It is clear by analysing these stories that both protagonists were first abandoned by their creator and then once again by society. Shelley and Burton both effectively incorporated the techniques of setting and mood to portray moments of abandonment in both Edward and the monster’s lives. Consistent within various chapters of the Frankenstein novel, are scenes of the monster wandering around alone in different environments, portraying him to be a creature disregarded and abandoned by society. The diverse use of both change in setting, and mood of language, effectively displays the moments of abandonment that the monster is experiencing and hence allows the audience tio sympathise with his emotions.
How does Mary Shelley’s Frankenstein and Tim Burton’s Edward Scissorhands utilise characterisation, imagery and foreshadowing to demonstrate the theme of abandonment and its consequences? Mary Shelley’s Frankenstein and Tim Burton’s Edward Scissorhands both explore the ideas of being misunderstood and rejected by society. Through his curiosity in the field of science, Victor Frankenstein envisions the creation of a being, not knowing what it would later become as a result of his neglect and lack of care towards it. Victor’s passion for science and his ambition to create his ‘monster’ causes him to feel guilt and regret, eventually resulting in his demise. On the other hand, Edward Scissorhands experienced a positive upbringing, with his creator
Up until the end of Chapter 7, Grendel’s actions are influenced by the dragon. He believes nothing matters, there is no good or bad, and everybody eventually dies. The people of Heort know Grendel as a monster and a killer and he lives up to his reputation.
Contrasting Grendel and Frankenstein Grendel and the monster Frankenstein are contradictory in their individual philosophies and actions, although they are both isolated and lonesome, they come from different origins, think differently, and take significantly different actions, and their very fates were catastrophically no unique. Grendel is mortified with his purpose in life and driven by emotions which makes him plead for his purpose. “I had determined at the time that the memory of these evils should die with me; but you have won me to alter my determination” (14). He has to face the purpose he was told to behold since he was born and lived in Dane Kingdom. Ever since that he roamed around killing, “But deer, like rabbits and bears and even men, can make, concerning my race, no delicate distinctions.
Grendel was a being sung about in the songs of the shaper, who twisted tales to fit his own means. In the song Grendel was made out to be a wretched monster, without intellect, who only sought to kill. This wasn’t the case entirely. Grendel was determined to enter society, to be a part of their gatherings, instead at every turn he was chased away, cursed, and attacked. He was only a monster to those in the mead hall, a beast who could never be a part of them.
Both authors paint a grotesque picture of their creations and how they both desire to destroy beauty; Aesthetic Iconoclasm, that is shared between the two figures. However, both authors present their monsters separate to one another in philosophy; with Grendel being a mindless savage and the Monster being more contemplative and questioning the nature of its own creation. ‘Monster’ characters have always been a target of both folk tales and pagan myths since the dawn of humanity, the very concept of a monstrous creature harkens back to the primal fear instinct of facing a dangerous predator that presents a danger to humanity. Grendel from Beowulf is the perfect example of this hysteria and
What does director Tim Burton’s Edward Scissorhands and Mary Shelley’s Frankenstein (1994), directed by Kenneth Branagh, have in common— a mutual underlying story; but their differences are what makes their tales all the more special. Edward Scissorhands is a retelling of Frankenstein, but with a slight twist. In Edward’s case instead of lacking companionship like Frankenstein’s monster, he lacks hands; and is received rather well by the surrounding community. Ironically, in both tales the characters share the same desire to be love; this ignites the question – why do humans want to be love? Are we only important as we are loved?
This time however, he is swept away by a person name the Shaper, who Grendel is ultimately scared of, because of the fact that the shaper is very good at changing the view of people very easily. During this same period, Grendel started to become more violent as well, first by attacking the humans. Grendel didn’t like the way Hrothgar lived and made the Mead Hall and in response, Grendel started to attack it at night. He killed anyone and everything that came into his sight, and even ate the humans. Grendel now became a real threat to the humans, which inevitably changed his status from sinister to pure
Point of view is an essential component of Grendel because it gives us a perspective of how Grendel sees the world. Having the ability to view the story from the eyes of Grendel gives the reader insight into how Grendel thinks, how he sees people, and how people see him. The first person point of view in Grendel reveals a deeper understanding of how isolation can shape one’s existence and change them over time. When Grendel was younger, he was a curious creature who was intrigued but terrified of the outside world. The first person viewpoint of the story allows us to see how the way the humans treated Grendel took away his innocence and isolated him.
“Swiftly, softly, I will move from bed to bed and destroy them all, swallow every last man.” He kills them because he was affected by the shapers death. Grendel is capable of learning new things.
To heighten the conflict between Grendel and religion, Grendel is described as “forever opposing the Lord’s will” (Heaney 28-29). In Anglo Saxon Culture, every aspect of society is focused around God. To be anti-religious is to go against all aspects of their society. Grendel is almost a physical manifestation of the devil, and nothing is able to “quench his lust for evil” (Heaney 52-53). The parallel between Grendel and one of the seven deadly sins strengthens his connection to sins against God, and thus more monstrous toward the Danes.
He attempts to make peace, his actions are no different than those of others, and he is experiencing resentment. Although there is no excuse for murdering others, Grendel does not kill for the fun of it. His actions are just reactions to emotions he is experiencing. Furthermore, his willingness to make peace emphasizes the remorse he feels for the crimes he has committed. This also shows that he acted impulsively because of his strong feelings of resentment.
This is the beginning of Grendel falling directly into the role that the dragon said he would need to fill. Grendel’s murderous tendencies completely reflect the monstrous side of his personality and the more he kills the more he grows insane, separating from rational, humanistic thought. “I am swollen with excitement, bloodlust and joy and a strange fear that mingle in my chest like the twisting rage of a bone-fire... I am blazing, half-crazy with joy” (168). It is clear that, by the time Beowulf arrives, Grendel has embraced the fact that he is required to be evil, despite the fact that he previously claimed he would oppose that destiny.
Fate is often described as the will or principle by which things in general are believed to come to be . The question of fate has been pondered over for ages , with the epic poem, Beowulf, raising questions on the concept of fate versus free will. The epic raises the question in the form of the complex,yet dynamic character Grendel. Although it seems at certain points that Grendel acts on free will ,he is in fact led entirely by fate. The idea of fate leading Grendel’s life is made entirely from the fact that he was born a monster and an unfortunate descendant of Cain.
Mary Shelley's Frankenstein depicts the remarkable resemblance to the “modern” myth of Prometheus. The intertextuality used to connect these two stories, allow Shelley to bring out the most prominent themes of Power and suffering. As both of the characters deal differently with the struggle to resist the power that comes with creating life, the inevitable end for both characters are the same; they fall at the hands of their own creations. Shelley carefully utilizes the legend of Prometheus to express the connection between punishment and creation.
