Archetypal Criticism

Archetypal Criticism

              -Northrop Frye

Introduction

          Northrop Fry was born in Canada in 1921 and studied at Toronto University and Merton College, Oxford University. Initially he was a student of Theology and then he switched over to literature defined an archetype as a symbol, usually an image, which recurs often enough in literature to be recognizable as an element of one’s literary experience as a whole.

          He published his first book, ‘Fearful Symmetry: A study of William Blake’ in 1947. The book is a highly original study of the poetry of Blake and it is considered a classic critical work. Northrop Frye rose to international prominence with the publication of              ‘Anatomy of Criticism’ in 1957 and it firmly established him as one of the most brilliant, original and influential of modern critics. Frye died in 1991. On the whole, he wrote about twenty books on western literature, culture, myth, archetypal theory, religion and social thought. ‘The Fables of Identity: Studies in poetic Mythology’ is a critical work published in 1963.

           The present essay, ‘Archetypes of Literature’ is taken from the book. In the essay Frye critically analyses literature against the backdrop of rituals and myths. He interprets literature in the light of various rituals and myths. Frye has divided the essay into three parts. The first part deals with the concept of archetypal criticism. The second part throws light on the inductive method of analysis of a text. The third part focuses on the deductive method of analysis. All the methods full under structural criticism. Another way of thinking about archetypes is to imagine that in some way it is possible to plot the important aspects of a story onto a graph.

          First, the question may rise what is Archetypal Criticism? And the answer of this is in literary criticism the term archetype suggests narrative designs, patterns of action, character types, themes and images which are known to a wide verity of works of literature also to myths, dreams and even social rituals. Carl G. Jung (1975-1961) says it the, “collective unconsciousness” of the human race and are expressed in myths, religion, freams also in works of literature. Thus in literature it becomes an archetypal criticism.

          It is generally said that there are many practitioners of various types of archetypal criticism like G. Wilson Knight, Robert Graves, Philip wheelwright, Richard chase, Leslie fielder and tossup Campbell. They have emphasized on the events of mythical patterns in literature. They believe that myths are closest to the archetypal literature. Rather than the writers who write only for the sake of their fame.

         

THE CONCEPT OF ARCHETYPAL CRITICISM

          Literature can be interpreted in as many ways as possible, and there are different approaches to literature and one among them is the archetypal approach. The term ‘archetype’ means an original idea or pattern of something of which others are copies. Archetypal approach is the interpretation of a text in it, and these cultural patterns are based on the myths and rituals of race or nation or social group. The ‘collective consciousness’ is a major theory if Jung. according to Jung, civilized man ‘unconsciously’ preserves the ideas,  concepts and values of life cherished by his distant forefathers, and such ideas are expressed in a society’s or race’s myths and rituals. Creative writers have used myths in their works and critics analyze text is called archetypal criticism. T.S.Eliot has used mythical patterns in his creative works and the wate land is a good example of it.

TWO TYPES OF CRITICISM AND THE HUMANITIES

          Like science literary criticism is also a systematized and organized body of knowledge. Science dissects and analyses nature and facts. Similarly literary criticism analysis and interprets literature. Frye further says that literary criticism and it’s theirs and techniques can be taught, but literature cannot be taught dather it is to be felt and enjoyed. This kind of criticism will give only the background information about a work. A meaningless criticism will distract the reader from literature.  Literature is a part of humanities and humanities include philosophy and history also. These two branches of knowledge provide a kind of pattern for understanding literature.

FOMALISTIC CRITICISM & HISTORICAL CRITICISM

          These are different types of criticism and most of them remain commentaries on texts. There is a type of criticism, which focuses only on an analysis of a text. Such a criticism confines itself to the text and does not give any other background information about the text. This type of formalistic or structural criticism will help the readers in understanding a text only to some extent. What the readers, require today is a synthesis of structural criticism and historical criticism. Archetypal criticism is a synthesis of structural criticism and historical criticism.

LITERARY CRITICISM IS A SCIENCE

          Science explores nature and different branches of science explore different aspects of nature. Physics is a branch of science, which explores matter and natural forces of the universe. Physics and astronomy gained their scientific significance and they were accepted as branches of science during the renaissance. Social science assumed their significance as part of science in the twentieth century. Similarly, literary criticism today, has become systematic in its analysis and there fore it could be considered as a science. Based on this concept a work of literature may be critically evaluated, says Northrop Frye

THE INDUCTIVE METHOD OF ANALYSIS

Structural criticism & Inductive Analysis

          Towards the close of the first section, Frye contends that structural criticism will help a reader in understanding a text, and in this analysis, he proceeds inductively. That is from particular truths. Owing to jealousy, Othello, in the Shakespearean play, inflicts upon himself affliction and this is the particular truth of the general truth of life that jealousy is always destructive. This is called the inductive method of analysis under structural criticism and Frye disuses this in detail in this section of the essay.

Archetypal criticism and its facets

          Archetypal criticism is an all inclusive them. It involves the efforts of many specialists, and at every stage of interpretation of a text, it is based “on a certain kind of scholarly organization. An editor is needed to “élan up” the text; a rhetorician analyses the narrative pase; a philologist scrutinizes the choose and significance of words; a literary social historian studies the evolution of myths and rituals.

DEDUCTIVE METHOD OF ANALYSIS RHYTHM AND PATTERNS IN LITERATURE.

          An archetypal critic, under the deductive method of analysis proceeds to establish the meaning of a work from the general truth to the particular truth. Literature is like music and painting. Rhythm is an essential characteristic of music and painting, pattern is the chief virtue. Rhythm in music is temporal and pattern in painting is spatial. In literature both rhythm and pattern is spatial. In literature both rhythm and pattern are recurrence of images, forms and words. In literature rhythm means the narrative and the narrative presents all the events and episodes as a sequence and hastens action.

NORTHOP FRYE’S CONTRIBUTION TO THE ARCHETYPAL CRITICISM

          Frye has written ‘the Archetypes of literature’ in 1951 and then ‘Anatomy of criticism’ in 1957 which is his one of the well-renowned works. In his book “Anatomy of criticism” Frye has covered most the archetypal approaches in the theory of literature and the practice of literature criticism.

          In his ‘Archetypes of literature’ Frye outlines a theory of the arts in general and literature in particular which would be developed more fully in his celebrated “Anatomy of criticism”

          Frye’s project is to identify and classify the archetypes of literature. The four ‘mythos’ that we are dealing with like, comedy, romance, tragedy and irony or satire.

          Frye uses the season in his archetypal schema. Each season is attached with a literary genre, for example;

Comedy with spring,

Romance with summer,

Tragedy with autumn and

Satire or irony with winter.

          Fry gives the context of a genre determines how a symbol and image is to be interpreted.  He gives five different views of different fields like, human, animal, vegetation, mineral and water.

ARCHETYPAL CRITICISM AS “A NEW POETICS”

          For Frye this, ‘New poetics’ is to be found in the principal of the mythological framework, which as come to be known as ‘Archetypal criticism’.

Essentially: “What criticism can do?”

According to Frye;

“Is awaken students to

Successive levels of awareness

Of the mythology that lies

Behind the ideology in which

Their society indoctrinates

Them”

          Unlike Freud’s concept, myths are collective and communal and so bring a sense of wholeness and togetherness to social life. People and the whole civilized have their own mythologies, but there may be the common Jung called ‘Archetypes’.

          There are Frye’s four essays titled,

1.    “Historical criticism”- A theory of modes.

2.    “Ethical criticism”- A theory of symbols.

3.    “Archetypal criticism”- A theory of myths.

4.    “Rhetorical criticism”- A theory of genres.

From all these we are concerned with Frye’s “Archetypal criticism” which suggests a theory of myths. This third essay has possibility been Frye’s most identifying the four seasons with four main plots or “mythoi” as we have seen earlier.

Conclusion:

          Richter explains that for Frye:

“Each generation rewrites

The stories of the past in

Ways that make sense for

It, recycling a vast

Tradition over the eyes.”

          Of the different approaches of literary criticism, Northrop Frye has established the validity of the archetypal approach and its relevance in the elucidation of a text. About mythology, as it is the third theory of the essay ‘Archetypal criticism’, Frye points out there are only a few species of myth though there are an infinite numbers of individual myths. For example, these species or archetypes of myths include

“Myths of creation, of fall,

Of exodus and migration of

The destruction, of the human

Race in the past or the future,

And of redemption.”

The Development of Prose in Victorian Age

The Development of Prose in Victorian Age

Introduction:

                   Victorian age follows Romantic age. It begins from 1833 and ends in 1900. This ‘age’ is one of the most glorious epochs in the history of England. It was an age of material affluence, political awakening democratic reforms, industrial and mechanicals progress, scientific, advancement, social unrest, education expansion, imperialism and empire building, humanitarianism, idealism, and all pervasive intensity of life. The Victorian scene unfolds a rich panorama of life in all its wide and varied branches – social, political, economic and literacy. It is one of the special features of the age that while it evoked feelings of warm appreciation and commendation in the hearts of many of its admirers it equally well roused the feelings of resentment and condemnation in others.

 The Victorian age is essentially the age of prose and novel. The novelists were freer because their aims were more limited and allowed a pragmatic approach.

Major Novelists:-

Charles Dickens:-

 Charles Dickens was born in Portsmouth, England, on February 7, 1812, to John and Elizabeth Dickens. He was the second of eight children. His mother had been in service to Lord Crew, and his father worked as a clerk for the Naval Pay office. John Dickens was imprisoned for debt when Charles was young. Charles Dickens went to work at a blacking warehouse, managed by a relative of his mother, when he was twelve, and his brush with hard times and poverty affected him deeply. He later recounted these experiences in the semi-autobiographical novel David Copperfield. Similarly, the concern for social justice and reform which surfaced later in his writings grew out of the harsh conditions he experienced in the warehouse.

Ø       Sketches by B02 (1836)

Ø        The Pickwick paper (1836)

Ø  Oliver twist (1937)

Ø      Nicholas Nichleby (1938)

Ø     The old curiosity shop (1840)

Ø     American Notes (1842)

Ø     Martin Clausewitz (1843)

Ø     Donbey and son (1846)

Ø     Bleak House (1852)

Ø  Hard Times (1854)

Ø     A tale of two cities (1959)

Ø     Great Expectation (1960)

Ø  Our mutual friend (1964)

          His last, novel ‘The mystery of Edwin drood’ remained incomplete and his died.

          His novels were very popular. At the age of twenty six he was a popular author. The demands of this novel were very high and this led to lastly work which could not be considered properly his all books were rich and enduring. His all books were rich and enduring. His power of imagination was beyond comparison. Not even a single English novelist excelled him in the multiplicity of his characters and situations. His humour is broad, Humane, and creative. He could describe horrible, as the death of bill Sykes, he could be painfully dramatic as in the characters of Rosa Dartle and Madame defrags. His characters are created in the ‘flat’. His style is clear, rapid and resembles the style of journalists.

“A decidedly indelicate young gentlemen, in pair of wings and nothing else, was depicted as superintending the cooking, a representation of the spire of the church in longhand place, London, appeared in the distance, and the whole formed a “valentine”, of which as a written inscription in the window testified, these was a large assortment within, which the shopkeeper pledged himself to dispose of, to his countrymen, generally, at the reduce rate of one and sixpence each.”

- The Pickwick papers.

William Makepeace Thackeray: (1811-63):

 William Makepeace Thackeray was born on 18th July 1811 in Calcutta, India. His father was Secretary of the Board of Revenue of the East India Company, and he was an only child. At the age of 5 he was taken to England after the death of his father and his school-years were not happy ones.

He went to Trinity College, Cambridge, where he made a lot of friends, but left without a degree. He visited Paris a lot and built up large gambling debts. On coming of age (21) he inherited a good fortune which made him independent and able to pay off his debts. But, unfortunately, a few years later the bank holding his money failed, and he was left penniless and needed to earn a living.

 He married Isabella Gethin Shawe in 1836. They had 3 daughters born, but one died when only 8 months old. Sadly, after 1840 the mental health of Isabella began to deteriorate and she eventually had to be put into full-time care. This meant that in fact he had no wife but he could not re-marry. He formed a few attachments to other women, but the exact nature of these is not known with any certainty.

 He had some natural ability as an artist, and attended art schools in London and Paris, but it was his writing that proved to be the only thing from which he could make a living. Progress in the literary world was not easy. It was only in about the last 10 years of his life that his financial life could be described as comfortable. Unfortunately he did not enjoy the best of health and suffered some very serious illnesses.

 He died on 23rd December 1863 in London, aged 53.Most of his work was originally published in serial form (as with Dickens) and gathered into a book-form a year or so later.

Some of his better-known works are:

1848   Vanity Fair
1849   The History of Pendennis
1852   The Memoirs of Barry Lyndon
1852   The History of Henry Esmond
1854   The Newcombes
1855   The Rose and the Ring
1858   The Virginians

          When Dickens’s was enjoying his success Thackeray was struggling through neglect and contempt to rendition. He got success slowly. Once he had gained the favour of the public he held it and among outstanding English novelists there is none whose claim is so little subject to challenge.

          “Since the author of Tom Tones was buried” says Thackeray in his preface to pandemic, “No writer of fiction among us has been permitted to depict to his almost power a ‘man’. We must drape him and give him a certain conventional simpler.” His certain conventional simpler. “His creations are rounded, entire, and quite alive and convincing. He depicted truth with the help of satire. In pathos he is sentimental. He style is effortless and of extraordinary degree.”

“Her eyes beamed out on him with affection indescribable, “Welcome”, was all she said as she looked up, putting back her fair curls and black hood. A sweet rosy smile blushed on her face: Harry thought he had never seen her look so charming. Her face was lighted with a joy that was brighter than beauty – She did not quit Edmond’s arm.”

                                                                             - Henry Esmond

3.      The Bronte:

          

          Charlotte (1816-1855) family (1818-1848) and Anne (1820 – 1849) were from Yorkshire. The three sisters wrote for fun and they published look take different name and not original ones. Female writing was not given much importance in their time.

Charlotte Bronte:

          She work had truth and intensity. Her plots were limited upto her experiences. She brought energy and passion which seemed wonderful and romantic. Her novels are

1.    The Professor

2.    Jane ryre (1847)

3.    Shirley (1949)

4.    Villette (1853)

Emily Bronte:

 She wrote less than charlotte. Her one novel “Wuthering Heights” (1847) is unique in English literature. It depicts the passions of moor. She also wrote few poems. Her finest poems are –

1)   No coward soul is mine

2)   Cold in the earth, and the deep snow piled above three.

Anne Bronte:

She wrote two novels …

Ø Agnes grey (1847)

Ø The Tenants of Wild fell Hall (1848)

 Compared to charlotte and Emily she lacked power and intercity in her work they were pioneers in the field of romantic fiction in their concern with the human soul they were to be followed by George Eliot and Meredith. The following passage shows the quality of Emily Bronte’s work.

“My Great miseries in this world have been healthchieff’s miseries and I watched and fell each from the beginning. My great though out in living is she? If all else perished, and he remained, I should still continue tube; and if all else remained and he were annihilated, the universe would turn to a mighty stranger; I should not seem a part of it my love for linden is line the foliage in the woods; time will change it, I’m well aware, as winter changes the trees.’’

(4)     George Eliot:

 Many an Evans was the real name of George Eliot. She was born near Nuneaton. She became a member of a literacy circle. In later life she travelled extensively and married (1880) J.W. Cross and died at Chelsea in the same year.

          George Eliot discovered her own was of writing fiction in the middle years of her life. She wrote:

Ø Adam Bade (1959):

Ø The mill of the floss

Ø Silas Marner – The weaver of Raveloe (1861)

Ø Romola (1863)

Ø Felix Holt the Radical (1866):

Ø Middle march, a study of provincial life (1871-72)

Ø Daniel Dernda (1876)

          There is relatively few striking incidents in her novels, but her plots are skilfully managed. Her characters are usually drawn from the lower classes of society and her studies of the English countryman show great understanding and insight. She displays light humor. There are irony and moral earnest an in her novels. Her style is lucid & simple. Her speeches are ordinary and natural. Nature is present in the form of countryside description. Her novels deal with social, personal and psychological problems of ordinary people.

“She wakes to a new condition. She felt as if her soul had been liberated from its terrible conflict, she was no longer wresting with her grief, but could now sit down with it as a lasting companion with her grief, but could now sit down with it as a lasting companion and make it a share in her thoughts for now the thoughts came quickly.”

- Middlemarch

(5)     George Meredith: (1828 – 1909)

          

          He was born at Portsmouth. He was a reader to a London publishing huge but slowly he was able to get the way for his own bolos. He died at his home at box hill, survey.

Poetry:

      I.            Poems (1851) :

   II.            Poems and lyrics of the joy of the joy of earth (1883)

III.            Ballads and poems of tragic life. (1887)

IV.            A reading of earth (1988)

  V.            A reading of life, with other poems (1901).

Novels:

1.     The ordeal of Richard Fevered (1859)

2.     Evan Harrington (1861) – Emilia in England (1864)

3.     Rhoda Fleming (1865)

4.     Vittaria (1867)

5.     The adventures of Harry Richmend (1871)

6.     The egoist (1879)

7.     The tragic comedians (1880)

8.     Diana of the Crossways (1885)

9.     The Amazing marriage (1895)

          His language and style both are praised. His female character where given same importance as males. His style is fully matured. His novels are deep solid. His characters are amazing and accurately woven. For example –

“She had the mouth that smile in repose. The lips met full on the centre of the bow and trimmed along to a lifting dimple, the eyelids also lifted slightly at the outer corners and seemed, like the lip into the limpid cheek, quickening up the temples, as with a run of light, or the ascension indicated off a shoot of colour.”

- The Egoist.

Other Novelists:

Benjamin Disraeli (1804-1881):

He was born in London. He gained seat in parliament. He wrote:

Ø Vivan grey (1926-27) :-

Ø The Vajage of caption Popanilla.

Ø A psychology autobiography (1932) –

Ø New generation (1844)

Ø The new monthly (1929-30)

Ø The wondrous tale of Alroy and the rise of Iskander (1833)

          His work dealt with fashionable society, His passages are full of decorum. In style the prose is inflated, but the later novels sometimes have flashes of real passion and insight.

Edward Bulwer – Lytton (1803 – 73)

 He had a long and successful career of a literacy man as well as a politician. He wrote –

Ø  Kalkand (1827) :

Ø  Paul Clifford (1830)

Ø The last days of Pompeii (1834)

Ø  Roman Tribunes (1835)

Ø My Novel (1853)

Ø  A strange Story (1862)

Ø  Money (1840)

          His books are full of the pictures of current society. The can be said to be immature in their affection of wit and cynicism.

3.      Charles Reade: (1814-1884):

          He was born in Oxfordshire. He was a successful man of letters. He died at shepherd’s Bush. He began with plays. His works are as under –

Ø Marks and faces (1852).

Ø Christie Johnstene (1853)

Ø The cloister and the Hearter (1861)

Ø Hard Cash (1863)

Ø Griffith Gaunt or Jealousy (1866)

Ø Foul Play (1868)

          He has the dramatics’ sense and gives striking scenes. Sometimes he becomes melodramatic while hi character lacks depth. He gives historical details in his work.

4.      Willkie Collins:

          He is the successful followers of dickens. He was versatile. He specialized in the mysterious novel. Supernatural elements are present in his work. He wrote more than twenty five novels.

ü  The dead secret (1857) :

ü  The woman in white (1860)

ü  No name (1862)

ü  The moonstone (1868)

 There are many major writers of this age apart from the discussed ones. I have tried to include important Victorian writers.

“With all its immense production the age produced supreme writer. It revealed no Shakespeare, no Shelly, nor a Byron as a Scott. The general literal level was, however, very high, and it was an age, moreover of spacious intellectual horizons noble Endeavour, and bright aspirations.”

- A history of English Literature by B.G. Albert.

Study of ‘Frankenstein’

Study of ‘Frankenstein’

Introduction:-

                            

                   ‘Frankenstein’ is a novel written by Mary Shelly. It is a novel of science fiction. And very well written by marry Shelly. It is a story about victor and monster. But here we discussed here it with cultural perspective. Her novel has morphed in to countless forms in both height brow and popular culture. Her

creation teaches us not to under estimate the power of youth culture. It is a truly captivating powerful novel that analyses ‘Monstrosity’ with  regard to ‘Humanity’ however without a sound understanding of the context, in witch the text was written one couldn't completely comprehend the themes, ideas and references did not present nor can the apparent link between monstrosity and humanity be completely fathomed.

                   By studying and reading the novel with the help of scientific discern the reason behind Marry Shelley depicting the creator’s creation and development in the manner she chose to researching in to the literary context provides one with superior appreciation of interstitial references, the style in which the novel has been written and the novel’s secondary title ‘The Modern Prometheus’ similarly an understanding of the historical context grants one the ability to identify the allegory of the industrial revolution.

                   Here one thing is happening is most notable. The creation was made of human parts. It was in essence human can on judge this as being monstrous. Bearing in mind that the industrial revolution. Electricity was another monumental scientific discovery of the time. One those many viewed with clew and wonder. The creature saw characteristics of himself in both Adam and Satan. Just as human that created the monster.

                   Victor can be seen as the god who has created Adam and Eve and Satan. In Milton’s paradise lost god created all human being but some human did not under control of him so god departed them and theme they had become Satan. In this epic we can see Satan wants to be king. The same thing happened in the present novel victor Frankenstein has made the monster and then he wants to become the emperor of world.

                   This novel is also has a subtitle. As we earlier discussed that this novel is subtitle ‘Modern Prometheus.’ We called Victor Frankenstein can be seen as the modern Prometheus. Again with greater knowledge of the context the “Spark of being” is further clarified. Shelley ideally represents electricity as the modern heavy fire. The main influence on Frankenstein avoid had been through the presentation of the Promethean legend. The individual and his quest can be interpreted as Frankenstein or the creature whose journey to achieve revenge.

                   We can also say that marry Shelley’s science Fiction adventure, thriller and dramatize the novel in that one can do the thing which challenging the God’s creation, the cultural sign and its major aspects. In this novel we come across with mythical story or we can say culture take like “Prometheus”, “Narcissus” and “Paradise lost”. Marry Shelley has presented very fruitfully and with appropriate practices. Her novel has morphed in to countless forms in both height brow and popular culture.

                   As we can also say that it is truly captivating powerful novel that analyzes ‘Monstrosity’ with regard to ‘humanity’. In this novel Victor Frankenstein is the first character, who makes a cultural discourse and who occupies our attention, a character for whom his desire to create life is everything while to accept that life is not important. For him the creation “Monster” is not his child and responsibility now. In below given quote we can see his hunger for knowledge and to create a life through that knowledge.

The world was to me a

Secret which I desired to divine.

Curiosity earnest research

To learn the hidden laws of

Nature, gladness akin to

Rapture, as they were earliest

Sensation I can remember.

                   Humanity which sees the moral or ethical consent of the novel and by this I also want to prove my point that why Marry Shelley wants to create a male monster? but by this regard I can say through observing all aspect the aspects of novel and its study that I have, and naturally this clear when its shoes the power of men and in other hand the ugliness of the monster that she wants to show and also we can say in cultural studies of this novel that,

“A message on the Irony and

Danger in the Quest of power”

                   Frankenstein’s rejection of his monster can be interpreted to be a representation of man being ironically disgusted at sin his own sin.

The Modern facts:-

                   When we talking about the modern facts, first one question rise in our mind that what is today’s generation see towards this creation? The answer is may be an irony and power with regard to the text ‘historical context’ Frankenstein is interpreted as allegorical of the industrial revolution. Hence from the knowledge of the novels scientific context one experiences a greater understanding of firstly where the text predominant idea had its origin and also elucidates the creation.

                   As it was human influence that converted the creature into an ‘evil’ being. Some negative aspects can be seen as monstrous if they resulted from humans from the texts scientific context one can see that victor Frankenstein achievement was the objective for many scientist of that time. References to Milton “paradise lost” reoccur throughout the novel. However the gods Frankenstein punished Prometheus was punished by his own creation.

                   Mary Shelly’s creation in Frankenstein is paradoxical. One can say that Frankenstein is a not monster but a made a warrior who is brave and strong person but anything like this when Marry Shelly writes like this;

“Its gigantic stature and the deformity of its aspect, more hideous than belongs to humanity, instantly informed me that it was the wretch, the filthy, daemon to whom I had given life. What did him there? Could he be (I shuddered at the conception) the murder of my brother? No sooner did that I became convinced of its truth; my teeth chattered, and I was forced lean against a tree for support. The figure passed me quickly, and I lost it in the gloom.”

                   On the one hand, they transgress against ‘the establishment’ Shelly’s creation teaches us not to underestimate the power of youth of culture.

                   Cultural sign in Frankenstein made to be a Frankentheme and the heart of the novel irony. How the victor creates a way of live, and how the Frankenstein throws any as a orphan and suffering from society’s cruelness. Even victor’s reliance upon defensive idealization represents one the major narcissistic feature of his. He repeatedly makes one statement about his childhood that;

“No human being could have

Childhood passed a happier than me”

Revolutionary Births: -

                   In Frankenstein we can also see the revolutionary birth in the character of monster. Born like its creator in an age of revolution, Frankenstein challenged accepted ideas of its day. As it has become increasingly modified by modern consumer culture, one wonders whether its original revolutionary spirit and its critique of scientific, philosophical and political and gender issues have become obscured instead its continuing transformation attests to its essential op positional nature. Hardly day goes by without out seeing an image or allusion to Frankenstein, from CNN descriptions of Saddam Hussein as an “American created Frankenstein” to magazine articles that warn of genetically engineered “Frankenstein”, test tube babies, and cloning.

A race of Devils:-

                   In Frankenstein we can see that some different kinds of ‘races’ portrayal by Mary Shelly. Though the creature’s skin is only described as yellow, it has been constructed out of a cultural tradition of the threatening other or giant, gypsy or Negro.

                   Though the abolitionists wished to portray the blank man or woman as brother or sister, they also created an image of the African as a childlike, suffering and degraded being. To turn him (the slave) loose in the manhood of his physical strength, in the maturity of his physical passion but in the infancy of his uninstructed reason. The labors are not educated people and this concept we can see in the present novel.

Archetype of Frankenstein in popular culture:-

                   Timothy Morton uses the term Frankenstein, drawn from sonic elements of language as used in structural linguistics and visual elements as “elements of culture that are derived from “Frankenstein”. We end with a quick look at some of the thousands of retelling parodies and other selected Frankenstein themes as they have appeared in popular fiction drama, film and television. From the “Frankenstein” debut on the stage, the creature has generally been made assigned less blame.

Film Adaptations:-

                   We can see many films made in this story ‘Frankenstein’. In the Frankenstein omnibus readers can study the screen play 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 monster’s body. Thomas Edison in 1910, a one however produced the first film version of “Frankenstein” reel tinted silent. Early German films that were heavily influenced by this Frankenstein” were the cabinet of Dr. Caligari. The golem and metropolis.

Television Adaptations:-

                   “Frankenstein” has surfaced in hundreds of television adaptation, including “Night Gallery, the Addams family, the Munster, star trek. The next generation, notable television creatures have included Bo Swenson, randy quad, David Warner and Lan Holm. Perhaps the most authentic television version was “Frankenstein” the true story with script writing by Christopher Isherwood and acting by James Mason.

Conclusion:-

                   And in the end with the help of the point we can discussed further, we can easily say that in this novel we can see many cultural elements. There is some elements of worker or labor also can see in this novel. And we can study some cultural aspect with the help of Milton’s “paradise Lost”. And in this novel the two main characters represents the cultural things in this novel.