Bloom's How to Write About Mary Shelley (Bloom's How to Write About Literature) PDF
Preview Bloom's How to Write About Mary Shelley (Bloom's How to Write About Literature)
B L O O M’ S HOW TO WRITE ABOUT Mary Shelley AMY WATKIN HH22WWLL__SShheelllleeyy--dduummmmyy..iinndddd ii 1100//55//1111 22::1177 PPMM Bloom’s How to Write about Mary Shelley Copyright © by Infobase Learning Introduction © by Harold Bloom All rights reserved. No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval systems, without permission in writing from the publisher. For information contact: Bloom’s Literary Criticism An imprint of Infobase Learning West st Street New York NY Library of Congress Cataloging-in-Publication Data Watkin, Amy Bloom’s how to write about Mary Shelley / Amy Watkin ; Introduction by Harold Bloom. p. cm. — (Bloom’s how to write about literature) Includes bibliographical references and index. ISBN ---- (alk. paper) ISBN ---- (e-book) . Shelley, Mary Wollstonecraft, –—Criticism and interpretation. . Shelley, Mary Wollstonecraft, – Frankenstein. . Criticism— Authorship. . Report writing. I. Title. II. Title: How to write about Mary Shelley. PR.W '.—dc Chelsea House books are available at special discounts when purchased in bulk quantities for businesses, associations, institutions, or sales promotions. Please call our Special Sales Department in New York at () - or () -. You can fi nd Bloom’s Literary Criticism on the World Wide Web at http://www.infobaselearning.com Text design by Annie O’Donnell Cover design by Ben Peterson Composition by Erika K. Arroyo Cover printed by Yurchak Printing, Landisville PA Book printed and bound by Yurchak Printing, Landisville PA Date printed: November Printed in the United States of America All links and Web addresses were checked and verifi ed to be correct at the time of publication. Because of the dynamic nature of the Web, some addresses and links may have changed since publication and may no longer be valid. HH22WWLL__SShheelllleeyy--dduummmmyy..iinndddd iiii 1111//2211//1111 44::2222 PPMM Contents Series Introduction v Volume Introduction vii How to Write a Good Essay 1 How to Write about Mary Shelley 43 The History of Frankenstein 51 Themes in Frankenstein 55 Characters in Frankenstein 67 Form and Genre in Frankenstein 77 Language, Symbols, and Imagery in Frankenstein 83 History and Context in Frankenstein 91 Philosophy and Ideas in Frankenstein 101 Comparison and Contrast in Frankenstein 111 Index 119 series introduCtion Bloom’s How to Write about Literature series is designed to inspire students to write fine essays on great writers and their works. Each volume in the series begins with an introduction by Harold Bloom, medi- tating on the challenges and rewards of writing about the volume’s sub- ject author. The first chapter then provides detailed instructions on how to write a good essay, including how to find a thesis; how to develop an outline; how to write a good introduction, body text, and conclusion; how to cite sources; and more. The second chapter provides a brief over- view of the issues involved in writing about the subject author and then a number of suggestions for paper topics, with accompanying strategies for addressing each topic. Succeeding chapters cover the author’s major works. The paper topics suggested within this book are open-ended, and the brief strategies provided are designed to give students a push forward in the writing process rather than a road map to success. The aim of the book is to pose questions, not answer them. Many different kinds of papers could result from each topic. As always, the success of each paper will depend completely on the writer’s skill and imagination. v How to write about Mary sHelley: introduCtion by Harold Bloom Ih ave, through the years, read all of Mary Shelley’s fictions, but even The Last Man (1826) does not sustain rereading. Her first narrative, Frankenstein (1818), composed when she was nineteen, was to be her only canonical contribution to imaginative literature. The subtitle of Fran- kenstein is The Modern Prometheus, and the reader needs to remember that is the role of Victor Frankenstein. His achievement, the New Adam he had brought to life, ought not to be called the “monster” and per- haps even not the “creature.” Think of him rather as the daimon first expounded by Empedocles. The daimon wandered through the cosmos, seeking to expiate previous incarnations with all their transgressions of bloodletting. Victor Frankenstein’s daimon is also his antithetical self, in a familiar romantic pattern that was to culminate in Nietzsche and in W.B. Yeats. Ironically, the daimon is both more intelligent and more passionate than his maker, with more capacity both for good and for evil. Compared to the daimon, Victor Frankenstein is a dreadful egomaniac, so solipsis- tic that he is incapable of understanding the moral enormity of what he has done. This crime is augmented when Frankenstein finds his creation abhorrent, rejects the daimon, and flees from him. vii viii Bloom’s How to Write about Mary Shelley The poet Shelley, though he admired his wife’s novel, necessarily was troubled by its implicit criticism of high romantic Byronic-Shelleyan Prometheanism. Young as she was, the daughter of William Godwin and Mary Wollstonecraft had inherited their radical vision of social realities and therefore resisted her husband’s various transcendentalisms. Not that Victor Frankenstein was a portrait of Shelley; Clerval rather resem- bles the poet of Prometheus Unbound, and his murder by the daimon prompts my own uneasy reflections. By any standard, Victor Frankenstein is a moral monster. We are moved by the daimon’s pleas, but Frankenstein is not, even when they are eloquent with plangency: Oh, Frankenstein, be not equitable to every other, and trample upon me alone, to whom thy justice, and even thy clemency and affection, is most due. Remember that I am thy creature; I ought to be thy Adam, but I am rather the fallen angel, whom thou drivest from joy for no misdeed. Everywhere I see bliss, from which I alone am irrevocably excluded. I was benevolent and good; misery made me a fiend. Make me happy, and I shall again be virtuous. The passage I italicize is the heart of the novel, deliberately recalling its epigraph from Paradise Lost, where the fallen Adam laments his creation: Did I request thee, Maker, from my clay To mold me man? Did I solicit thee From darkness to promote me? Like the God of Paradise Lost, Victor Frankenstein manifests what I have to regard as moral idiocy: During these last days I have been occupied in examining my past con- duct; nor do I find it blameable. In a fit of enthusiastic madness I created a rational creature, and was bound towards him, to assure, as far as was in my power, his happiness and well-being. This was my duty; but there was another still paramount to that. My duties towards the beings of my own species had greater claims to my attention, because they included a greater proportion of happiness or misery. How to Write about Mary Shelley: Introduction ix Peculiarly appalling, this self-revelation by the Modern Prometheus could not have been lost on the subtle and sensitive Shelley. We have debased the daimon in our ghastly series of filmed travesties called Fran- kenstein. For all his murderousness, the daimon remains the severe poet of the moral climate Mary Shelley created for him.
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