Frankenstein
Mary Shelley
As the story progresses back to Robert's ship, the reader is reminded of the shared ambition between Victor and Robert. Although Robert believes that his decision to retreat from the Arctic leaves him a failure in his quest to discover the hidden laws of nature, the reader can understand that Robert's decision demonstrates Victor's success in discouraging the same reckless ambition.
To display his disappointment concerning the decision to turn back, Robert writes his sister, "Thus are my hopes blasted by cowardice and indecision: I come back ignorant and disappointed," (Shelley, 160). It is true that Robert's original ambitions to stand out in history as the first person to reach the North Pole failed. However, Robert's disappointment creates a sort of oxymoron. He may not have solved the most mysterious question, but he has learned one of the most practical lessons.
From the first few pages of the novel, Victor made it clear that he told his story so that Robert might escape Victor's fate. Therefore, by choosing to abandon ambition for life, Robert proved that Victor's misery resulting from his creation persuaded him to avoid Victor's regrets. Moreover, instead of carrying out Victor's desires that Robert destroy the creature, he allowed the creature to express his grief and destroy himself. Robert responded to the story of ubiquitous prejudice by becoming the only being to ask the creature to stay and converse and by allowing the natural forces of the North Pole and the creature's depression to remain hidden.
Shelley uses Robert's oxymoron to force the reader to reflect on the lessons Robert truly learned in an effort to convince the reader to abandon prejudice and the desire to push the limits of existence.
Thursday, November 29, 2012
Frankenstein: Chapters 21-22
Frankenstein
Mary Shelley
During Victor's trial for Henry's murder, Victor undergoes tribulations that parallel those of the creature during its first months of life. More significantly, the differences that arise between the two experiences reveal the attitudes of humanity toward outward appearances.
Upon reviewing the conditions of Victor and the creature, one recognizes that both were cast into an area where the beings understood nothing of each other. Victor was among the Irish who mostly viewed him with distrust based on his being a foreigner while the creature's mere appearance got it chased out of villages. Also, both Victor and the creature faced faulty prejudices and accusations. Victor was held for Henry's murder even though he was in Scotland at the time of the murder and the creature faced adversity from the De Lacey's even though he showed them nothing but clandestine sympathy with his collection of firewood.
Although the two beings' obstacles appear parallel, their means of surmounting their obstacles were rather unbalanced. Specifically, Victor had a sympathetic voice in Mr. Kirwin: "He had caused the best room in the prison to be prepared for me (wretched indeed was the best); and it was he who had provided a physician and a nurse," (Shelley, 131). Conversely, the creature remarked that Satan was more fortunate than he because he had companions. Even the elder De Lacey who initially received the creature eventually abandoned it.
This key difference of companionship reflects humanity's acceptance of Victor and rejection of the creature based on the only difference: appearances. The inconsistent attitude of society suggests once again that humans tend to ignore humanity without a perfectly human body.
Mary Shelley
During Victor's trial for Henry's murder, Victor undergoes tribulations that parallel those of the creature during its first months of life. More significantly, the differences that arise between the two experiences reveal the attitudes of humanity toward outward appearances.
Upon reviewing the conditions of Victor and the creature, one recognizes that both were cast into an area where the beings understood nothing of each other. Victor was among the Irish who mostly viewed him with distrust based on his being a foreigner while the creature's mere appearance got it chased out of villages. Also, both Victor and the creature faced faulty prejudices and accusations. Victor was held for Henry's murder even though he was in Scotland at the time of the murder and the creature faced adversity from the De Lacey's even though he showed them nothing but clandestine sympathy with his collection of firewood.
Although the two beings' obstacles appear parallel, their means of surmounting their obstacles were rather unbalanced. Specifically, Victor had a sympathetic voice in Mr. Kirwin: "He had caused the best room in the prison to be prepared for me (wretched indeed was the best); and it was he who had provided a physician and a nurse," (Shelley, 131). Conversely, the creature remarked that Satan was more fortunate than he because he had companions. Even the elder De Lacey who initially received the creature eventually abandoned it.
This key difference of companionship reflects humanity's acceptance of Victor and rejection of the creature based on the only difference: appearances. The inconsistent attitude of society suggests once again that humans tend to ignore humanity without a perfectly human body.
Frankenstein: Chapters 19-20
Frankenstein
Mary Shelley
After Victor accepts the creature's demands, Henry's presence in England forces Victor to realize fully how his creation has plagued him and, more significantly, his family. Through the use of metaphor, Shelley demonstrates how ambition sets people up for devastation.
While at Oxford, Henry's enthusiasm for the beauty of the city reminded Victor of his inability to feel the same enthusiasm. To express his destitution, Victor compares himself to a tree struck by lightning: "But I am a blasted tree; the bolt has entered by soul; and I felt then that I should survive to exhibit what I shall soon cease to be-a miserable spectacle of wrecked humanity, pitiable to others and intolerable to myself," (Shelley, 116-117). Like a tree, Victor strove to tower over all others in knowledge by defeating nature. However, like lightning, tragedy sought out Victor's audacity because of its magnitude in comparison to those of all others. The comparison of Victor to a tree sought out by lightning suggests to the reader that pushing the limits of reality will make one a target of tragedy.
Unfortunately, Victor bore only a portion of the tragedy attracted by his audacity. Although lightning rods typically dissipate the destruction of lightning, sparing surrounding structures, Victor attracted tragedy and conducted it to his family and friends. Victor's daring defiance toward death tempted tragedy to seek out William and Justine.
Mary Shelley
After Victor accepts the creature's demands, Henry's presence in England forces Victor to realize fully how his creation has plagued him and, more significantly, his family. Through the use of metaphor, Shelley demonstrates how ambition sets people up for devastation.
While at Oxford, Henry's enthusiasm for the beauty of the city reminded Victor of his inability to feel the same enthusiasm. To express his destitution, Victor compares himself to a tree struck by lightning: "But I am a blasted tree; the bolt has entered by soul; and I felt then that I should survive to exhibit what I shall soon cease to be-a miserable spectacle of wrecked humanity, pitiable to others and intolerable to myself," (Shelley, 116-117). Like a tree, Victor strove to tower over all others in knowledge by defeating nature. However, like lightning, tragedy sought out Victor's audacity because of its magnitude in comparison to those of all others. The comparison of Victor to a tree sought out by lightning suggests to the reader that pushing the limits of reality will make one a target of tragedy.
Unfortunately, Victor bore only a portion of the tragedy attracted by his audacity. Although lightning rods typically dissipate the destruction of lightning, sparing surrounding structures, Victor attracted tragedy and conducted it to his family and friends. Victor's daring defiance toward death tempted tragedy to seek out William and Justine.
Frankenstein: Chapters 16-18
Frankenstein
Mary Shelley
After the creature's expulsion from the De Lacey residence, its desire to seek companionship confronts several obstacles. Specifically, the situational irony surrounding the creature's unappreciated saving of the drowning girl effects a fatal shift in the its attitude toward humanity.
Even though the creature's months of selfless sacrifice in collecting the De Lacey's wood resulted only in violent rejection, the creature still sought relationships with children. For instance, when the girl in the woods almost drowned, the creature rescued her from nature's hazards despite its familiarity with violent misunderstandings by humans who should thank him. Instead of thanks, the creature receives only an ironic bullet from the father of the drowning girl. The creature relates his change of attitude towards humans by recounting to Victor: "Inflamed by pain, I vowed eternal hatred and vengeance to all mankind," (Shelley, 101). The creature's shift brought on by its situational irony suggests that evil results from surroundings instead of inherent nature.
Furthermore, Shelley utilizes imagery and setting to support the claim that the creature's reception by humanity effected its malevolence. Prior to the creature's rescue of the drowning girl, fall had turned to winter. The decay of nature seen in the freezing of the rivers and earth paralleled the decay of the nature of the creature. Whereas the creature's desire to cooperate with humans shown in his collecting of logs for the De Laceys was natural, the decay of the creature's environment seen in the De Lacey's expulsion of the creature and the father's shooting it destroyed the creature's benevolent nature and gave rise to its retribution.
Even though the creature's months of selfless sacrifice in collecting the De Lacey's wood resulted only in violent rejection, the creature still sought relationships with children. For instance, when the girl in the woods almost drowned, the creature rescued her from nature's hazards despite its familiarity with violent misunderstandings by humans who should thank him. Instead of thanks, the creature receives only an ironic bullet from the father of the drowning girl. The creature relates his change of attitude towards humans by recounting to Victor: "Inflamed by pain, I vowed eternal hatred and vengeance to all mankind," (Shelley, 101). The creature's shift brought on by its situational irony suggests that evil results from surroundings instead of inherent nature.
Furthermore, Shelley utilizes imagery and setting to support the claim that the creature's reception by humanity effected its malevolence. Prior to the creature's rescue of the drowning girl, fall had turned to winter. The decay of nature seen in the freezing of the rivers and earth paralleled the decay of the nature of the creature. Whereas the creature's desire to cooperate with humans shown in his collecting of logs for the De Laceys was natural, the decay of the creature's environment seen in the De Lacey's expulsion of the creature and the father's shooting it destroyed the creature's benevolent nature and gave rise to its retribution.
Frankenstein: Chapters 13-15
Frankenstein
Mary Shelley
Finally, the reader begins to discover the source of the creature's impressive eloquence and knowledge: reading. However, through the use of allusions to famous literary works, Shelley highlights the failure of society to accept the creature and the failure of Victor to accept the child of his ambition.
Surprisingly, the creature is proficient in understanding Lives, Sorrows of Werter, and Paradise Lost, some of the most elevated and complex pieces of literature. Specifically, the creature's ability to enjoy the stories of the most celebrated heroes in human society as portrayed in Lives and to connect with the universal woes of death in Sorrows of Werter display an intellect and compassion worthy of human companionship. In fact, the creature's shocking speed in understanding universal human joys and pains demonstrates the creature's superiority in granting companionship, aid, and comfort. Nevertheless, humanity so far has rejected the creature utterly. This situational irony created by characterization of the creature as empathetic through understanding of allusions to Lives and Sorrows of Werter signal to the reader humanity's prejudicial tendency to scorn humanity concealed under non-conventional appearances thereby creating monsters out of humans.
Moreover, the allusion to Paradise Lost allows the reader to juxtapose the characters of the creature and Victor with the characters of God, Adam, and Satan as portrayed in the work. On one hand, as the creature argues, the creature plays a role more like Satan than Adam because of his loneliness compared to his benefactors' emotional bounty: "Many times I considered Satan as the fitter emblem of my condition; for often, like him, when I viewed the bliss of my protectors, the bitter gall of envy rose within me," (Shelley, 92). Thus, Victor would play the role of the omnipotent God who cast out his creation. However, the reader might also believe Victor to play the role of Satan whose blind ambition to attain God-like power led to his downfall as Victor's desire to bestow life led to his post-creation depression. Shelley's allusion to Paradise Lost and juxtapositions among its and her characters suggest that social barriers placed by prejudice leave the oppressed at the bottom via the actions of the persecutors as well as the persecutors for their malevolent ambition for power.
(Do I get a reward for using 4 lit terms in one blog post?)
Mary Shelley
Finally, the reader begins to discover the source of the creature's impressive eloquence and knowledge: reading. However, through the use of allusions to famous literary works, Shelley highlights the failure of society to accept the creature and the failure of Victor to accept the child of his ambition.
Surprisingly, the creature is proficient in understanding Lives, Sorrows of Werter, and Paradise Lost, some of the most elevated and complex pieces of literature. Specifically, the creature's ability to enjoy the stories of the most celebrated heroes in human society as portrayed in Lives and to connect with the universal woes of death in Sorrows of Werter display an intellect and compassion worthy of human companionship. In fact, the creature's shocking speed in understanding universal human joys and pains demonstrates the creature's superiority in granting companionship, aid, and comfort. Nevertheless, humanity so far has rejected the creature utterly. This situational irony created by characterization of the creature as empathetic through understanding of allusions to Lives and Sorrows of Werter signal to the reader humanity's prejudicial tendency to scorn humanity concealed under non-conventional appearances thereby creating monsters out of humans.
Moreover, the allusion to Paradise Lost allows the reader to juxtapose the characters of the creature and Victor with the characters of God, Adam, and Satan as portrayed in the work. On one hand, as the creature argues, the creature plays a role more like Satan than Adam because of his loneliness compared to his benefactors' emotional bounty: "Many times I considered Satan as the fitter emblem of my condition; for often, like him, when I viewed the bliss of my protectors, the bitter gall of envy rose within me," (Shelley, 92). Thus, Victor would play the role of the omnipotent God who cast out his creation. However, the reader might also believe Victor to play the role of Satan whose blind ambition to attain God-like power led to his downfall as Victor's desire to bestow life led to his post-creation depression. Shelley's allusion to Paradise Lost and juxtapositions among its and her characters suggest that social barriers placed by prejudice leave the oppressed at the bottom via the actions of the persecutors as well as the persecutors for their malevolent ambition for power.
(Do I get a reward for using 4 lit terms in one blog post?)
Sunday, November 18, 2012
Frankenstein: Chapters 10-12
Frankenstein
Mary Shelley
To everyone's surprise, on his journeys, Victor reunites with his creation who speaks flawless English. In examining the creature's eloquent story since the day of creation, the reader will discover contrasts between the two beings' parallel searches for knowledge.
First, the reader realizes that Victor and his creation experienced vastly different early lives. Victor once remarked that no one had a better childhood than he. His parents were loving, he had a few friends, and he was never in want of anything. However, the creature experienced unprecedented adversity in its early days. Its own father fled from him, he had not even a single possession, and all of humanity desired to kill it.
Consequently, their quests for knowledge varied in motive and manner. Since Victor had access to printed works, he simply formed the basis of his knowledge with others' discoveries. When he developed his own experiments and observations with the intent to spare humanity from death, he allegedly ended up causing more death with the creature.
However, the creature was forced to gain all of his knowledge through observation and experimentation: "In my joy I thrust my hand into the live embers, but quickly drew it out again with a cry of pain," (Shelley, 72). Because its learning of fire and language lacked any other influences, the creature developed a natural view of the world while Victor developed a warped and philosophical view. The creature's motive of helping the poor family through simple and natural methods of prolonging life instead of defying death creates sympathy from the reader. Most importantly, the reader learns to aid others by improving life rather than degrading death.
Mary Shelley
To everyone's surprise, on his journeys, Victor reunites with his creation who speaks flawless English. In examining the creature's eloquent story since the day of creation, the reader will discover contrasts between the two beings' parallel searches for knowledge.
First, the reader realizes that Victor and his creation experienced vastly different early lives. Victor once remarked that no one had a better childhood than he. His parents were loving, he had a few friends, and he was never in want of anything. However, the creature experienced unprecedented adversity in its early days. Its own father fled from him, he had not even a single possession, and all of humanity desired to kill it.
Consequently, their quests for knowledge varied in motive and manner. Since Victor had access to printed works, he simply formed the basis of his knowledge with others' discoveries. When he developed his own experiments and observations with the intent to spare humanity from death, he allegedly ended up causing more death with the creature.
However, the creature was forced to gain all of his knowledge through observation and experimentation: "In my joy I thrust my hand into the live embers, but quickly drew it out again with a cry of pain," (Shelley, 72). Because its learning of fire and language lacked any other influences, the creature developed a natural view of the world while Victor developed a warped and philosophical view. The creature's motive of helping the poor family through simple and natural methods of prolonging life instead of defying death creates sympathy from the reader. Most importantly, the reader learns to aid others by improving life rather than degrading death.
Frankenstein: Chapters 8-9
Frankenstein
Mary Shelley
In this section, Victor faces the worst grief yet: Justine's execution. Furthermore, the reader finds a possible foreshadow that could reveal Victor's only hope for resolution.
As stated in the last post, Victor blames himself for the circumstances surrounding William's murder because he accuses the creation as the murderer. Therefore, when Justine is executed as the murderer, Victor adds her to his list of victims. Obviously, if the creation is the murderer, then the family members are the victims of Victor's obsession with defeating death. However, Justine's acceptance of death and Victor's rest on his journey provide Victor and alternate attitude towards death.
Although Justine faced imminent death, it was not her greatest concern. In fact, she viewed death as a source of peace. That she lied and confessed to the murder troubled her the most. Unlike Victor, Justine approached death with a peaceful demeanor and acceptance of its universality.
Nonetheless, Victor comes to a similar conclusion while travelling. "... when I placed my head upon my pillow, sleep crept over me; I felt it as it came and blest the giver of oblivion," (Shelley, 65). While Victor was awake, he felt only remorse, pain, and guilt. However, when he was asleep, he could escape his miseries. It seemed that the lack of feeling was the only escape.
Shelley seems to suggest that, in certain dire situations, death is not an enemy, but rather the purveyor of peace.
Mary Shelley
In this section, Victor faces the worst grief yet: Justine's execution. Furthermore, the reader finds a possible foreshadow that could reveal Victor's only hope for resolution.
As stated in the last post, Victor blames himself for the circumstances surrounding William's murder because he accuses the creation as the murderer. Therefore, when Justine is executed as the murderer, Victor adds her to his list of victims. Obviously, if the creation is the murderer, then the family members are the victims of Victor's obsession with defeating death. However, Justine's acceptance of death and Victor's rest on his journey provide Victor and alternate attitude towards death.
Although Justine faced imminent death, it was not her greatest concern. In fact, she viewed death as a source of peace. That she lied and confessed to the murder troubled her the most. Unlike Victor, Justine approached death with a peaceful demeanor and acceptance of its universality.
Nonetheless, Victor comes to a similar conclusion while travelling. "... when I placed my head upon my pillow, sleep crept over me; I felt it as it came and blest the giver of oblivion," (Shelley, 65). While Victor was awake, he felt only remorse, pain, and guilt. However, when he was asleep, he could escape his miseries. It seemed that the lack of feeling was the only escape.
Shelley seems to suggest that, in certain dire situations, death is not an enemy, but rather the purveyor of peace.
Frankenstein: Chapters V-VII
Frankenstein
Mary Shelley
In this section, Victor seemingly faces the first concrete consequences of his creation. Although the identity of William's murderer is technically unknown, the various theories of guilt create situational irony that compounds Victor's remorse for his creation.
Victor's father, Alphonse, revealed William's murder to Victor almost immediately after Victor had recovered from his illness following the creation. Additionally, Elizabeth wrongfully assumed guilt for the murder on the grounds that the necklace she had given William appeared to be the motive for the murder: "Oh, God! I have murdered my darling child!" (Shelley, 47). Few would ever expect that someone so caring as Elizabeth would even be suspected of indirectly causing her cousin's murder. Nevertheless, the reader soon finds that most expected that Justine, the dedicated servant, did in fact directly murder William.
Almost immediately, Victor accuses his creation of the murder. Therefore, the reader is conditioned to believe that the ironies befalling his family are his doing. Even though Victor commenced his creation with the intention of eliminating death, it has only brought misery. Assuming that the creature murdered William, Victor allowed for the death of his brother, the depression and guilt of his cousin, and the probable execution of his faithful servant.
So far, it seems that Shelley warns the reader again that death is inevitable, and any effort to resist inevitably brings death.
Mary Shelley
In this section, Victor seemingly faces the first concrete consequences of his creation. Although the identity of William's murderer is technically unknown, the various theories of guilt create situational irony that compounds Victor's remorse for his creation.
Victor's father, Alphonse, revealed William's murder to Victor almost immediately after Victor had recovered from his illness following the creation. Additionally, Elizabeth wrongfully assumed guilt for the murder on the grounds that the necklace she had given William appeared to be the motive for the murder: "Oh, God! I have murdered my darling child!" (Shelley, 47). Few would ever expect that someone so caring as Elizabeth would even be suspected of indirectly causing her cousin's murder. Nevertheless, the reader soon finds that most expected that Justine, the dedicated servant, did in fact directly murder William.
Almost immediately, Victor accuses his creation of the murder. Therefore, the reader is conditioned to believe that the ironies befalling his family are his doing. Even though Victor commenced his creation with the intention of eliminating death, it has only brought misery. Assuming that the creature murdered William, Victor allowed for the death of his brother, the depression and guilt of his cousin, and the probable execution of his faithful servant.
So far, it seems that Shelley warns the reader again that death is inevitable, and any effort to resist inevitably brings death.
Frankenstein: Chapters I-IV
Frankenstein
Mary Shelley
In this section narrated by Victor Frankenstein, the reader gets a deeper glimpse into the character and motives of Victor. The introduction of Elizabeth into the Frankenstein family and a verbal irony from Victor's mother reveal Victor's desire to control life that influences him to prepare his creation.
Victor was born to a woman dedicated to caring for her family: Caroline Beaufort. In fact, the primary cause of the marriage between Victor's father and Caroline had been Caroline's vigilance at her father's (and Victor's father's friend's (I apologize)) deathbed. Victor's recollection of his back story proves to the reader his admiration for caretakers of life.
Moreover, when Victor first meets Elizabeth, all desires to control life (benevolently) are made explicit. Although Caroline most likely aimed to introduce Victor to Elizabeth without evoking jealousy, Victor took her words literally: "I have a pretty present for my victor-tomorrow he shall have it," (Shelley, 18). This verbal irony uncovered Victor's obsessive attitude towards life: "... my more than sister, since till death she was to be mine only," (Shelley, 18). Upon seeing a creature so fair, Victor desired to follow in his mother's footsteps and care for Elizabeth vigilantly. However, he would take his vigilance to a new extreme.
Undoubtedly, Victor's meeting Elizabeth prompted him to uncover the secrets of bestowing life so that he would never have to part with Elizabeth as he had to part with his mother. Specifically, Shelley warns the reader of the consequences of an obsession with altering the natural laws of death.
Frankenstein: Letters
Frankenstein
Mary Shelley
As in most literary works, the beginning of Frankenstein serves to characterize directly and indirectly the main characters. As Robert Walton writes his sister in England, he reveals his character and that of the stranger saved from the arctic ice.
The reader soon realizes that Robert is insatiably ambitious. Even at this point in the novel, he has embarked to reach the north pole from Russia. This quest proves a certain disregard for family despite his deep affection for his sister; he decided to abandon his sister (perhaps forever) and pursuing this quest was a clear violation of his father's last wishes. Although he desires to be remembered in history as one of the greatest navigators, his true motivation is to learn the secrets of the universe. Discovering the forces behind the compass would grant him a sense of mastery over nature and a victory over uncertainty.
Once Robert recovers the stranger from the ice, he first notes his striking benevolence which allows the two to bond. Furthermore, the stranger's own desire to discover nature's hidden laws inspires him to recount his story to Robert. "You seek for knowledge and wisdom, as I once did; and I ardently hope that the gratification of your wishes may not be a serpent to sting you, as mine has been," (Shelley, 13).
The comparison between the characters of Robert and the stranger proves the power of human ambition and the necessity to learn from the mistakes of others' ambitions.
Mary Shelley
As in most literary works, the beginning of Frankenstein serves to characterize directly and indirectly the main characters. As Robert Walton writes his sister in England, he reveals his character and that of the stranger saved from the arctic ice.
The reader soon realizes that Robert is insatiably ambitious. Even at this point in the novel, he has embarked to reach the north pole from Russia. This quest proves a certain disregard for family despite his deep affection for his sister; he decided to abandon his sister (perhaps forever) and pursuing this quest was a clear violation of his father's last wishes. Although he desires to be remembered in history as one of the greatest navigators, his true motivation is to learn the secrets of the universe. Discovering the forces behind the compass would grant him a sense of mastery over nature and a victory over uncertainty.
Once Robert recovers the stranger from the ice, he first notes his striking benevolence which allows the two to bond. Furthermore, the stranger's own desire to discover nature's hidden laws inspires him to recount his story to Robert. "You seek for knowledge and wisdom, as I once did; and I ardently hope that the gratification of your wishes may not be a serpent to sting you, as mine has been," (Shelley, 13).
The comparison between the characters of Robert and the stranger proves the power of human ambition and the necessity to learn from the mistakes of others' ambitions.
Thursday, November 1, 2012
Alienation Unit: APO 96225
"APO 96225"
Larry Rottmann
Obviously, war is hell. But, why is war hell.
The young man who became one of the few honored and cursed people to ascertain the reason obviously tried to hide his family from this answer. His mother, still intent on enlightenment for her son's sake, both begged for and refused the answer.
Although there is great irony in the mother's response to the war, the irony is situational rather than dramatic. Although the reader may guess that the details of war sometimes are best left unknown, the reader garners only the information already known by the characters. Utilization of situational irony provides an insight into human nature in regards to learning of atrocities. Frequently, many claim to desire full knowledge of dangerous and destitute circumstances under the assumption that they can cope with understanding. However, this is rarely true. Most often, when people learn of terrible situations which they cannot reverse, they react like the young man's family: "Please don't write such depressing letters. You're upsetting your mother" (Rottmann, 846).
It is human nature to combat those who seek to withhold information. As the young man's family learns, sometimes, ignorance brings more comfort than complete knowledge- especially when the situation is hopeless. Nevertheless, those who deal with the situation are left to cope with the knowledge themselves.
Larry Rottmann
Obviously, war is hell. But, why is war hell.
The young man who became one of the few honored and cursed people to ascertain the reason obviously tried to hide his family from this answer. His mother, still intent on enlightenment for her son's sake, both begged for and refused the answer.
Although there is great irony in the mother's response to the war, the irony is situational rather than dramatic. Although the reader may guess that the details of war sometimes are best left unknown, the reader garners only the information already known by the characters. Utilization of situational irony provides an insight into human nature in regards to learning of atrocities. Frequently, many claim to desire full knowledge of dangerous and destitute circumstances under the assumption that they can cope with understanding. However, this is rarely true. Most often, when people learn of terrible situations which they cannot reverse, they react like the young man's family: "Please don't write such depressing letters. You're upsetting your mother" (Rottmann, 846).
It is human nature to combat those who seek to withhold information. As the young man's family learns, sometimes, ignorance brings more comfort than complete knowledge- especially when the situation is hopeless. Nevertheless, those who deal with the situation are left to cope with the knowledge themselves.
Alienation Unit: Much Madness is divinest Sense
"Much Madness is divinest Sense"
Emily Dickinson
Emily Dickinson's distance from society strikes again. This time, however, the speaker engages society in an argument riddled with paradoxes. One one hand, typical sense is viewed as, well, good sense; nevertheless, the speaker contends that madness is the sign of good sense.
The speaker sides with madness by claiming, "To a discerning Eye- Much Sense- the starkest Madness" (Dickinson, 830). By using the word discerning, the speaker utilizes the connotations of prudence and wisdom to lend credibility to viewing madness as the key to sanity.
Unfortunately, the speaker points out that assuming this position lends more danger than the anticipated civil disagreement. One one hand, validating the majority opinion by virtue of backing the majority grants one sanity. However, dissenting from the majority opinion that sense begets sense labels one dangerous- a strong word with unprecedented connotations within the poem and the minority opinion. Overall, the speaker contends that, because of her decision to embrace the beauty of the complexity of human consciousness (you're welcome, John Green) has delivered her to the chains of the majority. Most importantly, the speaker is further alienated by her and her comrades' refusal to attack the opposition with the same ferocity.
Emily Dickinson
Emily Dickinson's distance from society strikes again. This time, however, the speaker engages society in an argument riddled with paradoxes. One one hand, typical sense is viewed as, well, good sense; nevertheless, the speaker contends that madness is the sign of good sense.
The speaker sides with madness by claiming, "To a discerning Eye- Much Sense- the starkest Madness" (Dickinson, 830). By using the word discerning, the speaker utilizes the connotations of prudence and wisdom to lend credibility to viewing madness as the key to sanity.
Unfortunately, the speaker points out that assuming this position lends more danger than the anticipated civil disagreement. One one hand, validating the majority opinion by virtue of backing the majority grants one sanity. However, dissenting from the majority opinion that sense begets sense labels one dangerous- a strong word with unprecedented connotations within the poem and the minority opinion. Overall, the speaker contends that, because of her decision to embrace the beauty of the complexity of human consciousness (you're welcome, John Green) has delivered her to the chains of the majority. Most importantly, the speaker is further alienated by her and her comrades' refusal to attack the opposition with the same ferocity.
Alienation Unit: I felt a Funeral, in my Brain
"I felt a Funeral, in my Brain"
Emily Dickinson
In this completely typical Dickinson poem, the speaker utilizes vivid imagery to express her alienation. Specifically, the sensations of feeling and hearing convey the uncomfortable and isolated experiences of the speaker.
The first scenes of feeling seem to suggest that the speaker suffers from some malady of the head. The speaker describes her situation in terms of people walking through her head: an obviously unpleasant experience. More than that, the people were attending a funeral. Additionally, the activity of this funeral contributed to a numbing sensation in her head.
By using sounds of this funeral, it becomes apparent that this funeral is meant for the speaker. "And then I heard them lift a Box And creak across my Soul..." (Dickinson, 776). This fact hints to the alienation of the speaker from her friends who apparently view her as dead. One can surmise that this malady is distancing the speaker from her friends or her social class.
Finally, through diction of feeling, the speaker confirms this suspicion; as if the bottom of the coffin had fallen, the speaker fell out of touch with her class and down the social ladder.
Emily Dickinson
In this completely typical Dickinson poem, the speaker utilizes vivid imagery to express her alienation. Specifically, the sensations of feeling and hearing convey the uncomfortable and isolated experiences of the speaker.
The first scenes of feeling seem to suggest that the speaker suffers from some malady of the head. The speaker describes her situation in terms of people walking through her head: an obviously unpleasant experience. More than that, the people were attending a funeral. Additionally, the activity of this funeral contributed to a numbing sensation in her head.
By using sounds of this funeral, it becomes apparent that this funeral is meant for the speaker. "And then I heard them lift a Box And creak across my Soul..." (Dickinson, 776). This fact hints to the alienation of the speaker from her friends who apparently view her as dead. One can surmise that this malady is distancing the speaker from her friends or her social class.
Finally, through diction of feeling, the speaker confirms this suspicion; as if the bottom of the coffin had fallen, the speaker fell out of touch with her class and down the social ladder.
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