In the twelfth chapter of Thomas C. Foster’s How to Read Literature Like a Professor, Foster analyzes symbols, and the great influences they have in literature. To begin the chapter, Foster compares and explains the differences between symbols and allegories. Symbolism is a broad category, and allegories fit under it’s immense hierarchy. Furthermore, symbols “involve a range of possible means and interpretations”, while allegories have single and specific answers (105). Foster continues by stating that symbols are personal and can differ from person to person based on their backgrounds, lifestyles and beliefs. Due to the fact that symbols don’t possess one exact answer, every reader has the freedom to “emphasize various elements to differing degrees” (110). These differences allow the story to become more personal and connected to the reader’s life, possibly giving them a deeper understanding of the text because the variations require the reader “to bring something of ourselves to the encounter” (107).…
This passage, the paragraph located at the bottom of page 138, and bleeds over onto page 139, comes from the part of the novel in which Victor Frankenstein is almost home from his ordeals in Ireland. While in Ireland, Victor promised to make a female companion for his Creature, but then throws his work into the sea, as he realizes that he does not actually want to create this second being because of the chaos it may cause. Enraged by this, the monster murdered Victor’s friend, Henry Clerval. After becoming sick by this news, Victor’s father comes to retrieve him and bring him back home to Geneva. While on his journey home, he receives the letter from Elizabeth Lavenza, Victor’s adopted “cousin”. This passage is a paragraph taken from this letter from Elizabeth to Victor.…
10) “Literature is full of patterns, and your reading experience will be much more rewarding when you can step back from the work, even while you’re reading it, and look for those patterns.” pg.4…
The diction used by Mary Shelley in her novel Frankenstein varies throughout the chapters varying in tone. Chapter five is the beginning of the end of Victor Frankenstein. There he creates the beast which will torment his life forever. The diction used in this chapter is haunting in the sense that it foreshadows the fall of Frankenstein. Shelley describes the newborn creature as “beautiful”, this creates a theme of amazement of what science can do but it quickly shifts. A few sentences later Shelley describes him with a more “horrid contrast” pointing out how hideous the creature is. This foreshadows the grief the beast will encounter due to his physical appearance, that no human being will ever love him. Through Shelley’s use of imagery…
How to Read Literature Like a Professor: A Lively and Entertaining Guide to Reading Between the Lines by Thomas C. Foster is a book that explains there is more to literature than just a few words on a paper or a few pages in a book. Thomas Foster’s book portrays a relatable message to a wide based audience. This book is relatable for two reasons, the way it is written and the examples it uses. The book is written in a conversational manner, as if the reader was in a group discussion about books and writing. As for the examples, they are informative, descriptive, relative, and entertaining.…
There has to be a compelling reason to include a meal scene in the story because they’re typically boring.…
Frankenstein, by Mary Shelley, is arguably one of the most controversial novels of the 19th Century. It discusses the concept of science verses human conscience in a technological world. The Gothic atmosphere of the novel reflects the dark feelings of society at the time, and Shelley utilised pathetic fallacy, her chosen form and imagery to suggest a twist on the real monster of her story. Shelley uses poetical language and perspective to emphasise how the monster is a model Romaticist, and to express the importance of belonging and communication to a judgemental society. Symbols, contrasts and ‘heavenly’ adjectives are used to portray Victor Frankenstein as a God-like figure; expressing how we must never interfere with nature’s course and take on God’s role to the knowledge-greedy culture of the 1800’s, which was consumed with the Industrial Revolution. Shelley has manipulated her writing to convey her personal ideologies, and to reflect her concern for a loss of ethics in a society fixated on the pursuit for answers.…
Symbolism is the use of symbols to represent ideas and qualities; symbolism is used many ways within Frankenstein. One example takes place when Victor is at his home late one night, and lightning strikes…
The presence of “Light” in the Frankenstein, Shelley’s novel, symbolizes knowledge. Victor wants to use his knowledge and determine the secret of life. Victor said that "As I stood at the door, on a sudden I beheld…
-There is no such thing as a wholly original work of literature. All books borrow situations, ideas, and themes.…
There are many Gothic elements in the Frankenstein novel starting with the graveyards where Frankenstein gathered body parts for his morbid work. The atmosphere of fear when he first sees his hideous creation. The environment in which they lived the rugged terrain, the lonely forest and the desolate northern setting further along in the story all contribute to the atmosphere as well. There was a supernatural element in the story pertaining to the monster’s superhuman strength, endurance and ability to traverse the dangerous landscape easier that any mortal man. This story was abundant in emotion especially from the monster, his emotional pleas, he begged his creator to make him a mate, when this did not pan out for…
Chapters five of ' how to read literature like a professor' tells us that ; nothing is original, that everything is taken from something that has previously been told of a or wrote about. The road by Cormac McCarthy abides by this. When i was in the eight grade I read The Picture of Dorian Grey, When i was in the ninth grade i read The Twilight Saga, and last week i read Fifty Shades of Grey. All three of the listed books are derived from one another , in all three books reader is presented with an irresistibly sexy, mysterious man. All three books also contain some naive, sheltered girl who falls hopelessly in love with the man. The man in all of the books is corrupt in some way, rather it be a power hungry prince, a vampire or a "dominant".…
Cultural, religious and scientific influences are deeply intertwined in Frankenstein. The novel’s cultural aspect is introduced at the beginning of the novel when Victor’s drive for knowledge is introduced, which leads to the introduction of the science aspect, in which Victor animates lifeless matter. The birth of his monster establishes the religious aspect the nature of evil becomes questionable. In this essay, Shelley’s manipulation of the religion, scientific, and cultural aspects of the novel will be analyzed. Throughout the novel Frankenstein, Shelley manipulates…
The feeling of loneliness leads people to feel miserable. In the story Frankenstein, written by Mary Shelley, there are many factors which cause the characters to feel miserable and lonely. The primary theme of Frankenstein is loneliness, and Shelley clearly communicates this theme by using characterization, symbolism, and setting to convey this theme to the reader.…
There is a thematic connection between Robert Walton and Victor Frankenstein (they both have a burning ambition to bring glory upon themselves; both are ambitious, tenacious and driven by a desire to conquer nature. Walton wants to discover a new land, Frankenstein wants to create life). The images of ice and cold that Shelley uses to begin the novel symbolize the cold reception that the creature receives from society and from his creator, Victor Frankenstein. Ice, snow and cold are associated with the creature throughout the novel, from his first appearance in the North Sea to his final disappearance into the “darkness and distance” on the “ice-raft”.…