears somewhat soothed me[passive]. But again, when I reflected that they had spurned and deserted me [active], anger returned [active], a rage of anger; and, unable to injure any thing human, I turned my fury towards inanimate objects" (93).
Do you see how he is hardening his heart? This is willful. He cannot "injure anything human"--yet, but he is taking the first steps in that direction. Each step, as any D.A. or even police detective will tell you, means that he is "escalating." Violent crimes, unless they are "crimes of passion," rarely begin with cold-blooded murder.
Again, note how this sounds like Doctor Faustus (though the editors reference Paradise Lost):
"And now, with the world before me, whither should I bend my steps?" (94).
By the way, remember how many times Doctor Faustus uses the word resolve. Also, Faustus loved Agrippa in Act I, scene i:
"Tis magic, magic, that hath ravished me!/ Then, gentle friends, aid me in this attempt,/ And I, that have with concise syllogisms,/ Graveled the pastors of the German church,/ And made the flowering pride of Wittenberg/ Swarm to my problems as the infernal spirits/ On sweet Musaeus when he came to hell,/ Will be as cunning as Agrippa was/ Whose shadows made all Europe honor him" (111-118).
And, like this monster, Faustus resolves to sign the contract with the devil. Remember, his blood congeals. Now, note how these words sound a lot like this monster in Act II, scene i:
"'Homo, fuge!' Whither should I fly?/ If unto God, he'll throw me down to hell./ My sense are deceived; here's nothing writ./ O yes, I see it plain: even here is writ/ 'Homo, fuge!' Yet shall not Faustus fly" (78-81).
The monster also reminds me a lot of Cain, a marked man (from Genesis, in the Old Testament), who is forced to wander forever.
His wanderings begin in the winter, but then spring arrives. He sees a young girl. What transpires between the monster and the little girl? How is he "misread"? How is the monster injured? Where does he go to heal?
Note his description of young William; it sounds almost like a description of the beloved, mostly because he gazes upon him. Then the gazing gets transposed with an act of violence:
"Suddenly, as I gazed on him, an idea seized me [passive], that this little creature was unprejudiced, and had lived too short a time to have imbibed a horror of deformity. If, therefore, I could seize him, and educate him as my companion and friend, I should not be so desolate in this peopled earth" (96).
I don't know about you, but I don't think I would be someone's friend if he abducted (or seized) me.
How does little William react? He's kind of a snotty little kid. No manners. So, of course, the monster kills him. Again, note the diction. Gazing and killing really don't go together. Glaring, yes, but not gazing.
"I gazed on my victim, and my heart swelled with exultation and hellish triumph: clapping my hands, I exclaimed, 'I, too, can create desolation; my enemy is not impregnable; this death will carry despair to him, and a thousand other miseries shall torment and destroy him" (97).
What artifact does the monster take from William? Be very specific. What does he do with this object?
VOLUME II--CHAPTER IX
The monster orders Victor to create a woman for him. That will make him happy. Obviously, the monster hasn't seen a real marriage before. Some of us are happy, but there is no guarantee that this will be the case. People have to work at marriage to make it happy. There is no Cinderella story where people automatically live happily-ever-after, without any bumps in the road. People can live happily, but they won't be happy all the time. That's only in the fairy tales and in the movies. Even those with the best marriages go through trials. But life itself is a trial.
Note how Victor vacillates. And the monster does a great job of using reason: "'You are in the wrong,' said the fiend; 'and, instead of threatening, I am content to reason with you. I am malicious because I am miserable; am I not shunned and hated by all mankind? You, my creator, would tear me to pieces, and triumph; remember that, and tell me why I should pity man more thna he pities me? You would not callit murder, if you could precipitate me into one of those ice-rifts, and destroy my frame, the wokr of your own hands. Shall I respect man, when he condemns me? Let him live with me in the interchange of kindness, and, instead of injury, I would bestow [sounds like God speaking here--the Monty Python one in the clouds] every benefit upon him with tears of gratitude at his acceptance. But that cannot be; the human senses are insurmountable barriers to our union. Yet mine shall not be the subjmission of abject slavery. I will revenge my injuries: if I cannot inspire love, I will cause fear; and chiefly towards you my arch-enemy, because my creator, do I swear inextinguishable hatred. Have a care: I will work at your destruction, nor finish until I desolate your heart so that you cures the hour of your birth'" (98).
If Victor will create a companion, the monster will go where? Note, he also says he will become a vegetarian.
To be continued....
Monday, February 16, 2009
Week of February 17, 2009
Tuesday:
Fourth period: spread out for the reading quiz on "The Rocking Horse Winner." Take the quiz and turn it in.
Those who have not taken the test--Adam, J. H., Sarah, and Jamar--will then take the test. After you have completed the test, write out, sign the pledge, and turn it in.
The others will receive questions to answer after the quiz. They will turn these in at the end of the period.
Those of you who have to take the test will have to turn in the answers on Thursday.
No homework.
Thursday:
We will go over the short story (as long as all have taken the quiz).
I will assign books--Frankenstein. Begin reading. You should get through Volume I by next Tuesday. Expect a reading quiz.
Fourth period: spread out for the reading quiz on "The Rocking Horse Winner." Take the quiz and turn it in.
Those who have not taken the test--Adam, J. H., Sarah, and Jamar--will then take the test. After you have completed the test, write out, sign the pledge, and turn it in.
The others will receive questions to answer after the quiz. They will turn these in at the end of the period.
Those of you who have to take the test will have to turn in the answers on Thursday.
No homework.
Thursday:
We will go over the short story (as long as all have taken the quiz).
I will assign books--Frankenstein. Begin reading. You should get through Volume I by next Tuesday. Expect a reading quiz.
Monday, February 9, 2009
Week of February 9 - February 13, 2000
Tuesday:
You will be getting a lot of handouts--on archetypes, a review, and a short story. We will go over some of it in class. With the remainder, you will be on your own.
This is a last chance to ask questions before the test on Thursday. Any of the material in the blog entry below this particular entry is fair game--along with anything we have tied it to in the past. I'll also give you an introduction to Zen Buddhism and we will see how that applies.
You will also receive a copy of the short story, "The Rocking Horse Winner." This story needs to be analyzed from the archetypal perspective of the Fatal Woman or, perhaps, as The Earth-Mother. Maybe she is a little of both.
Homework: Study for the test.
Thursday: Test. Then we will have a discussion about all the connections.
You will be getting a lot of handouts--on archetypes, a review, and a short story. We will go over some of it in class. With the remainder, you will be on your own.
This is a last chance to ask questions before the test on Thursday. Any of the material in the blog entry below this particular entry is fair game--along with anything we have tied it to in the past. I'll also give you an introduction to Zen Buddhism and we will see how that applies.
You will also receive a copy of the short story, "The Rocking Horse Winner." This story needs to be analyzed from the archetypal perspective of the Fatal Woman or, perhaps, as The Earth-Mother. Maybe she is a little of both.
Homework: Study for the test.
Thursday: Test. Then we will have a discussion about all the connections.
Background Information for Analysis of Lewis' Novel
- Know the story of Echo and Narcissus and how it applies to the novel.
- Know the story of Pygmalion.
- Know about the two types of scapegoats and how that applies.
- Know about the other following archetypes. Quoted information comes from Oliver Evans and Harry Finestone's The World of the Short Story: Archetypes in Action. New York: Knopf, 1971.
- Shadow: "appears in dreams as a dark personification, sometimes veiled or hooded. It represents...aspects of the personality that one is reluctant to admit to oneself and thus acts as a corrective to the persona....it may operate as a beneficent or malignant influence; when the latter, it takes the form of compulsive behavior of a destructive kind, as in the phenomenon known as daemonic possession. Robert Louis Stevenson's The Strange Case of Dr. Jekyll and Mr. Hyde (which was inspired by a dream) is a classical literary specimen of this archetype" (12).
- Persona: "the mask one wears in public, the outer self that represents the conscious ego. When an individual tends to identify too completely with his persona, neglecting the claims of his deeper self, the Shadow rears itself" (12).
- Fatal Woman: Femme Fatale. A temptress, vampire, witch, or succubus. Usually very pale-skinned. She seeks and tortures and destroys those weaker than herself. Examples in Greece: Clytemnestra, Medea. She is tied with the anima in Jungian psychology.
- Anima: "the female element in the male psyche....[According to Jung:] ' In dreams it is personified as a female figure or image. The materials composing this archetype come from...the male's experience of his mother and the [cultural/historical/ ancestral] idea of woman that he inherits as a part of his collective unconscious, derived from man's experience of woman in the past. [He projects this archetype] upon persons of the opposite sex in whom he conceives an interest because they correspond to this image, little suspecting that its source is in himself....The Anima is typically enigmatic or Sphinx-like: in art she may appear as a Mona Lisa, in myth as a Siren..., and in literature as a femme fatale. In her beneficent aspect, the Anima, as the feminine element in a man's unconscious, frequently rescues him from logical dilemmas because of her superior intuition, and sometimes leads him, as Beatrice led Dante, to a knowledge of the highest spiritual values" (12).
- Animus: "counterpart of the Anima,...the masculine element in the female psyche, formed from the woman's experience of her father and from the inherited image of man in her collective unconscious. In myths and fairy tales he often appears as a prince who has been transformed by sorcery into a beast or monster and who is enabled to recover his identity through a woman's love. In romantic novels he may assume the role of a Byronic hero. In his negative aspect he may be a robber or a murderer. Animus figures are frequently dangerous (Bluebeard in folklore) and sometimes multiple, while the Anima is always solitary. Often he possesses a devilish sort of charm for the woman who has thus constituted him in her unconscious, like Heathcliff in Wuthering Heights, who may well have been an archetypal projection of Emily Bronte. The case of Heathcliff...shows that archetypes may exist in combinations with other archetypes: Heathcliff could also legitimately be considered as a Shadow figure. On the personal level, the Animus, as the masculine element in woman's unconscious, may function positively as a corrective to impulsiveness, moodiness, and indecision; negatively, it may express itself in an unnatural rigidity of outlook or in the form of unalterable convictions that have little relation to reality. Under Animus domination a woman becomes stiff and unyielding; she complains constantly of being 'misunderstood' by men;...and because of her domineering tendencies sometimes acquires the reputation of being a shrew or termagant, like Katherine in The Taming of the Shrew. Projection of the Animus onto eligible males (and some who are not so eligible) follows exactly the same patter as for the opposite sex, sometimes with the same unfortunate consequences" (13).
- The Earth-Mother: "in Greek mythology Gaea, or the Great Mother, is the first deity to emerge from Chaos" (57). Earth Mother is often paired with Sky-Father. "She may appear not only as a personification or the creative source, but also as a superhuman being or goddess--although this frequently is a personification through anthropomorphous (the Virgin Mary, for example). She may also appear as an abstraction, disguised in the form of an ultimate ambition or goal, especially when the goal takes the form of a longing for Heaven or a death-wish....She may appear in the form of a political, religious, or social institution that offers the protection of a collective identity (a nation, religion, school, or fraternity). Frequently in dreams and myths she appears associated with or in the form of certain objects, mother-symbols, of which the commonest are caves, wells, and still water generally; gardens and ploughed fields; eggs and milk; grain (especially corn and wheat), gourds and baskets; fruit (especially pomegranates); vessel-shaped flowers (roses and lilies); and animals of a helpful kind, such as cows and bees" (57-58). [Maybe ants too!] She has a "dual aspect....Gaea plotted the mutilation of her husband....In her negative aspect the archetype may appear as a witch, may combine with the archetype of the Fatal Woman, and may be represented symbolically by a devouring and entwining animal, such as a dragon, a large fish, or a serpent....In literature, the Earth Mother, in addition to being fecund, is typically self-sacrificing and forbearing; she accepts everything and usually forgives everyone. Since these are qualities that invite exploitation, she is often paired with a mate whose character is parasitical and whose function, within the framework of the narrative, is to demonstrate through contrast the degree of her selflessness. She is inclined to be attracted to failures....She is usually of a placid and serene disposition, sometimes exhibiting astonishing strength in adversity. Her general influence is to sustain and nourish, and her peculiar virtue is that she endures....A [negative] manifestation [is] the mother [who] proves domineering and possessive; the relationship is reversed and it is she who becomes the parasite: spiritually she devours her progeny and threatens to destroy anyone who attempts to come to their rescue" (58).
- The Alter-Ego: anthropological and psychological. Anthropological: "a collective manifestation in religion. Psychological: collective manifestation of folklore. "The belief in the multiple-soul....In one form,...a man is thought to have a 'bush soul' incarnate in a wild animal or tree, with which he has a kind of psychic identity. In another form, the individual soul is thought to consist of several parts, separate but linked" (89). The good and bad angels. "Perhaps the commonest form of the Alter-Ego archetype is that in which an individual is believed to have a counterpart or double. Ralph Tymms...distinguishes between doubles-by-duplication and doubles-by-division, but....observes that...the two are constantly mingling. The belief in doubles...may have arisen as an attempt to explain dreams or hallucinations in which the individual seemed to perceive himself as a separate being. A rational explanation for this...may be a visual memory on the part of the dreamer of his own shadow or reflection, and he cites Levy-Bruhl to the effect that primitive man often believes that his shadow 'is his spiritual double, and forms an extension, and vital part of him.' Sir James Frazer notes that in some cultures it is believed that one can inflict harm upon an enemy by striking at his shadow, so that in primitive thought the latter comes to be identified with the soul, which when separated from thebody results in death" (89). "'Another widespread theory of the soul...visualizes it as being neither shadow nor reflection but as a creature with the same features, the same gait, even the same dress as the man himself.' This being may roam about independently of the owner when the latter is asleep, ill, or dead, though if violence is done to the owner's body or corpse the double is affected correspondingly.... Psychologically, the splitting of the human psyche is a well-recognized phenomenon that in extreme cases result in neurosis or even insanity. Psychology has also tended to identify the concept of the Alter Ego with the unconscious self....Jung identifies the negative aspect of the Alter Ego with the Shadow archetype, which may...manifest itself as 'daemonic possession.' [Usually, however], negative and positive aspects...combine frequently [and lead to] the archetype of Transformation" (90).
SPEAKING OF ARCHETYPES, there are some interesting parallels with Tarot cards. See how these apply to our novel. The following information came from Fronteras, Adam, The Tarot. New York: Carlton Books, 1996.
- Card XII: The Hanged Man: represents Dionysus. Greek--Dionysus was hung upside down. It was meant to ensure fertility of the crops. Numerology: #12--a three number (12 = 1 + 2 = 3), "representing creation and the development of the soul" (54). "The figure hangs from a tree, tied by his right foot. His left foot forms a cross with his leg, suggesting spiritual crucifixion....the card is very much about the use and misuse of intuition" (55).
- Card XVI: The Tower: Lightning strikes a tower. (16 = 1 + 6 = 7), "numerologically a magic number, the number of...soul development....spiritual rebirth in life....The tower is sturdy, the firm foundations that should be able to survive an attack from the outside" (62). "However, the flames, caused by the lightning, are gutting the building, forcing those inside to jump into the rough waters where, probably, they will drown" (62-63). "All the elements...point to destruction, but it is a card that relies on the strength of the foundations of the seeker to determine how he or she will cope. This card shows the seeker is going through a very destructive phase in life, an aspect that perhaps needs to be swept into the past....Although this is a traumatic time, he or she will be able to start anew. It represents a change in the old values, but out of this comes hope" (63).
- Card XX: Judgment: "also known as Resurrection. It often depicts an angel appearing over tombs from which naked bodies are rising...Saint Michael,...awakener of the dead, blows the trumpet that heralds the last judgment. The cross on the flag attached to his trumpets is his emblem. A naked man, woman, and child rise from the grave,...their spiritual souls to be judged, not their outward aspects of life, and the union of the two, the child representing the reconciliation of these forces. The bodies rise out of the grave, signifying rebirth, [a spiritual rebirth]" (70).
- The Fool (Card 0): "Alpha and Omega, both the beginning and the end of the major cards....He is pure spirit and air, searching for a direction, a new life. He is the acolyte looking for initiation into life's mysteries, but when he finds it, he is still a fool. His quest is naively pure; to be pure is to be wise, so the fool is also wise. He derives from the horned god Bacchus (or the Roman Dionysus), the incarnate power of spiritual revolt and rebirth and the god of wine....Exempt from royal retribution, the court fool's jokes were often outrageous" (30). "The Fool represents someone throwing off people and restrictions from the past, and setting off in search of new pastures. In contrast, it can also reflect the attitudes of others toward the subject, their belief that his decisions and actions are foolish. They will try to hold him back. The card generally indicates that someone needs to start again, taking no decision lightly, avoiding the disaster that impulsiveness should cause. If all choices and likely outcomes are honestly considered, the result will be positive" (31).
- The Sword: "Fire. Active, energetic, determined, dynamic, achievement-oriented, ambitious. Needs perpetual movement to feel alive. Ruthless, insensitive, volatile, angry. Inclined to naivete. Flamboyant, extroverted, demanding of attention. Power-seeking" (74).
- Cups: "Water. Passive, mutable, dissolving, feeling, maternal. Cups represent the emotional environment--the power of understanding through intuition, sympathy, and empathy. Functions by relating to and responding to instinctual urges. Expresses an emotional spectrum from love to hate. Feminine, caring, nurturing. Adapts to the mood of the moment" (75).
Speaking of symbols and allusions, consider I Corinthians from the New Testament. In this case it comes from The Catholic Bible, Jean Marie Hiesberger, general editor. New York: Oxford University Press, 1995.
"1. If I speak in human and angelic tongues but do not have love, I am a resounding gong or a clashing symbol. 2. And if I have the gift of prophecy and comprehend all mysteries and all knowledge; if I have all faith so as to move mountains, but do not have love, I am nothing. 3. If I give away everything I own, and if I hand my body over so that I may boast but do not have love, I gain nothing.
"4. Love is patient, love is kind. It is not jealous, [love] is not pompous, it is not inflated, 5. it is not rude, it does not seek its own interests, it is not quick-tempered, it does not brood over injury, 6. it does not rejoice over wrongdoing but rejoices with the truth. 7. It bears all things, believes all things, hopes all things, endures all things.
8. "Love never fails. If there are prophecies, they will be brought to nothing. 9. For we know partially and we prophesy partially, 10. but when the perfect comes, the partial will pass away. 11. When I was a child, I used to talk as a child, think as a child, reason as a child; when I became a man, I put aside childish things. 12. At present we see indistinctly, as in a mirror, but then face to face. At present I know partially; then I shall know fully, as I am fully known. 13. So faith, hope, love remain, these three; but the greatest of these is love."
And Lewis would say that the greatest kind of love is charity.
Sunday, February 1, 2009
February 2 - February 6, 2009
Tuesday
I just realized that the program is NEXT week--not this one--so you will have until THURSDAY to get half-way through the book. Make sure that you have a book in class, though. You will be given time to read it in class.
Hand-out: the story of Pygmalion. We'll talk about the parallels. Also, handout on "The Scapegoat." Some of you remember this from sophomore year when you read the short story, "October Island."
Thursday: Quiz. Then we will see where we will go from there. Bring cookies and cakes if you like. Discussion. Finish the novel by next Tuesday. We will have a brief didscussion. Expect a test next Thursday.
Friday: Study for the test.
I just realized that the program is NEXT week--not this one--so you will have until THURSDAY to get half-way through the book. Make sure that you have a book in class, though. You will be given time to read it in class.
Hand-out: the story of Pygmalion. We'll talk about the parallels. Also, handout on "The Scapegoat." Some of you remember this from sophomore year when you read the short story, "October Island."
Thursday: Quiz. Then we will see where we will go from there. Bring cookies and cakes if you like. Discussion. Finish the novel by next Tuesday. We will have a brief didscussion. Expect a test next Thursday.
Friday: Study for the test.
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