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Narrative Essay Frankenstein

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I have a secret about my life. One that is obvious to my friends and family, but is still a secret nonetheless. A secret that hinders my chances at everything in this world. There is a monster in my closet. One that is large and grey and has hollow eyes. It comes out after it has had time to bring me down. This monster watches me cry and it cries with me. It holds me in its' large hands that are wet with tears and blood. The monster is overwhelming and terrifying and when you look deep into its eyes you can see your own death. It waits till you're weak and sings a song of death. My guardians give me potions to help me tame the monster. My mom knows of the monster though my dad is a skeptic. This monster is possessive and when it finishes it
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Frankenstein Lit Analysis Rough Draft Since the beginning of time, Man has always pursued knowledge, but this pursuit is always kept within certain boundaries, especially while searching for the truths behind the creation and origin of life. As this quest for knowledge continues, men can become consumed with the perilous thoughts and ponderings required to attain this wisdom. In her novel, Frankenstein, Mary Shelley explains how the pursuit of forbidden knowledge can become dangerous through symbolism, allusion, and foreshadowing proving each effectively to the reader. Employing symbolism as her first technique, Shelley uses this in the way many other enlightenment authors do. The strongest use of symbolism is prevalent while Victor is contemplating

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Monsters are a topic everyone can relate to. In Where our Monsters Come From, Leo Braudy speaks of the origin of Halloween, where monsters stem from, and four main kinds of monsters and their origin. Each of these four monsters is relatable to a human element and possibly even our darkest realities. These monsters are ones of nature, creation, one stemming within us, and one of the past. Braudy’s story about these monsters has a deeper connection meant to instill in the reader with a reality on what a monster actually is: us.

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The monster is “everything untamed and untameable”. In this specific quote, the monster reveals its shadow self to Conor. Some may interpret this as the monster influencing Conor to reveal his shadow self (which we see later in the book). The monster is a destructive and powerful force. The evidence shows the fluidity of the monster.

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As Adam Philips once said, “Tragic heroes are failed pragmatists, their ends are unrealistic and their means are impractical.” In Mary Shelly’s Frankenstein, the obsessed scientist Victor Frankenstein becomes fascinated with natural philosophy and undergoes a journey trying to manipulate the laws of nature. Victor is a great demonstration of a tragic hero and displays all the characteristics necessary throughout the novel. To begin with, Victor had excessive pride at the beginning of the novel, a characteristic of a tragic hero. Victor was obsessed with science and reading textbooks from the young age of 13 and as he ages, he becomes fascinated with alchemy and the decay of life, concerning his father.

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In Frankenstein, directed by James Whale, I believe the 'inciting incident' is a combination of events that happens shortly after we see Frankenstein's monster alive. The monster walks into the room while Frankenstein is talking to the doctor, who, of course, thinks the creature is dangerous and evil. Because of his scientific discovery, Frankenstein is like a child who just got a brand new toy that no other kid has. He is excited and showing off his monster. He attempts to prove the monster is harmless and childlike as the creation is only a few days old and is still learning.

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The monster I remember hearing about growing up was “The bogeyman”. The bogeyman is a fictitious creature used by the parents to frighten their children and to induce a good conduct in them. I remember, when I was a kid, my mom used to tell me that if I did not sleep the bogeyman would come. The truth is that I do not remember what exactly I thought the bogeyman would do, but the only idea of hear the word “the bogeyman” was very terrifying. So I tried to fall asleep as quickly as possible.

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A common way that people and animals alike will prevent the body obtaining a virus is by getting a vaccine. This is why CDV cases are much higher in wild populations. CDV is most commonly found in younger dogs but also in more mature dogs that have not gotten a vaccine. Puppies will typically receive one shot every three to four weeks from six weeks to eight weeks old, then a booster shot will be give at week 16 (Larson, 2006). If the dog is nor longer a puppie, i.e. older than the 16 week mark vets recommend that they get the MLV in a double dosge separated by three to four weeks (Univeristy, 2007).

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Frankenstein’s Monster as a Tragic Hero Aristotle once said that "A man doesn 't become a hero until he can see the root of his own downfall" (Carlson). In Frankenstein, many argue that Victor Frankenstein himself is indeed the tragic hero of the novel. I believe that the creation of Victor Frankenstein (the monster) is the actual tragic hero. There are several components to being a tragic hero, two of the most important are their tragic flaw, and the component of a tragedy or a tragic ending to the story. Mary Shelley’s Frankenstein is without a doubt tragic through many characters in different ways, but in my eyes, the creature is the character that sticks out with the most characteristics of a tragic hero.

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The monster eventually breaks and wants his revenge for being so lonely. This is a short summary on how the evil came to stand within the monster.

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The knocking stopped suddenly although it’s echos were still in the house. “I’m sorry” The words resounded through the room, giving off an eerie atmosphere. Mrs.White slowly turned around, a mix of both fear and desperation in her eyes. “You didn’t” she whispered, as tears threatened to fall.

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Monsters are often classified based upon their appearance and inhumane characteristics. In the book Frankenstein, by Mary Shelley, Victor Frankenstein tears apart graveyards for the formation of a new being, which is brought to life with electricity. Frankenstein was fascinated with life itself and wanted to create this being through the dead with the use of science. After multiple years of suturing this new being together Victor succeeded in bringing this creature to life. Although realizing what he had just created Victor is repulsed by this new being and calls him a Monster.

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In Frankenstein, by Mary Shelley, Victor Frankenstein spends two whole years toiling to create a being which is comprised of the body parts of various dead corpses, for the purposes of science. Finally, he creates the “monster”, who commits a multitude of crimes, resulting in the deaths of many innocent people. These horrific murders raise many questions concerning who is to be held accountable. Victor walked away from the situation he created instead of facing his actions. If he had chosen to stay this could have prevented the heinous crimes committed by the monster as a result of Victor’s mental and emotional Neglect.

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In 1818 Mary Shelley wrote Frankenstein, a novel that follows Victor Frankenstein, an ambitious man on his journey to defy the natural sciences. In Volume I of the novel, Victor discusses his childhood, mentioning how wonderful and amazing it was because of how his family sheltered him from the bad in the world. “The innocent and helpless creature bestowed on them by heaven, whom to bring up to good, and whose future lot it was in their hands to direct to happiness or misery, according as they fulfilled their duties towards me” (35). When Victor brings up his childhood, he suggests that parents play a strong in how their kids turn out, either "to happiness or misery" (35). In particular the main character was sheltered as a child to achieve this “happiness” leading to Victor never developing a coping mechanism to the evil in the world.

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Mary Shelley’s Frankenstein Critical Analysis About the author Naomi Hetherington is a member of the University of Sheffield, the department of lifelong learning. She is an early researcher in sexuality, religious culture, the 19th-century literature, and gender. She holds a BA in Theology and religious studies, an MA and a Ph.D. in Victorian Literature. She currently teaches four-year pathway literature degree at Sheffield University for students who have already attained foundation degrees. Among the books, she has written the critique of Frankenstein.

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