CULTURAL STUDIES

TOPIC   :             “CULTURAL STUDIES IN PRACTICE:

                                                FRANKENSTEIN”

NAME     :            BHALIYA UMA H.

ROLL  NO :         01

SEM -2:               M.A. PART-1

BATCH:               2010-2011

                                                                                     

SUBMITTED TO:  DR. DILIP BARAD.

Department of English, Bhavnagar University.

“CULTURAL STUDIES IN PRACTICE:       FRANKENSTEIN”

Mary shelley’s novel has morphed into countless forms in both highbrow and popular culture, including the visual arts, fiction and nonfiction, stage plays, film, television, advertising, clothing, jewelry, toys, key chains, coffee mugs, games, Halloween costumes, comic books, jokes, cartoons, pornography, academic study, fan clubs, web sites, and even food. Shelley’s creation teaches us not to underestimate the power of youth culture.

1.    REVOLUTIONARY BIRTHS

Born like its creator in an age of revolution, Frankenstein challenged accepted ideas of its day. As it has become increasingly commodified by modern consumer culture, one wonders whether its original revolutionary  spirit and its critique of scientific, philosophical, political, and gender issues have become obscured, or whether instead its continuing transformation attests to its essential oppositional nature. Today, as George Levine remarks, Frankenstein is “a vital metaphor, peculiarly appropriate to a culture dominated by a consumer technology, neurotically obsessed with “getting in touch” with its authentic self and frightened at what it is discovering”. Hardly a day goes by without our seeing an image or allusion to Frankenstein, from can descriptions of saddam Hussein as an “American-created Frankenstein” to magazine articles that warn of genetically engineered “Franken-foods,” test-tube babies, and cloning. Below we examine the political and scientific issues of the novel.

A.   THE CREATURE AS PROLETARIAN

We recall from earlier chapters that Mary Shelley lived during times of great upheaval in Britain; not only was her own family full of radical thinkers, but she also met many others such as Thomas Paine and William Blake. Percy Shelley was thought of as a dangerous radical bent on labor reform and was spied upon by the government. In Frankenstein, what Johanna m.smith calls the “alternation between fear of vengeful revolution and sympathy for the suffering poor” illuminates Mary Shelley’s own divisions between revolutionary ardor and fear of the masses. Like her father, who worried about the mob’s excess of a virtuous feeling,” fearing its “sick destructiveness”, Mary Shelley’s creature is a political and moral paradox, both an innocent and a cold-blooded murderer.

Monsters like the creature are indeed paradoxical. On the one hand, they transgress against “the establishment”. If the monster survives he represents the defiance of death, an image of survival, however disfigured. On the other hand, we are reassured when we see that society can capture and destroy monsters. Such dualism would explain the great number of Frankenstein-as-mutant movies that appeared during the cold war. But the creature’s rebellious nature is rooted far in the past.

Monster reads three books, beginning with paradise lost. Not only are the eternal questions about the ways of god and man in paradise lost relevant to the creature’s predicament, but in Shelley’s time Milton’s epic poem was seen, as timothy Morton puts it, as “a seminal work of republicanism and the sublime that inspired many of the romantics.” The creature next reads a volume from Plutarch’s lives, which in the early nineteenth century was read as “a classic republican text, admired in the enlightenment by such writers as Rousseau.” Goethe’s the sorrows of young weather, the creature’s third book, is the prototypical rebellious romantic novel. In short, says Morton, “the creature’s literary education is radical” but the creature’s idealistic education does him little good, and he has no chance of reforming society so that it will accept him. His self-education is his even more tragic second birth into an entire culture impossible for him to inhabit, however well he understands its great writings about freedom.

B.  “A RACE  OF DEVILS”

Frankenstein may be analyzed in its portrayal of different “races”. Though the creature’s skin is only described as yellow, it has been constructed” out of a cultural tradition of the threatening ‘other’-whether troll or giant, gypsy or Negro-from the dark inner recesses of xenophobic fear and loathing,” as h.l.malchow remarks.

Though the abolitionists wished to portray the black man or woman as brother or sister, they also created an image of the vein, victor could be read as guilty slave master. Interestingly, one of Mary Shelley’s letters mentions an allusion to Frankenstein made on the floor of parliament by foreign secretary george conning, speaking on march 16, 1824, on the the subject of proposed ameliorations of slave conditions in the west indies: “to turn him loose in the manhood of his physical strength, in the maturity of his physical passion, but in the infancy of his uninstructed reason, would be to raise up a creature resembling the splendid fiction of a recent romance”. Gayatri chakravorty spivak describes the novel as a critique of empire and racism, pointing out that “social engineering should not be based upon pure, theoretical, or natural-scientific reason alone…” Frankenstein’s “language of racism-the dark side of imperialism understood as social mission-combines with the hysteria of masculism into the idiom of sexual reproduction rather than subject-constitution.” The novel is “written from the perspective of a narrator ‘from below’.

C.   FROM NATURAL PHILOSOPHY TO CYBORG

Today, in an age of genetic engineering biotechnology, and cloning, the most farreching industrialization of life forms to date, Frankenstein is more relevant than ever. Development in science were increadingly critical to society during the romantic period, when a paradingm shift occurred from science as natural philosophy to science as biology, a crucial distinction in Frankenstein.

  Today we are constantly confronted with new developments in fertility science and new philosophical conundrums that result from science and new philosophical conundrums that result from genetic engineering, in vitro fertilization, cloning, and the prolongation of life by artificial means. Couples taking fertility treatment sometimes have to face the difficult choice of “selective reduction” or the possible adverse results of multiple, premature births. People wonder, has science gone too far? According to cultural critic laura kranzler, victor’s creation  of life  and  modern spernm banks and artificial wombs show a “masculine desire to claim female  productivity” Frankenstein  and  its  warnings about  the hubris of science will be with us in the future as science  continues to question the borders between  life and death, between life  and death, between “viability” and “selective reduction,” between living and support.

2.     THE FRANKENPHEME IN POPULAR CULTURE: FICTION, DRAMA, FILM, TELEVISION.

In the routledge literary sourcebook on Frankenstein, timothy Morton uses term Frankenphemes, drawn from phonemes and graphemes, as “elements of culture that are derived from Frankenstein. “Either a separate work of art is inspired, or some kernel is derived from Shelly’s novel and repeated in another medium. Broadly defined, frankenphemes demonstrate the extent of the novel’s presence in world cultures, as the encoding of race and class in the 1824 canning speech in parliament, in today’s global debates about such things as genetically engineered foods, and of course in fiction and other media. We end with a quick look at some of the thousands of retellings, parodies, and other selected frankenphemes a s they have appeared in popular fiction, drama, film, and television.

A.   “THE GREATEST HORROR STORY NOVEL EVER WRITTEN”

Frankenstein’s fictions peter haining, editor of the indispensable Frankenstein omnibus, has called Frankenstein “the single greatest horror story novel ever written and the most widely influential in its genure”. Apparently the first writer to attempt a straightforward short tale inspired by Frankenstein was herman Melville, whose story “the bell-tower” was published in putnam’s monthly magazine in 1855.

The first story about a female monster is French author Villiers de lisle Adam’s “the future eve”, an 1886 novelette not translated into English until fifty years later.

 American writer w.c.morrow published “the surgeon’s experiment” in the Argonaut in 1887, in which an experimenter revives a headless corpse corse by attaching a mental head; there was a large cancellation of subscriptions in response. Two years later, a British journalist published a tale in reverse in Cornhill magazine: a disembodied head is kept alive with electricity. Jack London’s early story, “a thousand deaths”, is a gruesome science fiction tale of a scientist who stays at sea on his laboratory ship, repeatedly killing then reviving his son, until the son has enough and kills his father. Frankenstein inspired the set of tales published in home brew magazine called ”the reanimator” by h.p.lovercraft, which later become a cult classic movie, “Herbert west:”reanimator”, the sage of a young experimenter, barred from medical school, who practices unholy arts on the corpses of human beings and reptiles. “The reanimator” helped intiate the “splatter film” genre. There have been numerous illustrated editions of Frankenstein for children, from full-scale reprinting to comic books, as well as politicized versions, such as Mikhail bulgakov’s  satire on Stalinist Russia, the master and margarita, and Theodore roszak’s ecofeminist novel the memoirs of Elizabeth Frankenstein. There is suprising amount of Frankenstein-inspired erotica, especially gay-and lesbian-oriented. Finally, there are the unclassifiables, such as Theodore leberthon’s “demons of the film colony,”a strange reminiscence of an afternoon the Hollywood journalist spent with Boris Karloff and bela Lugosi, published in weird tales in 1932.

B.   FRANKENSTEIN ON THE STAGE

From his debut on the stage, the creature has generally been made horrific, and victor has been assigned less blame. Most stage and screen versions are quite melodramatic, tending to eliminate minor characters and the entire frame structure in order to focus upon murder and mayhem. No dramatist would want to try for all of the complexities of the novel. In stage, the creature are used. On the nineteenth century stage, the creature was a composite of frightening makeup and human qualities. He could even appear clownish, recalling Shakespeare’s Caliban.

The first theatrical presentation based on Frankenstein was presumption, or the fate of Frankenstein by Richard brinsley peake, performed at the English opera house in London in the summer of 1823 and subsequently revived many time. Mary Shelley herself attended the play and pronounced it authentic. But this “serious” dreama immediately inspired parodies, first with frankenstitch in 1823, a burlesque featuring a tailor, who as the “needle Prometheus,” sews a body out of nine corpses. Later that year opened franke-n-steam, in which a student foolishly revives the corpse of a bailiff. The devil among the players opened at the opera glass in London in October of 1826, with a line-up featuring Frankenstein, Faust, and the vampire. A play called the man in the moon was very popular in London during 1847; its script was hamlet with the addition of a new act in which the creature arises from hell through a trap door and sings and drinks with the ghost.

C.   FILM ADAPTATIONS

 In the Frankenstein omnibus, readers can study the screenplay for the 1931 James whale film Frankenstein, the most famous of all adaptations. It was loosely based on the novel with the addition of new elements, including the placing of a criminal brain into the monster’s body. The first version of Frankenstein, however, was produced by Thomas Edison in 1910, a one-reel tinted silent. The early films, including this one, were able to move away from the melodrama and clumsy moralism of the stage productions and focus on more dreamlike and bizarre episodes that have more to do with the novel’s themes of creation. Early German films that were heavily influenced by this Frankenstein were the cabinet of dr.caligari, the golem, and metropolis.

Whale’s Frankenstein and especially boris Karloff’s performance have had the greatest influence on subsequent portrayals, and the changes whale made to the story have also struck his grunting creature has been dumbed down from Shelley’s novel victor is called “Henry” Frankenstein-noble though a bit mad an assistant named fritz is added, who is responsible for getting the criminal brain; and there is added, who is responsible for getting the criminal brain; and there is a happy ending with “Henry” saved. The criminal brain reflects the biological determinism popular among Americans in the early decades of the twentieth century. People considered heredity rather than environment, economic systems, or education to be the critical factor in problems of social unrest, immigration, unemployment and crime and they reproduction of groups judged to have sound genetic background and to prevent those who did not.

 Mary Shelley discussing her novel with Percy and Byron. She is played by Elsa lanchester who also plays the female creature, with her darting black eyes and Queen Nefertiti hair. Unlike the first whale film, his one tends toward comedy, parody, and satire rather than pure horror.

The Frankenstein film that billed itself as most true to the novel is Kenneth branagh’s 1994 Mary Shelley’s “Frankenstein” starring branagh as victor Robert de niro as the creature and Helena Bonham carter as Elizabeth. Though branagh tries to stick to Mary Shelley’s plot three fourths of the way through. The film diverges wildly from the novel and seems most interested in the love affair between victor and Elizabeth.

MULTIPLICITY OF THEMES IN MIDDLEMARCH

THE VICTORIAN LITERATURE

TOPIC   :   “MULTIPLICITY OF THEMES IN MIDDLEMARCH”

NAME     :   BHALIYA UMA H.

ROLL NO:  01

SEM :         SEM-2: M.A. PART-1

BATCH:     2010-2011

SUBMITTED TO:  MISS. RUCHIRA DUDHREJA .

Department of English, Bhavnagar University.

MULTIPLICITY OF THEMES IN MIDDLEMARCH 

* THE MAJOR THEME

Middlemarch is a complex work of art and a number of themes and ideas are woven into its complex fabric. One of its major themes, however, is the frustration of noble ideals and lofty aspirations by meanness of opportunity. In Middlemarch the theme has been studied with reference to a number of characters. And has been universalized in this way.

Middlemarch subtitle is “a study of provincial life”, this means that Middlemarch. Represents the spirit of nineteenth-century England through the unknown, historically unremarkable common people. The small community of Middlemarch is thrown into relief against the background of larger social transformations, rather than the other way around.

Middlemarch is a major novel by any standard. The historical canvas is very wide. The several storylines storylines of the multiple plot are traced from their beginning, gradually  combining into a drama which gathers intense human and moral interest. Themes emerge naturally out of believable families and marriages, and final outcomes do not depend upon gratuitous interventions from melodrama or authorial providence. Middlemarch: a study of provincial life is set, like Felix Holt, in a midlands manufacturing town towards 1832.

* DOROTHEA – CASAUBON STORY

Dorothea is the first major character in the novel whose life is a tragedy of frustrated idealism. She has been referred to as a modern st.theresa motivated by an intense desire to do good and make some noble achievement. But Middlemarch society, narrow, stinted and tradition bound, offers little opportunity for the realization of her lofty ideals and noble aspirations. She  seeks to find an outlet for the re-building of the cottages of the poor tenants on the state of a neighboring  baronet and friend of the family. Sir chettam. But the scope for such philanthropy is extremely limited and it bring little satisfaction to this later day Theresa. Thus her lofty aspirations are frustrated by her meanness of opportunity.

*   LYDGATE – ROSAMOND STORY

This  very frustration of noble aspirations by “meanness of opportunity” and “sport of commonness” is also illustrated by lydgate – rosamond  story. Well educated  and cultured, lydgate  is an exceptional individual who is keen to promote the cause of medical science by devoting his energies to higher research and study, and not waste  them in earning money like the common fashionable physician. He comes to Middlemarch hoping that in the seclusion of this provincial town be would he able fully to realize his aspirations. But, says Joan Bennett, “lydgate’s promise the promise of a man of exceptional moral and intellectual gifts, was unfulfilled partly because of the obstructive stupidity of the people among whom he worked and the various crosscurrents of religious and political prejudice, professional jealousy and economic difficulty which can impede the progress of medical science. But unfulfillment was to be partly also the result, both of positive and negative qualities in his own character”.

Most character in Middlemarch marry for love rather than obligation, yet marriage still appears negative and unromantic. Marriage and the pursuit of It are central concerns in Middlemarch, but unlike in many novels of the, marriage is not considered the ultimate source of happiness. Two examples are the failed marriages of Dorothea and lydgate. Dorothea marriage fails because of her youth and of her disillusions about marrying a much older man, while lydgate’s marriage fails because of irreconcilable  personalities. Mr. and Mrs. Bulstrode also face a marital crisis due to his inability to tell her about the past, and Fred vincy and Mary Garth also face a great deal of hardship in making their union. As none of the marriages reach a perfect fairytale ending, Middlemarch offers a clear critique of the usual portrayal of marriage as romantic and unproblematic. 

The whole above question depends upon the characters and due to their actions which kind of incidents are taken place in the novel.  The texture of “Middlemarch “ is a very complex one, because it is made up of a number of stories. And each story the author George Eliot has narrated one problem of the English society and of an individual of her time. First there is Dorothea – Casaubon  - ladislaw love triangle, secondly, there is the tale of romance and marriage of lydgate and rosamond. Thirdly story of Fred vincy and Mary Garth. There is also the bulstrode – theme of a murky, discreditable past catching up with the present. Finally there is the story of wealth and avarice connected with the life and death of peter Featherstone. Thus due to such complex plot, Henry James averes.

“A treasure house of detail but an indifferent whole”.

But the novelist has shown great skill in welding this heterogeneous material into a single whole. So that “unity amidst immense variety” characterizes the novel.

This character play significant role. They are not limited to their stories. But they plays their role into other story also for instance ladislaw and lydgate become friends and Dorothea becomes the medical man’s patroness. Further. The various characters and stories are well- integrated with their social environment. For instance, in the provincial Middlemarch  society, birth, class and rank are a powerful determining force. They are shocon as being impediments to the marriage of Dorothea and ladislaw but they act as a magnet to bring about the union of rosamond and lydgate. Another and

Even more important factor is money. It is the cause of lydgate’s entanglement and downfall. Balstrode and his wealth find a parallel in Featherstone. Money is much cause for Garth and for other also. In all these ways. The novelist has closely integrated individual characters and actions with their social medium and has given us a novel which an organic whole. Thus w.j.harvey averses.

“The range of George Eliot’s analysis is thus wide. But she is always. Careful to thus wide. But she is always careful to show the interaction of these various factors throughout society.”

Moreover their professional activities often provide conneting links; it is not unnatural that lydgate, as a doctor should be drawn into contact with many of the other characters. The same true of bulstrode, farebrother, and caleb garth.

Besides this mechanical and technical unity, the novel has thematic unity as well. The various characters and their stories. Illustrate the same themes for paradigm. There is the theme of the quest for one’s true vocation. This theme is best exemplified by the stories of dorothea and lydgate. But there are other most of character also who illustrate this theme. Theme of vocation is subsidiary to the theme of moral self – education says w.j.harvely.

“The taproot of her vision, that which howrishes the whole fabric is her concern with what we may call the transeendence of self.”

The typical psychological and spiritual development of her protagonist is the painful struggle to break free from the prison of egoism into a life of sympathy with their fellow men. There are subtle variations of this theme, but the most subtle being the case of Dorothea.

Further, unity is provided by the use of certain dominant symbols and images. Middlemarch is penned in a highly explicit metaphorical style. With emphasis on metaphors of unity, antithesis, progressive movement constructive purpose, and un ultimate salvation of heavenly goal, such symbolism applied especially for Dorothea. Hence. One can not agree with Henry james, but one cannot fully ignore some error in plot such as there are certain glaring shotcomings. For example, there is much that is melodramatic and artificial about the discovery of ladislaw  has not been fully realized and so on, because, nothing is even perfect,

    

SHAOW LINES AS A MEMORY NOVEL

INDIAN WRITING IN ENGLISH

POST-INDEPENDENCE

TOPIC   :              “THE SHAOW LINES AS A MEMORY”

NAME     :           BHALIYA UMA H.

ROLL  NO :         01

SEM -2:                M.A. PART-1

BATCH:               2010-2011

                                                                                     

SUBMITTED TO:  Mr. Devarshi Mehta.

Department of English, Bhavnagar University.

·         AMITAV GHOSH

Amitav ghosh was born in 1956. He is a Bengali author as well as a literary critic in the field of English language. Ghosh was born in kolkata and was educated at the Doon school, st.stephen’s  college. Delhi Delhi University and the university of oxford as well. I oxford university he was awarded a ph.d. In the subject of social anthropology. Amitav ghosh has also been awarded the padma shri by the government of India.

·       SHAOW LINES AS A MEMORY NOVEL

Amitav ghosh’s second novel “the shadow lines is considered by many as his best work and it was also awarded the sahitya akademi  awarded in the year 1989. It lies in the genre of what is known as a memory novel where the content of the entire novel is derived from the memory of characters. It is at some level a recollection of events and their various interpretations held by the characters. Published in the year 1988, this memory novel beautifully knits together the personal lives of the narrator – tridib, thamma, lla, robi, mayadebi, nick, the data chaudhari’s and the shipes against the backdrop of important historical events of India, Bangladesh and England. The novel stresses upon the meaning of freedom in a modern world and questions the reader about the shadow lines that are drawn between people and nations and how these lines act as a barrier in maimaining  peace and harmony.

Ghosh makes shadow lines an interesting read. The image of journey is central to the story which is divided into two section of “going away” and “coming home”. In this novel ghosh constantly moves forward and backward creating a zig - zag like pattern constantly to the complex structure of the novel. The story is mystifying and would attract the reader to read it again. The novel beautifully showcases human relationships and also talks about the importance of borders, lines and nations. The book shares a very strong and important message on how the borders demarcating the nations have begun to demarcate the people as well.

Ghosh has beautifully carved the story of two families, the datta chaudharies, living in India and the family of prices, living in London which are related because of the healthy relation between their respective patriarchs. The main protagonist of the story. The narrator himself has been left unnamed till the end. He adores tridib. Who is his second uncle by relation but more like a friend to him in reality. The narrator carves the incidents and the places shared by tridib in a way that they become a permanent fixture in his memory. The narrator’s grandmother, thamma, a strict headmistress at a girl’s school. The narrator admires lla, his cousin who stays in London, but she has someone else in her life to whom she later marries, few years later. When the narrator visits London. He seems to know the streets and the building just the way an atlas would know. All because of experiences tridib had shared with him. Later we discover that tridib and may price. Loved each other secretly but their relationship could not mature due to some mishap which we get to know as the story unfolds. The same mishap permanently breaks down thamma’s spirit who was supposed to be really tough and strong. You will have to read for yourself to find out what could change so many lives in a go. Ghosh has tried to represent the borders we have drawn separating the countries them as mirrors which simply reflect us on the other side. These borders can at most distinguish between the names of the countries but cannot stop or erase the memories of one side on the other.

“The shadow line is concerned with the meaning of political freedom in the modern world”?

“Is wishing away of troublesome realities freedom”?

This novel focuses on the meaning of political freedom in the modern world and the force of nationalism. The shadow line we illusion and a source of terrifying violence.

1939 tridib the narrator’s father’s cousin, then aged 8, is taken to England, and in 1964 he is murdered by a street mob near his mother’s original family home in Dhaka. His boyhood experience in war – time London and his violent death twenty-five years later in Dhaka constitute the end – points of the novel’s essential narrative.

In the novel we can see that the two endpoint of the narrative takes place thirteen years before the hero’s birth and the details of the second are communicated to him only years later by may price. Tridib’s girlfriend who had actually witnessed that scene of terrifying violence in a “new” nation. But tridib is the hero’s mentor and guiding spirit. Almost an alter ego, and not only is his boyhood filled with tridib’s  London memories but his own later visit to London is a reliving of the scenes and events of tridib’s experiences there. Thus the two instances of the destruction force of nationalism mark not the actual, time span of the novel but its hero’s growth from childhood to maturity.

In this novel thamma’s attempt to free her uncle and take him on a homeward journey ends violently and tragically in three deaths - her uncle’s, the rickshaw puller’s and tridib’s. But with her imagination enslaved to the idea of nationalism, thamma fails to see that nationalism has destroyed her home and spilled her kin’s blood. She says…..

“We have to kill them before they kill us”

Thus, the end she fails to realise that national liberty in no way guarantees individual liberty.

Thus, the shadow line by amitav ghosh paints a landscape of symbolism and realism that spans both time and space. The concepts of distance and time are uniquely borders that divide countries and the imaginary borders that divide human beings. From the image – conscious character of the grandmother to the riots that explode in the streets ghosh takes the reader on a fascinating journey of exploration, dissecting the characters of the story while simultaneously dissecting the human race.

The title of the novel is perhaps the most philosophical statement ghosh makes asserting that the shadow lines or the lines that not only define our human shape but our inner struggles to choose between darkness and light. Are an intricate part of all human existence.

While the title “the shadow lines” can be read a thousand different ways and the significance of shadows throughout the novel can be interpreted with vast distinctions. One thing remains clear. The shadows that all human beings reflect are as unique to the individual as each written word is to a talented author like amitav ghosh.

Thus, at last we can say that shadow lines that exist in the memory of one, and therefore in another’s imagination. A narrative built out of an intricate, constantly crisscrossing web of memories of many people. It never pretends to tell a story, rather it invites the reader to invent one. Out of the memories of those involved memories that hold mirrors of differing shades to the same experience.

“HUMANITY AND MONSTROCITY IN FRANKENSTEIN”

THE ROMANTIC LITERATURE

TOPIC   :                       “HUMANITY AND MONSTROCITY IN

                             FRANKENSTEIN”

NAME     :           BHALIYA UMA H.               

ROLL NO:                     01

SEM -2:                M.A. PART-1

BATCH:               2010 – 2011                 

SUBMITTED TO:  Mr. Jay Mehta.

Department of  English, Bhavnagar University.

“HUMANITY AND MONSTROCITY IN FRANKENSTEIN”

·       MARY WALTON SHELLEY

She wrote Frankenstein in competition with her husband shelley. It was first of the ‘robot’ books. The picture of the monster which mary shelly had conjured is to-day the monster of science stalking about the world. It can more justly be regarded as a scientific romance. We should look upon Mrs. Shelley as a forerunner of wells and his followers rather than as the last novelist of the terror-school. But historically she can be placed with the gothic novelists also. The walks of the un-named monster among the shows and its hectic search for its maker make our hair stand. His footsteps to-day are more heavy and ominous than ever.   

Mary shelley  herself attended the play and pronounced it authetic. But this “serious” drama immediately inspired parodies, first with frankenstitch in 1823, a burlesque featuring a tailor, who as the “needle Prometheus”, sews a body out of nine corpses. Dater that year opened franke-n-steam, in which a student foolishly revives the corpse of a bailiff. The devil among the players opened at the opera glass in London in October of 1826, with a line-up featuring Frankenstein, Faust, and the vamire. A play called

“The man in the moon”

(Its title a foretaste of science fiction)

Was very popular in London during 1847; its script was hamlet with the addition of a new act in which the creature arises from hell through a trap door and sings and drinks with the ghost.

Frankenstein omnibus, has called Frankenstein

“The single greatest horror story novel ever written and the most widely influential in its genre”.

George Levine remarks, Frankenstein is 

“A vital metaphor, peculiarly appropriate to a culture dominated by a consumer technology, neurotically obsessed with ‘getting in touch’ with its authentic self and frightened at what it is discovering”

Our seeing an image or allusion to Frankenstein , from cnn descriptions of magazine articles that warn of genetically engineered  “Frankenstein-foods”, test-tube babies, and scientific issues of the novel.

·       FRANKENSTEIN

Monsters like the creature are indeed paradoxical. He is at the center action of the novel. On the one hand, we transgress against “ the establishment” (which is often blamed for their creation.) if the monster survives he represent the defiance of death, an image of survival, however disfigured on the other hand, we are reassured when we see that society can capture and destroy Monsters. Such dualism would explain the great number of Frankenstein –as- mutant movies that appeared during the cold war. But the creature’s rebellious nature is rooted far in the past.

·        HUMANITY IN FRANKENSTEIN

Victor is consumed by the desire to discover the secret of life and, after several years of research. Becomes convinced that he has found it. So he create the monsters to complete his ambition and also fulfillment of his “great aim”.

Monster like as horrible and ghost. He is so cruel creator Monsters kill victor’s brother William and his wife Elizabeth and also his best friend Henry clerval. Because he take revenge to victor. Victor know that Monsters killed all his dear own relative. He said Monsters that…

“Miserable wretch! Go away. I don’t want to see your cursed face. You have murdered my dear ones. I wish I could kill you and get my dear ones back to life!”

And Monsters replay victor that

“You could not speak to me like this master. Listen to me first. You have created me. But you have not done your duty towards me.”

In this line Monsters spoke victor responsibility about his creation. He create him to fulfillment his ambition. But he can’t take any duty about him. So, Monsters like as cruel. But he has some human heart. Because when he killed victor’s brother, wife and friend for realize to victor for his love for people and relative. First of all victor create very horribal human being like Monsters. And after he not take any duty. So Monsters  said victor that. I am despised by the human society. People run away on seeing me. I live alone in the mountains eating berries and often sleeping in the open, cold air. So please you give me happiness the happiness of being loved by others. If you give me happiness. Master, and I will not trouble any body again. I will go away never to be seen again and will live alone. I am miserable. If you cannot make me happy. I shall kill more of your relatives”.

Because I did not like to be lonely. As I moved towards a village. I saw little children playing. Their gay laughter attracted me many people gathered with clubs and stones to beat me. I decided to help the poor family. He also saves a girl from drowning. Monsters also learnt a lot of their language by listening to them and read books like ‘paradise lost’. The story of Satan’s fall from heaven struck me as similar to mine. Monster had learnt that  what  kindness and love was and wanted to enjoy these even more in the company of men. One day the blind old doctor lacey was playing his guitar. I said….

 

“May I enjoy the warmth of your fire?”

And he asked me that

“Are you a Frenchman?”

That time Monsters say that no, but I learnt French from a French family. I am a despised and miserable creature whom no man wishes to befriend”.

“Well then be ready for further revenge”.

“I shall meet you on your wedding day!”

On those two line Monsters said victor that you create another female Monsters and give me. Than I ran away in wood. But he can’t do that. So, Monsters decide to take revenge to victor to his cruel creation.

Thus, Monsters look like as a cruel and some cruelity also in him. But in his heart also some humanity about people. He also wish to live between people and love them etc.

·       MONSTROCITY IN FRANKENSTEIN

It was the month of November. One day, victor worked till very late in the night. The large human frame on which he had been working for months. Was now complete and lying motionless at my feet. He knew the secret that would give life to this creation. So, I could not wait any longer to witness the fulfillment of the great aim of all my hard labour. I poured this secret into the body. After a while. It opened its eyes and then all its limbs shook. What I saw filled me not with joy, but with fear. All my dreams of a beautiful being  vanished. Instead. I was filled with horror. The being or rather the Monsters grinned at me. His skin was of a pale colour like that of a mummy or dead body preserved in Egyptian pyramids. His large eyeballs were white, his teeth large and Frightening. I had put together a beautiful being. But there was a Monsters. The Monsters is rejected by society. His Monstrosity results not only from his grotesque appearance but also from the unnatural manner of his creation. Which involves the secretive animation of a mix of stolen body parts and strange chemicals. Victor is a create not of collaborative scientific effort but of dark, supernatural workings. The Monsters is only the most literal of number of Monstrous entitle in the novel. Including the knowledge that victor used to create the Monsters. One can argue that victor himself is a kind of Monsters. As his ambition. As he is eventually consumed by an obsessive hatred of his creation. Finally, many critics have described the novel itself as Monstrous. A stitched- together combination of different voices, texts, and tenses.

Monsters killed victor’s younger brother then after while victor destroys his promise to create new female Monsters . Monsters murder victor’s best friend and then his new wife. Victor feels hatred for his creation. Monsters shows that he is not a purely evil being. And at last Monsters said that….     

“Farewell, my creator. With your death, my revenge is complete. I do not need to live anymore. The one who created me is dead. I have killed many innocent people before. Then, I felt joy and victory. But, now I feel miserable. It was never my fault. You created me. I wanted the company of the people of the earth. Everyone shunned and despised me. They hated my form. I wanted to love. They would not accept me. I roamed about lonely and miserable. Now, I shall disappear and die somewhere. With my death. The sad memories of my creator and me will vanish.”