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Personal Narrative On Frankenstein

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For the longest time now I have been afraid of heights. Every time that I’m not on the ground I get nervous. One time I was in the city with my family and we were in a really tall building, and we went all the way to the top. There was about 80 floors. I was on the top looking out the glass window, when I looked down I was so afraid that I was going to fall. I do not enjoy being off the ground. Many scary things use this kind of transformation to scare us. In the story Frankenstein there is multiple people transforming. Like the monster, he was clueless in the start then after he was around people he started to learn more and listen to people talk and watch their actions. Or Victor, after he created the monster and he escaped he didn’t want
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Works Cited Enstein, Vicki F. "Frakenstien" Vicki F. Enstein. 8 Mar. 2005. Web. 19 Jan. 2016. Higgins, Nicholas.

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Choose a complex and important character in a novel or a play of recognized literary merit who might on the basis of the character’s actions alone be considered evil or immoral. In a well-organized essay, explain both how and why the full presentation of the character in the work makes us react more sympathetically than we otherwise might. Avoid plot summary. I. Introduction: A. In Mary Shelly’s novel, Frankenstein, the reader is tasked with answering the central question of who is the truest evil.

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Doctor Frankenstein’s Biggest Regret The greatest minds have the potential to cause the greatest harm. This is evident in Mary Shelley’s novel Frankenstein, as the main character, the brilliant Doctor Frankenstein, through discarded body parts creates a monster, which results in harming the people that mean the most to him. In Doctor Frankenstein’s innocent efforts to figure out the key to life, he ultimately unlocks a tragic door for himself and others. Behind this door, he finds that the knowledge he searched for should have stayed hidden, exemplifying his tragic flaw.

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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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Seeing the same person over and over in a old, dusty elevator sounds pretty scary. In the short story, “The Elevator,” William Sleator’s main character Martin y has a tremendous fear of elevators. The author creates suspense when Martin’s fear of elevators escalates because of his encounters with the mysterious, obese woman, who intimidates Martin every time he rides in the elevator. Martin is afraid of being in elevators. Sleator writes, that martin was “nervous in (the elevator) from the first day he and his father moved into the apartment”(31).

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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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When writing any piece of fiction, an author 's choice of narrative voice has a huge impact on how readers experience the story. From the slightly less personal yet versatile third-person to the narrow, limited view of first-person, the narrative voice literally provides the voice of literature. It affects which characters the reader really connects with, the opinions that influence them, the knowledge they have, and numerous other aspects. While most authors stick with only one tense, Mary Shelley challenged that standard in Frankenstein. In Frankenstein, Shelley changes her narrative voice numerous times in order to fully develop all aspects of the story through Walton 's letters, Frankenstein 's story, the Monster 's story, and also the

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In “Frankenstein, or the Modern Prometheus”, the creature is categorized as a friend or a fiend towards his creator and other humans. The creature tends to be more of a fiend rather than a friend. The monster also interprets human-like characteristics. For example, when the creature and Frankenstein conversate, he tells Frankenstein he “began to distinguish my sensations from each other” and “felt light, and hunger, and thirst, and darkness; innumerable sounds rang in my ears” (Shelley 43). Compared to a human, he has the senses as a person does; he can hear, feel, taste, see and smell.

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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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