Literary Terms

Assignment Paper-E-C-203

Topic- Literary Terms

Dabhi Ashvin P

M.A. Part – 1

SEM- II

Roll No -06

Year – 2010-11

Department of English

Submitted to Dr. Dilip Barad

Department of English,

Bhavnagar University

Ø Introduction:-

          There are many literary terms. We can easily some theory with the help of the literary terms. If we have some idea regarding literary terms, we can easily study literary theory. Here let’s discuss about three important terms (1) Archetype (2) Rasa Theory (3) Diaspora. First we will discuss about the term Archetype.

(1)  Archetype:-

Ø What is Archetype Criticism?

         In literary criticism the term Archetype denotes recurrent narratives designs, character types, themes, images and patterns of action. which are identifiable in a wide variety of works of literature as well as in myths, dreams and even social rituals. An important antecedent of the literary theory of the archetype was the treatment of myth by a group of comparative anthropologists at Cambridge University. A more important antecedent was the depth psychology of Carl G. Jung, who applied “primordial images”. At the last we can say that ‘Archetype’ means, typical specimen or original model. In other way something that serves the model or other things of the same type.

        Archetypal literary criticism was given driving force by Maud Bodkin’s Archetypal patterns in poetry and to go on well especially during the 1950s and 1960s. There were some other prominent practitioners of various modes of archetypal criticism. There were G. Wilson Knight, Robert Graves, Philip Wheelwright, Richard Chase and Joseph Campbell. These critics tended to emphasize the happen of mythical patterns in literature. They also emphasized on the assumption that myths are closest to the elemental archetype than the artful to work with hands of sophisticated writers.

        The death/rebirth theme was often said to be the archetype of archetypes and was held to be grounded in the cycle of the seasons and the organic cycle of human life. This type of archetype it was claimed that it happen in primitive rituals of the king who is annually sacrificed in widespread myths of gods who die to be reborn. The other archetypal traced in literature were the journey underground, the heavenly ascent, the search, the paradise/heads dichotomy, the promethean rebel hero the scapegoat, the earth goddess and the fatal woman.

        Northrop Frye’s work breaks from both Frazer and Jung in such a way. He has created different world of nature into archetypal forms that serves to satisfy enduring human desires and needs. In this literary universe four radical mythos that is correspondent to the four seasons in the cycle of the natural world, are incorporated in the four major genres of comedy (spring), romance (summer), tragedy (autumn), and satire (winter).

(1) Spring (comedy):-

        The dawn, spring and birth phase. Myths of the birth of the hero, of revival and resurrection, of creation and of the defeat of the powers of darkness, winter and death. Here we can take example of Jesus Christ.

(2)Summer (Romance):-

        Romance and summer are paired together because summer is the culmination of life in the seasonal calendar and the romance genre culminates with some sort of triumph, usually a marriage.

(3)Autumn (tragedy):-

     The sunset, autumn and death phase. Myths of fall, of the dying god, of violent death and sacrifice and of the isolation of the hero. It is the dying stage of the seasonal calendar which parallels the tragedy genre because it is known for the “fall. Here we can take example of the fall of man (hero) Adam and Eve.

(4)Winter (satire):-

The satire is the dark genre. It is a disillusioned and mocking from of the three other genres.

Ø The context of a genre determines how a symbol of image is to be interpreted. Frye outlines five different spheres in his schema:

(1) in the comic vision the human world is representative of wish-fulfillment and being community centered. In contrast, the tragic human world is of isolation, tyranny and the fallen hero.

(2) Animals in the comedic genres are docile and pastoral, while animals are predatory and hunters in the tragic. Here we can put example of sheep and wolves.in the old man there is shark is predatory animal.

(3) For the realm of vegetation, the comedic is pastoral but also represented by gardens, parks, roses and lotuses. As for the tragic, vegetation is of a wild forest or as being barren. Here we can put example of pastoral background (country life) v/s city life conflict in ‘As you like it’.

(4)  Cities temples or precious stones represent the comedic mineral realm is noted for being a desert.

(5) The water realms is represented by rivers in the comedic with the tragic the seas and especially floods.

E.g. the last scene from the film ‘Satyam Shivam Sundaram’.

Ø Some examples of archetypes in literature:-   

(A)Characters:-

 (1) Hero: - The courageous figure. A one who is running in and saving days.

       E.g. Hamlet, Macbeth, Tom Jones

(2) The Scapegoat: - The scapegoat figure is the one who gets blamed for everything.

       E.g. Tom Jones

(3) The outcast: - The outcast just that he/she has been cast out of society or has left it on a voluntary basis.

        E.g. Pandavas, Ram-Sita and Laxman, Sugreve

(4) The star-crossed lovers: - This is the young couple joined but unexpectedly parted by fate.

       E.g.  Romeo and Juliet from “Romeo and Juliet” Heath cliff and Catherine from “Wuthering Heights”.

(B)Symbol:-

(1) The quest: - Here the characters are searching for something.

     E.g. Search for Sita, Nal-Damyanti, and Savitri for Satyakam’s life.

(2) Water :- water is a symbol of life, cleaning and rebirth. It is strong life force.

(3) Rivers: - Death and rebirth, the flowing of time into eternity.

(4) Rising Sun: - birth, creation

(5) Setting sun: - Death

(6) Colors: - Red is for blood, sacrifice and passion. Green is for growth, hope, fertility. Blue is for highly positive, secure, purity. Black is for darkness, evil, melancholy, chaos. White is for light, purity, innocence. Yellow is for enlightenment, wisdom.

(2)RASA THEORY:-

        The rasa theory originates with Bharata in Natyasashtra. It claims that object or meaning that is sought to be conveyed in literary compositions is in the Nature of an emotional effect of diverse human experience on man’s mind and heart. It is possible, Bharata demonstrates, to enumerate the whole range of emotions, or states of being born of experience and to analyze the structure of those emotions in on man’s being. The theory thus becomes in effect a theory of literary experience which is strongly rooted in the empirical human reality.

There are eight rhetorical sentiments (Rasa) recognized in drama and dramatic representation is named as follows: - the Erotic, comic, pathetic, furious, Heroic, Terrible, Odious, and Marvelous. In these there are four main Rasa which are the sources of origin of these sentiments: these are as follows: the Erotic, the Furious, the Heroic and Odious. After these eight Rasa, three Rasas Bhakti, Shanti and Vatsalya are added in them.

Ø The colors:-

         The Erotic sentiment is light-green, the comic is described as white, pathetic is grey, the fearful is described as red, Heroic is to be known as Yellow red, the terrible as black, the odious on the contrary is blue and the Marvelous is Yellow.

Ø The Deities :-

        The Erotic has Vishnu as its presiding deity, the deity of the comic is pramatha, the deity of the furious is Rudra, and the pathetic has Yama as its deity. The deity of the odious is Mahakala, the terrible has Kala as the god, the heroic the god Mahendra and marvelous has Brahma as its deity.

(3)Diaspora:-

         The term Diaspora means home sickness. Most early discussions of Diaspora were firmly rooted in a conceptual ‘home land’. They were concerned with a paradigmatic case or a small number of care cases. The paradigmatic case was, of course, the Jewish Diaspora and some dictionary definitions of Diaspora until recently did not simply illustrate but defined the word with reverence to that case.

         The initial expansion of the use of the phrase extended it to other similar cases, such as the American and Greek Diasporas. More recently, it has been applied to emigrant groups that continue their involvement in their homeland from overseas, such as the category of long-distance nationalists identified by Benedict Anderson. Brubaker notes that Albanians, Hindu, Indian, Irish, Kashmiri, Kurds, Tamils, Palestinians have been conceptualized as Diasporas in this sense. Furthermore and social migrants who maintain emotional and socialites with a homeland” have also been described as Diasporas.

We can take example of the poem “Leaving India” by Rachana Joshi, in this poem we can see Diasporic feelings.

  

  

 

 

An Introduction – A Confessional poem

Assignment Paper-7-E-C-202

Topic- An Introduction – A Confessional poem

Dabhi Ashvin P

M.A. Part – 1

SEM- II

Roll No -06

Year – 2010-11

Department of English

Submitted to Mr. Devarshi Mehta

Department of English,

Bhavnagar University

Ø Introduction

               Kamala Das is one of the members of the poetic trinity of Indo-Anglican poets. The other two beings are Nissim Ezekiel and Ramanujan. She has been called a poet in the confessional mode. The confessional poets deal in their poetry with personal emotional experiences which are generally taboo. There is ruthless self-analysis and a tone of utter sincerity. The facts are not always true but there is no dedication at all from emotional truth. Confessional poetry is a struggle to relate the private experience with the outer world as it is. Such a struggle is in evidence in the poems of Kamala Das from a very early stage.

               ‘An Introduction’ is included in her first collection of poems ‘summer in Calcutta’. In the poem, she speaks in the voice of a girl, rebelling against the norms and dictates of a patriarchal society which ask her to fit in and belong against her own wishes. ‘Malabar’ is a south Indian location, covering a large part of Kerala. It is also extends to part of Karnataka. Her rebellion against patriarchy is to secure an identity for herself in a male-dominated world. The poem is beginnings with the assertion, ‘I don’t know politics, but I know the names of those in power. It shows her dictates for politics is considered a domain for men. Next come her defiant language she likes. Her reply to her critics is a reiteration of the appropriation of a colonial language to serve native needs. ‘Categorizers’ is an allusion to those who see and group other people in different structures or brackets. This term suggests the tendency to stereotype people. From the issue of the politics of language, the poem moves on the subject of several politics. The poet is in utter bewilderment during her pubescent years. Her sudden marriage and her first sexual encounter all level her traumatized. On an impulse, she defies the gender code and dresses up as a man by wearing a shirt and a trouser and ‘sits on the wall’. The guardians of morality force a respectable woman’s afire on with instructions that she should fit into the socially accepted role of a woman as a ‘wife’ and a ‘mother’. “Madhavikutti” the pseudonym kamala Das used while writing in Malayalam. A disorder that results in the misinterpretation of reality. The perception change is now seen as being a heath condition as well as the case of social in sufficiency. Following thinkers understood to be a reflection of a society’s inflexibility as much as it is associated with an individual’s mental state. Identifying her with other suffering women of the world. Kamala Das universalizes the suffering and seeks freedom and love. The poem becomes a statement on gender differences and a move to transcend the restrictions imposed on a woman by seeking individual freedom, love that allows the body to come to terms with its own needs and a self that is allowed to celebrate love’s true glory. This is the most famous poem in the confessional mode: her poem’s first line is

         “I don’t know politics but I know

          The names of those in power.

         And can repeat them like

         Days of week, or names of

       Months, Beginning with Nehru.”

                             These lines show her frank distaste for politics, especially in politically free India ruled by chosen elite. The poet asserts her right to speak three languages. She asserts her right to speak defense her right to speak defense her choice to write in two her mother tongue ‘Malayalam’ and English. She doesn’t like to be advised in this matter by any guardian or relations. Her choice are her own authentic and born of passion. The poet looks upon her decision to write in English as natural and humane. From the issue of the politics of language the poem them passes on to the subject of sexual politics in a particularly dominated figure. As the girl seeks full filament of her to traumatize and course the female-body since the same is the site for patriarchy to display its power and authority when therefore, she opts for male clothing to hide her feminist, the gardening enforce typical female attire, with warnings to fit into the socially determined attributes of a woman to become a wife and a mother and get confined to the domestic routine. She is threatened to remain within the four walls of her female space lest she should make herself a psychic or a maniac. The poet is an individual woman trying to voice a universal womanhood and trying to share her experiences, good or bad with all other women. Love and sexuality are a strong component in her search for female identity and the identity consists of polarities. The poem ends with repetition of the 1^st person singular ‘I’ to suggest vindication of the body and the self.

                 This poem is regarding the confessional mode. Writing to her5 always served as a sort of spiritual therapy: if I had been a loved person, I wouldn’t have become a writer. I am what I am. The poetess claims that she is not interested in politics, but claims to know thee names of all in power beginning from Nehru. She seems to state these are involuntarily ingrained in her. By challenging us that she can repeat these as easily as days of the week, or the names of months. She echoes that these politicians were caught in a repetitive cycle of time, irrespective of any individuality. They did not define time; rather time defined them.

                   Subsequently, she comes down to her roots. She declares that by default she is an Indian. Other considerations follow this factor. She says that she is ‘born in’ Malabar. She does not say that she belongs to Malabar. She is far from regional prejudice. She first defines herself in terms of her nationality, and second by her color. And she is very proud to exclaim that she is ‘very brown.’ She goes on to articulate that she speaks in three languages, writes in two and dreams in one. In this poem there is a good line,

           “I speak three languages.

          Write in two, dream in one.”  

              Through dreams require a medium Kamala Das echoes that the medium is not as significant as is the comfort level that one requires. The essence of one’s thinking is the prerequisite to writing. Hence, she implores with all- “critics, friends, visiting cousins” to leave her alone. She reflects the main theme “Broken images”, the conflict between writing in one’s regional language and utilizing a foreign language. The language that she speaks is essentially hers. The primary ideas are not a reflections that reader it human. It is the distortions and queerness that makes it individual. It is imperfections that render it human. It is the language of her expression and emotion as it voices her joys, sorrows and hopes. It comes to her as cawing comes to the crows and roaring to the lions, and is therefore impulsive and instinctive. It is not the deaf, blind speech. Through it has its own defect it cannot be seen as her handicap. It is not unpredictable like the trees on storm or the clouds of rain. It possesses a coherence of its own: an emotional coherence.

             Kamala Das is concerned with herself as victim. What a confessional poet gives us is the psychological equality for his or her mental state, and it is such ‘psychological equivalents’ that we always get in the poetry of Kamala Das and in this respect she is to be compared to such confessional poets. Struggle is in evidence in the poems of Kamala Das from a very early stage. In this poem she struggles to keep her to “fit in”. Having refused to choose a name and a role she feels it necessary to define her identity.

           “I am saint. I am the beloved and the

            Betrayed. I have no joys which are not

          Your, No Aches which are not yours.

                    I too call myself I…

                      The painful assertion, “I too call myself I”, comes from the predicament of the confessional poet. Her experiences are common and ordinary, infect too common to give her any special identity. The “I” which experiences them. She insists that is separate and unique. She sees the outer world as hostile to the world of the self.

                         She explains her encounter with a man. She attributes him with not a proper noun, but a common noun “every man” to the “I” the supreme male ego. He is tightly compartmentalized as “the sword in its sheath.”

                            Confessional poetry is all autobiographical; it is rooted in the personal experiences of the poetess. One poet stressed the impersonality of poetry, but confessional poetry is intensely personal and the particular, she rises to the general and the universal. Her own predicament and her own suffering become symbolic of human predicament and human suffering. Here, in this poem Kamala’s greatness lie as an artist she is both intensely personal and universal.

  

Multiplicity of Themes in Middlemarch

Assignment Paper9-E-C-204

Topic- Multiplicity of themes in Middlemarch

Dabhi Ashvin P

M.A. Part – 1

SEM- II

Roll No -06

Year – 2010-11

Department of English

Submitted to Miss Ruchira Dudhrejiya

Department of English,

Bhavnagar University

Ø Introduction:-

        “Middlemarch” is written by George Eliot who was born on November 22, 1819. Eliot chose to write her novels under a male pseudonym Mary Anne Evans. This is a highly unusual novel. Though It is primarily a Victorian novel it has many characteristics typical to modern novels. The subtitle of this novel is “A study of provincial life.” This means the Middlemarch represents the lives of ordinary people, not the grand adventures of princes and kings. Middlemarch represents the spirit of nineteenth century England through the unknown, historically unremarkable common people. England is the process of rapid industrialization. We can find many themes in this novel.

Ø Major themes of Middlemarch :-

 Responsibility:-

        This is a major theme of Fred’s story, and he must become responsible for his finance and his choices. Will do too, to a certain extent. Bothe men must learn how to rely on themselves, not infringe upon others. He also must learn how to become independent in many ways. Bestrode tries to give him money to repent for hiding his existence from his grand mother. He refuses the money because he knows it come through thievery. He worships Dorothea. He doesn’t care for money and loves everything that is beautiful.

 The imperfection of Marriage:-

      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. In many novels of the time, Marriage is not considered the ultimate source of happiness. Two examples are the failed marriage of Dorothea and Lydgate. Dorothea wants to reform the society. She wants a kind of social reform which removes all the vices from the society so she wants to marry because of helping. She chooses wrong person we can say that passionate nature makes unconscious while taking decision. Marriage becomes her very unconscious. She doesn’t know regarding the society and for that she jumps into the society. We are reformer or creator. We are the cause or reason and we are suffering. Individual thinking can not be work. She has to make a journey. She can journey from individual to society. Her journey is not easy. She has to reconcile with so many mind, so many psyches. She is the failure in herself. She is getting failure herself. Her actions are not clear or far from clear. What is she doing she doesn’t know. The reason is her passionate nature. The reason is her thoughtless nature. Her marriage fails because of her youth and of her illusions 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 marriage reach a perfect fairy tale ending. ‘Middlemarch’ offers a clear critique of the usual portrayal of marriage as romantic and unproblematic.

Stubbornness:-

         A big issue of character Rosamond is extremely stubborn. The meaning of this sentence is that if things aren’t done her way, she will go behind other people’s backs to do things the way she thinks they should be done. Societal stubbornness is responsible for Lydgate’s failure with his medical practice. People want what they want, for whatever reasons, which means that they are blind to things that might be best for them.

Prejudice:-

       This theme that Lydgate and Ladislaw can’t seem to beat. People in Middlemarch dislike anyone who is not from Middlemarch or anyone whose reputation seems questionable. Ladislaw and Lydgate are both good people, but it is initial prejudice. Sometimes based on invalid or circumstantial reasons, those mean that they are never liked or accepted in Middlemarch.

Conformity:-

         An issue that is related to societal expectation but it is somewhat different. People are supposed to conform to certain social ideas and norms. Dorothea is supposed to be a proper wife and then a proper widow, and follow society’s set guidelines about how to fill each position. Ladislaw fits no position that society to group him into, so he is dislike he refuses to be conventional or proper or to fit into that society and its ideas of how someone like Ladislaw should act.

Self Determination v/s chance:-

       In the present novel, self determination and chance are not opposing forces but rather a complicated balancing act, when characters strictly adhere to a belief in either chance or self determination, bad things happen. When Rosamond goes against the wishes of her husband and write a letter asking for money from his relative. Her act of self determination putts Lydgate in unsavory and tense situations coupled with a refusal to help. On the flip side when Fred Vincy gambles away his money, relying solely on chance, he falls into debt and drags with him; the people who trust him. Only when he steps away from gambling and decides not to go into the clergy do good things begin to happen for him. In particular, the character between fate and self determination. This balance is exemplified in his educated gamble in myth blame of whist.

Love:-

        Love keeps people together, or the drift apart. Those who are truly in love like Ladislaw and Dorothea, Mary and Fred are bound together by it. They are very alike in temperament and outlook. Those who lake it like Lydgate and Rosamond, Casaubon and Dorothea are ill-suited to each other in marriage and they are very disappointed by their unions. Will is the grandson of Casaubon’s disinherited aunt Bultrode tries to give him money to repent for hiding his existence from his grandmother. He refuses the money because he knows it came through thievery. He worships Dorothea. He doesn’t care for money and loves everything that is beautiful.

Unity of Middlemarch:-

        The decisions made by every person in Middlemarch seem to have a direct effect on at least one other person. Mary’s decision to marry Fred Vincy means that fare brother is without a wife. Dorothea’s decision to choose Casaubon leads Sir James Chettam to choose Celia. Bulstrode’s dirty dealings with regard to Raffles mean disgrace to both Lydgate and Will Laidslaw. Everyone in Middlemarch is intimately connected and it seems that no one can move around without disturbing someone else.

Vanity:-

          Especially relevant to Rosamond and her suitors.  Rosamond s is exceptionally vain about her charm and her appearances. So much her so that it is a shock to her when her friend Ladislaw says he doesn’t love her. Her unsuccessful suitors are all equally vain, and blame Lydgate rather than Rosamond’s lack of interest, when she will not return their favor.

Social Expectations:-

         Closely linked to society’s hierarchy. They are ideas about how everyone should act in certain situations. Lydgate proposes to Rosamond because society expects that he should do it. Dorothea is pushed to live with someone else or marry again after she is widowed, because society expects that it is right. People don’t necessarily follow these expectations, nor should they but they do exist and play a part in people’s lives.

Self-discovery:-

        There are certain truths which every character learns about him in the course of trials. Lydgate and Rosamond find out more about their characters through their money troubles, though they do not always adjust accordingly. Dorothea Brooke makes the most dramatic journey of self discovery and changes a great deal within the course of the novel.

Reality v/s Expectations:-

      Many character’s preconceived ideas, especially of marriage, are proves tragically wrong in the course of the book. Casaubon and Dorothea Brooke both have unrealistic ideas about marriage and are disappointed. Lydgate and Rosamond have the same idea and are let down. Life often defies what one expects, or could predict of it and the people who are happiest are ones who have few expectations, or are most flexible.

Gender roles and expectations:-

        Especially relevant to Dorothea, Middlemarch society has very defined ideas of what the people of each gender should do within the society, and people, especially women who deviate from this norm, are looked down upon. Dorothea is tolerated because she is of good family and does not disrupt the society she is in. however, she faces a great deal or pressure to change herself, conform to other’s ideas, and submit herself to male leadership at all times.

Progress:-

        Much is changing in the world of Middlemarch. English society is evolving in social economic, technologic areas. Socially, ideas of gender and class are in flux, as women are proving more and more competent and the industrial revolution is causing a greater amount of social mobility. The economy of England is changing, from an aristocratic, inheritance-based system of holding wealth and land, to one based on commerce, business, and manufacturing. Technology is also changing, in medical science and in areas like transportation and these are changes that area beginning to sweep through Middlemarch.

Money:-

      Money is the root of many evils but much good, in the novel. Lydgate get desperate for want of it, Fred despairs when he has little, Dorothea becomes generous when she carefully since their money is limited. Money has a profound effect on character within the novel, and though many people are judged by now much money they have, many of the best people in this novel very little.

Conclusion:-

      In this novel we can see many themes. In this novel everything is political in Middlemarch, with most people strongly backing the conservative party. People within the novel have varying ideas of family obligation in the novel, though it is a strong force in Middlemarch society.

  

      

Cultural Studies in practice: Frankenstein

Assignment Paper-E-E-205-B

Topic- Cultural Studies in practice: Frankenstein

Dabhi Ashvin P

M.A. Part – 1

SEM- II

Roll No -06

Year – 2010-11

Department of English

Submitted to Dr. Dilip Barad

Department of English,

Bhavnagar University

________________________________________

Ø Introduction:-

         The novel “Frankenstein is written by Mary Shelly. Her novel has morphed into countless forms in both height brow and popular culture. Her creation teaches us not to underestimate the power of youth culture. It is truly captivating powerful novel that analyzes ‘Monstrosity’ with regard to ‘humanity’. However without a sound understanding of the context, in which 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 investigating the novels scientific and philosophical context one can discern the reason behind Mary Shelley depicting the creature’s creation and development in the manner she chose to researching into the literary context provides one with superior appreciation of inter- textual 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.

The creation was made of human parts. It was in essence human can on judge this as being monstrous. Bearing in mind that the historical context and allegory of the industrial revolution. Electricity was another monumental scientific discovery of the time. One those many viewed with awe 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.

Victor Frankenstein can be seen as the modern Prometheus. Again, with greater knowledge of the context the “spark of being” (electricity) 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.

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 scientists of that time. References to Milton “paradise lost” reoccur throughout the novel. Sound knowledge of paradise lost one is able to identify the parallels between paradise lost and Frankenstein. However the Gods Frankenstein punished Prometheus was punished by his own creation.

Frankenstein’s rejection of his Monster can be interpreted to be a representation of man being ironically disgusted at sin his own sin. He can be likened to a man who has condemned fornication in public. He keeps going to motels and sex clubs in secret. What Frankenstein created in his Monster is in one way a mirror of his own soul. He made the Monster through his rejection, not through the lab experiments. His ‘evil side’ was transferred or loneliness. Frankenstein and Monster were both lonely in the world.

(1) Revolutionary Births:-

Born like its creator in an age of revolution, Frankenstein challenged accepted ideas of its day. As it has become increasingly co 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 oppositional nature. Hardly a 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.    The creature as proletarian:-

       We recall from earlier chapters that Mary Shelly 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, P.B.Shelley was thought of as a dangerous radical bent on labor reform and was spied upon by the government.

We can take help of the example from Milton’s “paradise lost”. In this epic God governed Satan. He thought it is better to rule in hell rather than heaven.

   

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’ or giant, gypsy or Negro.

        Though the abolitionists wished to portray the black 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.

C.   From natural philosophy to Cyber: -

Today in the age of genetic engineering, biotechnology and cloning, the most far-reaching industrialization of life forms to date. Frankenstein is more relevant than ever. Developments in science were increasingly critical to society during the Romantic period when a paradigm shift occurred from science as natural philosophy to science as biology, a crucial distinction in “Frankenstein”. Mary Shelley attended public demonstrations of the effect of electricity on animal and human bodies, living and dead.

      Today we are constantly confronted with new developments in fertility 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 treatments 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, victor’s creation of life and modern sperm banks and artificial wombs show a masculine to claim female reproductively”. “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 viability and selective reduction between living and life support. We can take example of a doctor who lives in Anand. He knows about the surrogate mother.

(2) 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 Frankenphemes as they have appeared in popular fiction, drama, film and television.

(a)             Fiction:-

           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 genre”. The first story about a female monster is French author Villiers de Lisle Adam’s “the future Eve”, an 188 novelette not translated into English until fifty years later, in which an American inventor modes on Thomas Edison makes an artificial woman for his friend. Jack London’s early story, “A thousand Deaths” (189), 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.

(b)             “Frankenstein” on the stage:-

         From his debut on the stage, the creature has generally been made more horrified 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. Dramatist would not want to try for all of the complexities of the novel. In stage versions only a few key scenes, the creation of 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 Cali ban.

      The first theatrical presentation based on “Frankenstein” was “The fate of Frankenstein” by Richard Brinsley Peak; performed at the English Opera House in London Mary Shelley herself attended the play and pronounced it authentic. But this “serious” drama immediately inspired parodies, first with “Frankenstein” in 1823, a burlesque featuring a tailor, who as the “Needle Prometheus” sews a body out of nine corpses.

(D)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. 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 (1920). The golem (1920) and Metropolis (192).

In whale’s “Bride of Frankenstein” (1935) there is a return to the frame structure but this time we begin with Mary Shelley discussing her novel with P.B.Shelley. She is played by Elsa LAN Chester, who also plays the female creature, with her during black eyes an queen; this one tends toward comedy, parody and satire rather than pure horror.

(D)  Television Adaptations:-

     “Frankenstein has surfaced in hundreds of television adaptations, 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 Ian Holm. Perhaps the most authentic television version was “Frankenstein” The true story (192) with script writing by Christopher Isherwood and acting by James Mason.

Ø Conclusion:-

      In this novel we can see many cultural elements. There s some element of worker or labor. We can study some cultural aspect with the help of Milton’s “Paradise lost”.