UPDATE ON ENGLISH

Hello!

Welcome to this blog filled with study resources.

I would like to take the time to say that I am aware of the numerous typos. Please bear in mind that these essays were written in a rush as a means of revising.

If the typos bother you, please let me know of the ones you find and I will, of course, take the time to mend the mistakes.

Love,

Melissa

Mary Shelley presents justice in 'Frankenstein'

LANGUAGE
In 'Frankenstein', Mary Shelley presents justice as non-existent through the use of the past participle.

• "I was benevolent and good misery made me a fiend"
• "was" suggests he no longer has the characteristics of being benign and kind. The past tense the monster uses opposes the present nature of the layered narrative of the novel which may suggest how justice is being left in the past and is vanishing. Moreover, the quick change between the monster being nice and becoming a "wretch" is incredibly quick in the sentence which suggests how rapidly justice was destroyed thus creating an ominous effect and tension in the audience.The past tense suggests the change happened in one moment which creates an uncontrollable effect in the reader. The reader therefore, may feel as though they are lost in the past when the monster tells his tale. On the other hand, from the subtle and quick time shifts, Shelley may be echoing ideas from the Enlightenment Era and perhaps may be warning readers of following the Enlightenment belief of logic and scientific too quickly without remaining aware of the sentient nature of humans.
•  As a Romantic writer, Shelley preferred a less controlled and strict lifestyle which is dictated by nature as opposed to science and therefore may be criticising the opposing contemporary movement which leaves the audience at an ultimatum. The ultimatum is Romanticism or just scrapped from the novel in its entirety.

LANGUAGE
The author presents justice as doubtfully present through the use of rhetorical questions.

• In Volume II of the 1818 edition, the monster ponders "who was I?" and "what was I?". The use of rhetorical questions suggests the monster feels rather discombobulated as there is no one who would answer his questions. The monster's discombobulated state may be synonymous to Shelley experience as she had to conceal her real identity when publishing 'Frankenstein'. Young women were not often believed to have had sufficient logic to write a novel so she may have felt rather suppressed and confused, just like the monster. Societies view on women -
• The monster's question of identity may be to induce sympathy from the audience as the monster is not given a name except insults, Victor having called him "daemon" and "wretch" in volume I as is similar with Shelley knowing she would have to remain anonymous when publishing 'Frankenstein'. Both characters suffer from identity problems and Shelley may be trying to address the stereotypes women held in Elizabethan society.She may have been inspired by her mother (modern reader may say she was a feminist) Mary Wollstonecraft who wrote a book based on women's role in her contemporary society called 'A Vindication of the Rights of Women'. The readers may therefore feel  sympathy for the monster thus Shelley as "daemon" suggests the monster is the opposite of all good and God which instantly alienates him from the characters in the novel as opposed to the readership. However, the audience may feel justice is absent in the novel as they may feel they should answer the monster's questions since none of the characters in the novel are.
• Hence, the readers may feel as though Victor is the "creature" of the novel instead of the monster although this is not evinced which presents justice as scarcely, if not at all imminent in the novel. 

FORM

Justice is present in the novel.

• Chinese-box form
• Despite the monster having less leave way to speak, one might suggest the monster is the heart of the novel and is just as powerful as Victor Frankenstein.
•  His box may be synonymous to Pandora's forbidden box which was mighty enough to unleash horror and turmoil into the world. The Chinese-box form may suggest Shelley is echoing ideas from Prometheus as Pandora's box was presented to him, like with Victor Frankenstein. The title of the novel being 'Frankenstein' and 'the Modern Prometheus' suggests Victor Frankenstein which further alludes to Prometheus.
• Thus, she relies on the audience to draw their own prior knowledge of the Greek myth 'Prometheus' as the protagonist: Prometheus is punished for being overly ambitious (stealing fire from Zeus) and is eternally eaten by caucuses. Moreover, Prometheus' brother is also punished by Pandora's forbidden box, which arguably is the same for Victor (as he is presented with the monster's box in the Chinese-box narrative).
•  The monster can be deemed as symbolic of Pandora's box as his narrative may be considered the darkness and depths of the novel which is synonymous to the darkness and horror Pandora's box unleashes. 
• Therefore, the Chinese-box form, shows how the monster experiences Justice as Victor is punished (the "die is cast") by being overly ambitious as well, for he tries to master the "secrets" of the "bolt". "Secrets" suggests Victor's intentions are forbidden, like Prometheus' was as he stole fire and both characters experiencing punishment which is often believed to be a form of restoring justice. The audience may feel a sense of relief as punishment to achieve justice is universal.

MORE

YOU CAN TALK ABOUT WOMEN FORM. 

HOW VICTOR IS GIVEN MORE OPPORTUNITY TO SPEAK

How does Mary Shelley present power, ambition and knowledge in 'Frankenstein'?

LANGUAGE

• In 'Frankenstein', Shelley presents power and ambition as deceiving through the use of figurative language. Victor frequently refers to the "yellow light" of the moon when nearing an accomplishment. The moon reflects the sense of power he feels at these climatic moments as the moon controls the waves of the sea. Thus, Frankenstein's ambitions of controlling nature and mastering it like God makes him feel as though he can control the world. 
• The reader may feel as though Victor has become quite delusional as both a modern and Elizabethan audience may assume that God is omnipotent and perhaps transcendent which is unlike a human like Victor Frankenstein. Moreover, Shelley may be echoing ideas about Romanticism and how reason can not be found for everything. In Jean-Jacques Rousseau's 'Emile or On Education', the author says one must allow 'nature to work'. Victor assumes he can look at the moon with a "yellow light" when it is often seen as white by the entire readership which suggests Victor should not try to manipulate the image of nature. 
• Shelley being a Romantic writer may have wanted to suggest how ambitions to twist nature is dangerous because Victor becomes delusional isolates himself in a "little hut" for "two years" for instance. Therefore, nature should be left 'to work'.
• Moreover, the "yellow" may be referring to a trophy thus an award for his accomplishments. Turning a natural satellite (the moon) into an artificial object emphasises how Victor Frankenstein has become incredibly obsessive and blind to reality (power and ambition is not great to have) which suggests how power and ambition is deceiving.

STRUCTURE

Mary Shelley presents power and knowledge as destructive through the use of juxtaposition. Victor says he "kept his workshop of filthy creation" which contrasts with the "divine" nature of his ambition he initially held.

• The juxtaposition between "filty" which connotes to dirt whereas "divine" suggests Victor's ambitions are pure and clean of sin. An Elizabethan reader may feel suspense as contemporaneously, many people felt fear from God. The juxtaposition may suggest Victor is rejecting God as he opposes the "divine" with "filthy". Moreover, the audience may assume ambition is terrible as they can see how rapidly and significantly Victor's ambitions became a positive to a negative quest. Shelley may be allowing both a modern and contemporary readership to see the rapid and extreme changes in Victor's mood and may be echoing ideas from the Enlightenment Era. Shelley opposed the Enlightenment movement as she found greater pleasure in the Romantic movement. The Enlightenment movement consisted of using reason to explain everything. The juxtaposition, therefore, may demonstrate how discombobulated Victor has become from trying to find reason through Enlightenment beliefs. A modern reader may feel as though Victor's attempt to use science to provide reason is unethical, for in Modern society, science can be used to create new organs through stem cells and even clone. Thus, his vocations seem dangerous and the consequences may seem destructive (creating a human by selecting their genes for instance is very controversial and may create a super species which is a threat to normal humans).

FORM

In 'Frankenstein', Mary Shelley presents knowledge and ambition as destructive through the use of the Chinese-box form. A01

• The monster's narrative follows from Victor's which follows from Robert Walton's. Thus, Victor's creation may be considered as the heart of the novel or Pandora's forbidden box which was presented to Prometheus to punish his brother, Epimetheus (which could be symbolic of Robert Walton). Thus, Shelley may be echoing ideas from the Greek myth: Prometheus and may create an ominous effect to an Elizbethan and modern readership as they may draw their own knowledge of the myth and realise that both Robert Walton and Victor Frankenstein will be crushed for their ambition and knowledge. A03 and A01
• Victor opens the 'forbidden' box in pursuit of knowledge and in turn releases horror and turmoil into the novel: his creation. The monster's box as portrayed through the form is the deepest and the darkest in the novel which suggests the horror and turmoil will affect not only Victor, but also Walton's narrative. He is powerful and therefore able to cause grave danger. Ambition and knowledge seems ruinous as the mosnter is a product of Victor's. A02 and A03.
•  Moreover, the audience may assume Victor Frankenstein is 'The Modern Prometheus' as Victor 'Frankestein' takes the alternative novel name. Victor tries to achieve his ambition of creating life by the "bolt" by altering nature (creating the monster, the next box). He fails like Prometheus who was often believed to have stolen fire from Zeus in order to master the power of the divine. However, their knowledge and ambition lead to destruction as Prometheus is eternally eaten by a caucuses and Victor's "die is cast". Thus ambition and knowledge is presented as devastating.  A03 and A02 and A01

NOT DESTRUCTIVE to be critical
Juxtaposition between art subject and Victor's fondness of "natural philosophy" which was creating reason to matter although a modern audience would consider it a science. Art more about self-expression etc.
Find in extract
Well, Clerval's character - essay attached here. Clerval prefers to be the "complete master of the oriental languages" so he would like to "plan his life".

He is ambitious but not selfishly.

How does Mary Shelley portray nature in 'Frankenstein'?

LANGUAGE

In 'Frankenstein', Mary Shelley uses pathetic fallacy to present nature as influential.

•  During the scene of the creation of the monster in Volume I of the 1818 edition, the monster is created during a "dreary night of November" where Victor feels "anxiety". 
• Moreover, the rain is described to have "pattered dismally against the panes" of the window. "Dismal" in Latin means "diesmali" which translates into 'evil days'. By describing the weather as evil creates tension in the reader and an ominous effect. One might suggest that the description of the weather has sealed the fate of the characters. Moreover, the "night" exemplifies the unknown as one would not be able to see clearly at night in comparison to day. The reader may feel a nervous effect in them and may suggest that the weather is the reason why Victor feels "anxiety". The audience may sense the weather's force as Victor's life collapses as he ignores the "anxiety" (may have been a warning signal from nature) and continues with his work. Shelley is echoing ideas of Romanticism which were found in Jean Jacques-Rousseau's 'Emile or On Education' which insisted the readership should "give nature time to work before you take over her business". 
• Shelley being a Romantic writer, she may be insinuating that nature is influential as it determines how Victor feels and his mood. In addition, if Victor tries to take nature's "work" and outdo it, there may be consequences which creates an ominous effect towards the audience. In contrast, the monster feels natures movement as he "cleared" the De Laceys "path from snow" which suggests he has waited for "nature to work" as it releases "snow" and has thus acted afterwards which puts the monster in a favourable position as he acts kindly for the De Lacey family. 
• The audience may feel as though nature is a moral compass and may feel its influence as positive like Shelley as she was a believer in the Romantic movement.

LANGUAGE

Moreover, Shelley presents nature as powerful through the use of a lexical field of violence. When Victor "visited the tree next morning [he] found it shattered" and "utterly destroyed". Frankenstein later on says he is the "blasted tree" and that a "bolt entered his soul"

• He naturally embeds scientific language into his speech which suggests how influential and powerful nature is on his actions.
• (clash between Romanticism and Enlightenment). However, Shelley may be more favourable towards the Romantic movement for she was a Romantic writer and she may expect the audience to draw on their knowledge of 'The Modern Prometheus'. One might suggest 'The Modern Prometheus' is Victor Frankenstein as takes the alternative title. 
• Frankenstein tries to achieve the power of the bolt by altering nature but ultimately fails. A modern audience may feel an ominous effect towards manipulating nature due to the ethical issues surrounding scientific methods such as the use of stem cells. However, a contemporary audience may feel manipulating with nature due to religious beliefs as Victor may be challenging beliefs in the sanctity of life. Additionally, one might suggest that Victor is playing with God's creation. Moreover, an Elizabethan audience and modern audience may recall how Victor, like Prometheus fails in his attempt to achieve and share the power of the divine.
•  Thus, the lexical field of violence suggests how nature crushed Victor's ambitions like how it did so to the tree and Victor can not master the power of the divine. Through Prometheus, the audience may feel a sense of tension and everlasting pain for Victor's future, as Prometheus was eternally crushed by Zeus. Shelley may have relied on the readership to draw their prior knowledge of Greek mythology to know that Victor may suffer a very dire punishment askin to the Titan if he attempts to overpower nature, for nature is too powerful.

STRUCTURE

Mary Shelley presents nature as powerful through the use of mirroring events.

• Every time a subplot has occurred, nature arguably brings the two protagonists: Victor Frankenstein and the monster back onto an emotionally stable state as shown through Victor who goes through the "verdant fields" thus feeling "ecstasy"
• A modern audience thoughts of ecstasy and drug.
• An Elizabeth audience
• Echoing ideas of Romanticism in 'Emile or On Education': "nature made me happy". She may be showing the plausible aspects of Romanticism against the conflicting movements: Neoclassicism and the Enlightenment. 
• The mirroring events shows how nature is important for the monster's and Victor's sanity and even determines their fate. Nature acts before subplots reach their climax as the "dreary night of November" makes him feel "anxiety", he then creates the "daemon" which changes the direction of the novel.
• An audience may feel an ominous effect from nature as Victor has officially created life. 
• Romantics often felt awe from nature which provided them with serenity which is akin to the monster ("I was cold" and then "no distinct ideas occupied my mind") and Victor.
• Nature is therefore able to manipulate the characters and brings the audience at a sense of ease as nature creates a peaceful impression. 

FORM

Mary Shelley presents nature as influential through the use of the epistolary novel.
- Moves the plot forward.
- Letters move to different locations through nature.
Shelley may be echoing ideas from Romanticism as Jean-Jacques Rousseau's 'Emile, or On Education' states that we ought to let "nature work" so it moves the plot forward.
-The letters inform the audience so they are emotionally engaged too. For instance, in Walton's letter to Mrs Saville, he creates an enthusiastic atmosphere for both himself and the audience as he describes the "icy climes". The letter coming from the "region of beauty and delight" may make the readers feel as though they are apart of those atmosphere which conveys nature as moving. Moreover, the reader may feel as though they are receiving the letters. Therefore, they may feel as though they are in the positive atmospheres of the "icy climes" that Victor finds himself in which suggests nature is influential to both the readership and audience. The influence of nature may evoke a sense of awe which is commonly felt by Romantics.
-

To be critical, you may argue:

STRUCTURE

As opposed to nature being seen as rather influential and powerful, nature is presented as conflicting through the use of juxtaposition.
- On one hand, Shelley exemplifies nature at its finest ("sublime", " wonderful" and "singular beauty"). On the other hand, the author presents a "thunderstorm" near Victor's house in Belrive. Thunderstorms provide electricity which can reverberate ideas of Galvanism from Luigi Galvani who caused a deceased frog to twitch as thought it was alive. The use of electricity here defies the divine as people, it seemed, successfully recreated life. An Elizabethan audience would have been rather distraught as they would have feared God. The finding of Galvanism created a great deal of controversy as many deemed that one should not 'play' with God's creation due to the sanctity of life. However, a modern audience may infer that nature was level with human's power and God's due to the creation of life from stem cells and by three parents for instance (to eliminate hereditary diseases from offspring). Thus, the contradiction between the "sublime" nature and "thunderstorm" nature suggests nature is conflicting. Shelley may have wanted the clash to be symbolic of contemporary clash between the Enlightenment era and Romantic era she lived in, Enlightenment ideas sought reason for everything whereas romantics prefer the importance of imagination and prefer nature over science. Shelley's intentions may have been to question the audience for answers as to which movement is more plausible. Therefore, the readership are not influenced by the weather, but instead shift in belief on their own accord because of the conflicting fashion of nature.


Similar event:

• Nature is powerful 
• Victor's relationship with nature is conflicting as he seeks comfort in nature, as he escapes to the "verdant fields" which filled him with "ecstasy" but he constantly tries to defy it.

------ 

 Frankenstein later on says he is the "blasted tree" and that a "bolt entered his soul" once he creates the monster.

• He naturally embeds scientific language into his speech which suggests how influential and powerful nature is (the storm).
• Clash between Romanticism and Enlightenment due the "storm" into "soul". "Soul" connotes to electricity and galvanism.
• However, audience may recall Frankenstein also being called 'The Modern Prometheus' which suggests the power of nature. Frankenstein tries to achieve the power of the bolt by altering nature but ultimately fails. 
• He like Prometheus fails in his attempt to achieve and share the power of the divine. Thus, the antithesis suggests how nature crushed Victor's ambitions like how it did to the tree. Moreover, the antithesis between "bolt" and "soul" suggests Victor can not master the power of the divine as it is too great to control and therefore powerful.

How does Mary Shelley present relationships in Frankenstein?

FORM
In 'Frankenstein', Mary Shelley presents relationships as dependent on each other through the use of the V form.
- Walton's narrative is on the surface and Victor's one goes beneath thus the monster's narrative goes on deeper in to a darkness.

• However, the linear nature of the narrative allows the audience to acknowledge how Walton, Frankenstein and the monster influence each other. The monster is only given a single opportunity to reveal his tales  (he spends much of his time talking about the De Lacey family as he says "they made me what I am") but still has an impact on the rest of the narratives. 
• From the monster's smaller narrative in comparison to Victor and Walton who narrative the novel twice, one might suggest that the monster is being treated with contempt by the other characters, However, Victor's narrative  depends on the monster's and the monster provides the foundations of the novel. 
• Shelley may be alluding to the French Revolution as signs of people power began to seep through the political, economic and social systems of France and overpower them in its entirety. By Shelley associating the French revolution in 'Frankenstein', the monster who is treated with contempt, overpowers the novel as he changes the direction of the novel as shown through the V shape and offers another side of the argument. 
• Hence, the audience may be forced to reconsider their views on the monster and see how the monster connects Victor to Walton as Victor is provided with a story to share with Walton.
•  Victor's story which is created by the monster causes Walton to admire Victor even more which amplifies how their narratives have a domino effect on their relationships. 
• As synonymous to the French Revolution, the impact of actions by Napoleon for instance shows that regardless of inherited power, each persons actions affects someone else and those who seemed most powerless in French society (the peasants) caused a change in direction as to how France was governed overall which suggests that everyone depends on each other.

LANGUAGE 

In 'Frankenstein', Mary Shelley presents relationships as materialistic through the use of the lexical field of physical elements.

• In Walton's letter to Mrs Saville, his sister, he informs her of how he "desires the company of a man ... whose eyes would reply to" his. Moreover, Victor reflects on his past and says how his future was in his "hands". Additionally, the noun "eyes" may appeal to the reader as it may evoke a sense of intimacy between the characters and perhaps reflects Walton's desire to be physically close to someone as opposed to emotionally close. Moreover, one might suggest that the fact that '"eyes" can see suggests relationships are more appealing to him visually which echoes ideas opposite to Romanticism (a strong belief of Shelley's). The author felt more pleased by supernatural elements and therefore may have preferred an emotional experience. She may be creating an ominous effect as her father provided her with physical aid through work and education but he was emotionally distant from her. Thus, Shelley may be intent on making the audience experience the consequences of growing emotionally distant to loved ones and being more focused on objects and materials like Victor and Walton. Victor and Walton spend their time focusing on their ambition which for Victor, is to create life and for Walton it is too see life, both encapsulating physical elements. However, Shelley foreshadows the danger as Victor experiences the grief from his mother, and may be subconsciously and dangerously trying to heal himself using reason and science. Reason was a key belief in the Enlightenment era which opposed Shelley's belief in Romanticism so the lexical field of humans reminds the audience of the difference between Victor, Walton and the monster. The monster appeals to emotions as felt "impressed deeply" by the De Lacey family. "Deeply" suggested the monster was pleased beneath the surface which suggests he felt good on the inside  of his body thus emotionally. So the contrast and lexical field amplifies how materialistic Victor and Walton's relationships are.

STRUCTURE

In 'Frankenstein', Mary Shelley presents relationships as destructive and discombobulated through the use of juxtaposition and intertextuality.

• Victor and Elizabeth's relationship and the Monster and Satan's relationship differ. 
• Victor speaks of Elizabeth as having saintly features such as her hair being the "brightest living gold" and her "soft looks of compassion" which is synonymous to the benign natures of angels. 
• "Brightest" connotes ideas of light thus heaven. An Elizabethan audience would have been deeply knowledgeable on religion and a modern audience would be familiar with heaven's association with light and angels. 
• These heavenly ideas contrast with the monster's verbatim of Satan in Paradise Lost ("evil thenceforth became my good"). The juxtaposition between the angelic nature of Victor's relationship and the diabolical nature of the Monster's relationship with Satan may induce sympathy from the reader as John Milton's 'Paradise Lost' causes many members of the Elizabethan readership to feel sympathy for Satan. 
• The audience may feel rather confused as Satan is often seen as a negative and dangerous person like the monster. Shelley may be challenging the audience to think in an open minded fashion as opposed to clinging onto traditional views that Satan was awfully bad. 
• Shelley often defied traditional beliefs as women were often seen as inferior to men. She was an advocate egalitarianism between men and women  in particular, having suffered from the patriarchy society she lived in (in 1818, 'Frankenstein' was published anonymously).
•  Additionally, the monster and Satan seem to be so akin that the monster may be perceived as destructive as Lucifer was in the epic poem by Milton. The contrast seems clear but the audience may have to reconsider their beliefs on the seemingly opposing relationships,

How does Mary Shelley present Robert Walton in 'Frankenstein'?

FORM

Mary Shelley presents Robert Walton is destructive through the use of the concentric ring narrative. Walton's narrative encapsulates Victor's and thus the monster's. This suggests that the relationships are inescapable and interactive between all of them. However, Walton is holding together all parts of the story which suggests his great responsibility and perhaps wayward nature. The concentric rings means there may have been a different direction of the novel which creates an ominous effect and perhaps a collapse in the story. The layered narrative is an element of the Gothic genre which means the story is more credible and darker. Typically, in a Gothic novel, there would be a hero which may be Robert Walton who bears the brunt of the story and may be a representation of what Frankenstein used to be before his terrible confrontation with the monster, appearing as a younger, 'innocent' doppelganger of the  hero. However, the concentric rings could suggest a sense of self-destruction as his actions come back around. This is synonymous to the Ancient Mariner of 'The Rime of the Ancient Mariner' where he shoots an Albatross (unnecessary cruelty) which curses the ship. Robert Walton puts his crew in "grave danger" as they are surrounded by ice which may suggests he is experiencing the consequences of his actions. The audience may feel as though they have a lack of control as Walton paves the way to his own collapse which is foreshadowing through 'a Rime in the Ancient Mariner' and the concentric rings thus exemplifying his pending collapse.

STRUCTURE

Moreover, Shelley presents Robert Walton as a doppelganger of Victor Frankenstein through focuses.

Both men focus on their ambition and risk ambition over lives. Victor creates a monster and makes a "misery" out of him whereas Walton goes on a voyage towards the North Pole and puts his crew in "grave danger". Thus one might suggest that Shelley is channelling her ideas on Romanticism as Romantics often believed that people should not distance themselves from nature and ought not to assume that there is reason for everything. Robert Walton becomes a representation of the Enlightenment era which opposed Romanticism. Doppelganger's suggest that one of the characters are a much more darker form of the other which may be Victor. Thus, Shelley may be trying to show the nuances of danger caused by being overly ambitious and creating a distance from nature which may influence an Enlightenment audience to shift away from their beliefs and to see the righteous nature of Romanticism. Moreover, Victor may be the more darker double as he completely isolates himself from nature in a "little hut" whereas Robert Walton focuses his narrative in a "ship" meaning he is exploring nature and is being supported by it (the sea). Although both end up dying, Victor Frankenstein leaves danger in the world (the monster still remains alive) which makes the audience leave will a sense of terror and contempt for engaging with reason and science.

LANGUAGE

Lexical field of nature

STRUCTURE

Mary Shelley presents Victor as emotionally volatile through the use of juxtaposition. The passionate and joyful way he opens the novel, for he tells the audience how he imagines the North Pole ("region of beauty and delight")  which is offset by his claim that "his spirits are often depressed". 

CONTEXT
EFFECT

EXPLAIN FURTHER.

How does Mary Shelley present De Lacey?

STRUCTURE
Mary Shelley presents the De Lacey as unprejudiced and benign through the use of characterisation.

• The Old Man says he is "blind" and will not be able to see the monster's "countenance". 
• The adjective "blind" suggests the Old Man can not see and is therefore unable to judge the monster by his "hideous" looks. Therefore, the Old Man may not be considered as judgemental by the audience like William Frankenstein who let out a "shrill scream" when he saw the monster. Shelley may be suggesting that the poor were not prejudice and may be attempting to remove the derogatory image the destitute often held. Mary Shelley was an advocate for equal rights between men and women and would have known how poorer men did not have the vote which would have stopped women from gaining political equality. Wollstonecraft's influence on Shelley's ideas of what a modern audience would call: feminism was grand as she adopted a great deal of her mother's views on equality between the two genders and thus may have channelled her views through the kind and gentle nature of the poor man. 
• Moreover, Felix De Lacey "kissed the hand of" Safie's who is described as a "Turk". The welcoming nature Felix evinces too, shows how he is unprejudiced and gentle which presents the De Lacey's as benevolent and unprejudiced despite being "deprived" from their "fortune". Thus the audience, like Shelley, would understand that the poor people of society were filled with kindness which opposes the contemporary view that the poor were poor as a result of their faults. 

FORM

Mary Shelley presents the De Lacey as powerful through the use of the Chinese-box form.

• De Lacey is spoken of by the monster who's narrative follows from Victor's which follows from Walton. 
• Thus, one might suggest the monster is at the heart of the novel and stabilises it. Moreover, one might suggest the Monster's narrative is synonymous to Pandora's box which Victor opens. The turmoil and horror unleashed could be the great truth of the monster's narrative. Thus, the audience may feel as though they need to reflect upon the bias of Victor's story and the monster offers an alternative side. 
• The monster mentions the De Lacey family which makes them apart of the backbone of the novel. 
• Shelley may have caused the monster to mention De Lacey and his family as  they were "deprived" from their "fortune" due to the long "trial" meaning they were poor. Their poorness may reflect the events of the French Revolution (1789 – 1799). Shelley may be addressing the 'people power' creating by ordinary working class families in France and their power to rid of the monarch. The De Lacey family influences the monster as they have "made me what I am". 

STRUCTURE

Shelley presents De Lacey as symbolic of hope through the use of juxtaposition. 

De Lacey is from "a good family in France" which opposes the monster's "solitary" state. 

• The juxtaposition may cause the audience to feel a sense of hope and sympathy for the monster as the contrast of having companions and being lonely is made clear and allows the audience to compare his situation to other humans and Victor Frankenstein amplifies his loneliness. Victor Frankenstein also came from a "distinguished" family. 
• The De Lacey family may be allusive of Shelley's support received from her friends: Lord Byron, Clair Clairmont and Percy Bysshe Shelley in Geneva. Her lack of parental support, for her mother died and father would not accept Percy Shelley as her love is synonymous to the lack of parental support the monster receives  from Victor Frankenstein. 
• Thus, from Shelley experience, she may want the audience to feel as she did: hopeful that the abandoned monster will find decent companions. Thus, the juxtaposition shows that there is a wide range of possibilities and solutions to the monster's peril as suggested through the De Lacey's background which gives the audience and characters a good outlook to the monster's life and perhaps a sense of empathy for him, as Shelley's fame would have lead to great controversial views as to why she went abroad with her friends.

LANGUAGE

In the extract...

How does Mary Shelley present Caroline Beaufort in 'Frankenstein'?

LANGUAGE

Mary Shelley presents Caroline Beaufort is presented as angelic through the lexical field of piety.

• She is described as a "guardian angel to the afflicted" and having a "benevolent mind". 
• Benevolent links to God
• Guardian angels taught Adam and Eve God's law in the Garden of Eden
• Lexical field creates a holistic comfort which is emitted by religion and can be felt by the audience.

STRUCTURE

Mary Shelley presents Caroline Beaufort as symbolic of Victor's waywardness through characterisation in the novel.

• Caroline is only present in volume I and then dies. 
• After he death, Victor's life seems to fall apart. 
• She is the only character who dies without the influence of the monster in any form which suggests her death might have led Victor to have found comfort in the sciences 
• Thus he ends up creating the monster through his newly found passion of the sciences. 

FORM

• V shaped narrative.
• The monster is the dark and dangerous narrative.
• Victor Frankenstein introduces Caroline Beaufort which then leads to the monster's story. Perhaps Caroline Beaufort has lead Victor Frankenstein to the monster.

All of the points above are associated with Mary Wollstonecraft's Shelley attitude to her mother who died whilst giving birth to her. Shelley grew up hearing of her great mother who wrote 'A Vindication of the Rights of Women' but she did not have her mother to teach her the values of being female or nurture her which may have left her feeling lonely and rather lost as synonymous to Victor. 

How does Mary Shelley present Alphonse Frankenstein in 'Frankenstein'?

In Volume I of the 1818 edition, Alphonose asks Victor if he could consider marrying Elizabeth for "domestic comfort" however, once Elizabeth dies in Volume III, so does Alphonose. His conservative ideas of arranged marriages seem to give him reason to live.

STRUCTURE
Shelley presents Alphonse Frankenstein as a distant father through the use of juxtaposition.

• This is evident as Frankenstein's  "parents resolved" that he "should become a student at the university of Ingolstadt". 
• Thus one might suggest that his parents want to have distance from their own son. 
• The great distance between the parents contrasts with Victor's initial suggestion that his father has an "active spirit of tenderness". Victor may feel satisfied and rather oblivious to his parent's sought separation from him. On the contrary, the audience may acknowledge the way in which Victor is treated and may feel sympathy for him as he may seem quite neglected. Shelley may be intent on inducing empathy from the audience as she grew with only her father: William Godwin and eloped to Switzerland once her father evinced his reluctance in his daughter's union with Percy Bysshe Shelley. 
• Thus, an Elizabethan audience may feel sympathy as not many Britons travelled in general so they would not have been very separated from their parents. 
• The audience may feel sorry for Shelley due to the abnormal and unknown events that can proceed from living far from home. 
• Moreover, a modern audience may also feel sympathy for both the Monster and Shelley as the audience may recall feeling 'homesick' when away from their hometown or relatives. 

FORM

Alphonose Frankenstein is presented as a conservative father through the use of the V form structure.

• Alphonose is not seen during the climax of the novel which suggests he does not provide the sufficient support for his son, Victor Frankenstein. Instead, he is only present to conform to traditional values.
• In Volume I of the 1818 edition, Alphonose asks Victor if he could consider marrying Elizabeth for "domestic comfort" however, once Elizabeth dies in Volume III, so does Alphonose. "Domestic" suggests... 
• His conservative ideas of arranged marriages seem to give him reason to live. He is not versatile and strictly acts like a traditional father. Once he realises, he has done all he could like attempting to arrange a marriage for Victor, Shelley makes him disappear from the novel. However, the audience may feel a sense of despair for Victor Frankenstein and may disagree with Alphonose's Frankenstein conservative values (ideas from the past). Thus, Shelley may be inducing sympathy from the audience as she did not have a mother to live with during the most critical times of her growth.

EXPLAIN FURTHER.

STRUCTURE

Alphonose Frankenstein is presented as an insufficient father through the use of foil characters.
The Monster does not kill him, but everyone else who is so dear to Victor. One might argue that Alphonose Frankenstein was merely Victor's creator and does not act as a sufficient father. Alphonose Frankenstein can be compared to the characters which have ended up dead like Elizabeth who was killed by the monster. However, Alphonose is the only character in the novel who dies without the monster's influence, after his creation and the comparison between foil characters such as himself and perhaps Henry Clerval could be used to present Alphonose's lack of significance in Victor's life although a modern and contemporary audience would dispute that father's are supposed to have a great role within the lives of their children. Shelley did not grow up with a female figure in the house, for her mother Mary Wollstonecraft died and her father provided intellectual growth as opposed to emotional help. Thus, both audiences may feel sympathy for Victor thus Shelley as their parents either did not exist or were emotionally distant from their children.

LANGUAGE: EXTRACT
Or you can talk about 1818: "Sad trash" but in the 1831 edition, Shelley removes the phrase.

Opposite argument is when you may perceive him as Victor's guardian angel:
Essay for Clerval which can be linked to Alphonose found here.

How does Mary Shelley present Henry Clerval in 'Frankenstein'?

LANGUAGE

Mary Shelley presents Henry Clerval as virtuous through the use of intertextuality. Elizabeth, Alphonose and Clerval draw characteristics from 'Paradise Lost' like the group of angels (Uriel, Raphael and Michael), for Clerval is described as a "noble spirit" and "perfectly human" which suggests he is a good moral compass and guidance system. One might suggest "perfect" conveys Clerval 'sinless'. Clerval tries to protect Victor as they are a "contrast" of each other and Henry Clerval being into "moral relations of things" which opposes Victor's scientific values. This is synonymous to when the angels in Paradise Lost attempt to protect the innocence of Adam and Eve. The use of intertextuality destabilises the story as it may create a despairing effect towards the audience as Adam and Eve still committed Sin thus creating freewill which suggests Victor's situation will only exacerbate. However, Shelley may have presented Clerval as perhaps angelic to signify the abnormal and unhealthy state Victor is in and to create a sense of sadness and even tension. The suspense is created as the monster becomes destructive like Satan in 'Paradise Lost' which destabilises the story further. Thus Henry Clerval's healthy fashion provides to the audience a contrast between Victor's morbid life of science and his great and healthy one of "morals". Shelley may be addressing ideas of Romanticism as more suitable for Romanticism rejected giving reason to everything like science does and living amongst nature. The use of intertextuality allows Shelley to foreshadow the dangers of taking the Enlightenment belief thus scientific route as Victor is a creator, just as God is in 'Paradise Lost' - they both suffer from their creations which Victor created as a result of science. Henry Clerval then provides a nuance of how Victor's life becomes dilapidated and emphasises his virtue as he lives in an ideal state (angels lived in heaven).

FORM

In 'Frankenstein' Mary Shelley uses a meta narrative to present the significance Clerval has towards other characters in the novel. Victor says "Clerval! Beloved friend" then "I will proceed with my tale". The use of the adjective "beloved" in the past participle suggests Victor is stuck in the past and is therefore lost in the present which suggests Clerval's power over Frankenstein in the novel. Shelley may be sharing the impact felt by her when Mary Wollstonecraft died, her mother. Shelley's mother died at birth and Shelley was left to hear about all the great aspects of her mother's life which may have influenced her own beliefs in equality between men and women (a modern audience may call the belief: feminism). Victor steps out from narrating to gush about Clerval which may act as a euology. Shelley greatly admired her mother. The breakthrough from the meta narrative shows the strength of his feelings for Clerval and the influence Clerval has on other characters which creates an ominous effect towards the audience as Clerval being a "contrast" to Victor and "perfectly human" suggests Victor not longer has someone to look up to and a support system. One might suggest Victor's state of mind and the "hell" he "bore[s] within" him will exacerbate and Shelley may be reflecting on how she felt rather lost when she grew up without a mother figure. 

STRUCTURE

Find in extract.

You can consider how Henry Clerval and Victor are together whilst they are journeying.

How does Mary Shelley present Victor Frankenstein in 'Frankenstein'?

FORM
Shelley presents Victor Frankenstein as a villain through the use of the Chinese-box form.

• The monster follows from Victor who follows from Robert in the narrative. However, one might suggest the Monster's narrative which is at the core of the novel which might convey his narrative as an embodiment of Pandora's box which is opened by Victor thus allowing horror and turmoil to spill out. 
• Therefore, the audience might see Victor as a bad person as he causes the audience to question his narrative, for the monster justifies his destructive behaviour. 
• Shelley may be presenting the monster as a hero although he is destructive in the novel, an Elizabethan audience may draw parallels between the monster and Satan from 'Paradise Lost' as they both are mistreated by their creators: God and Victor Frankenstein. A large audience began to feel sympathy for the monster and Satan despite their dangerous behaviour.
• The Chinese-box form allows the audience to blame Victor for the monster's genocide as Victor opens up the monster's narrative. A contemporary audience would also vilify Victor Frankenstein as the monster creates a neutral argument by offering his perspective on events. Through offering the blame onto Victor, Shelley may be presenting the consequences of a lack of parents, for she grew up with one parent (William Godwin). One might argue that the monster's loneliness and lack of nurture has led him to act as a feral child (a modern audience might say) which might galvanise sympathy and amplify a derogatory image towards Victor Frankenstein.

STRUCTURE 

Mary Shelley presents Victor Frankenstein as irrational and unfair through the use of the layered narrative.

• This is evident as Victor Frankenstein is given more leave way and opportunity to speak as opposed to the monster, who is filtered by Walton's story and Victor's story.
•  The monster is given less opportunity to speak which allows the Victor to ignore his rebuke although the audience may feel as though it is much more important to hear from him. 
• Victor's greater allowance of speech creates a sense of inequality and unfairness which may induce sympathy for the audience and transfixes them as synonymous to the effect of the 'Rime of the Ancient Mariner' layered narrative by Coleridge. One might suggest the layered narrative will remind the audience of the importance of the monster's story (next narrative) just as it is the same with the poem which opposes Victor's idea as he continues to call the monster insults like "daemon". 
• Moreover, Shelley may be addressing the inequality and the lack of freedom of the French Revolution as the French working-class were subject to a lack of freedom, like the monster. The monster is disadvantaged from birth like the working class people. Thus, the audience may feel a sense of sympathy for the monster and may in turn, vilify Victor as irrational and perhaps a supremacist which isolates the audience from feeling as though he is relatable and fair.

LANGUAGE 

Mary Shelley presents Victor Frankenstein as dangerously ambitious through the lexical field of spirituality. Victor Frankenstein is described as a "divine-wanderer" and "engaged, heart and soul" in trying to pursue ambition which suggests his entire form and life is focused on a single vocation as "heart" and "soul" may convey the two natures of human: physical and spiritual. Shelley would have rejected religion for she was a Romantic writer  thus one might suggest that she is conveying Victor as a symbol of the Enlightenment Era where reason could be provided to everything and causation was confidently found. Romanticism and Enlightenment were conflicting ideas during the Elizabethan era. Shelley may be critiquing the idea that reason can be provided as Victor's ambitions cause his death so there is no reason to be scientifically engaged. Belief in Galvanism and science were new and many people like Shelley may have been anxious and oblivious over the long-term effects and ethical arguments. Shelley's causes Victor to die in the end as a consequence of his vocations,. The lexical field allows Shelley to bring belief in religion (dualism) to allow the audience to reconsider Enlightenment beliefs as Victor presents the audience with an ethical issue in science which is: whether science is a threat to mankind. His ambitions are dangerous as Romantic writers such as Shelley preferred being in nature than engaged in the sciences and religion.

You can argue that Victor is rational through lexical field of nature.

How does Mary Shelley present women in 'Frankenstein'? [2]

Shelley presents women in Frankenstein as virtuous through the use of character names.
Justine -----> Justice
Safie --------> male name in Arabic meaning pure. She may be drawing on "Saphia" which is Greek for wisdom and can suggest how women were intelligent and logical thinkers.

How does Shelley present Safie in 'Frankenstein'?

FORM

Safie is only heard of through the monster's tale. The monster was discriminated against for his looks, there were contemporary views based on race which may be considered as prejudicial. The monster introduces characters that are prone to discrimination like the poor De Lacey's, non-white Safie and the ugly Monster, himself. The audience may feel the great sense of discrimination which may induce sympathy from them as the force is grand through different types of discrimination being addressed.

STRUCTURE

Safie's background mirrors Shelley's - they both incorporate radicalism as Shelley was brought up by her father, and Safie from her mother which was contrary to Islamic norms of the time. In Islam it said one must "aspire to higher powers of intellect" except "the female followers of Mahomet". Despite breaking Elizabethan conventions, Safie still remained to have an "angelic beauty and expression". Thus, the reader may questions the limits society imposes on her freedom and ponder whether he position is really different from the Christian women, like the author. Shelley may be disputing contemporary prejudices within the Elizabethan society she lived in, for women were often less educated than men as they were expected to be less academically able. Moreover, Shelley mirrors Safie's adaptability to her own as Safie flees from her "Arabian" background in Turkey. This event is synonymous to when Shelley flees England and elopes to Switzerland as her father did not conform to her marriage with Percy Bysshe Shelley. The use of mirroring brings a sense of equality towards the Christian and Muslims as the audience may realise that they are not very different.

LANGUAGE

Lexical field of physical features.

 One might argue that Safie is not much different to the Christian women as she upholds "beautiful" looks and "soft looks of compassion" which is synonymous to Safie's "expression". "Expression" suggests how her face looks and the "beauty" of it may suggest it shows ability to relate to other people and seem empathetic of others like Elizabeth. 

How does Mary Shelley present women in 'Frankenstein'?

FORM

In 'Frankenstein', Mary Shelley presents women as thoughtful to the main plot through the use of the epistolary form.

• In the novel, women are only heard of in the letters from Victor Frankenstein (Elizabeth begins with "my dearest friend"). Thus, one might suggest that they are unheard and passive in the main plot of the novel (the rise and decline of Victor Frankenstein and the creature) but they only assist in building the climax. 
• Not having women in the main plot presents the narrow story of the monster and Victor as women are not their to provide any solutions for the two. In fact, Victor throws the female monster in the sea which exemplifies how Shelley deliberately removes them from the main plot.
• The epistolary form shoes how women were distant in the sciences as opposed to the men, for the monster and Frankenstein were incredibly engaged with the sciences. One might suggest the distance women in the novel create provides nuances in Shelley's great belief of Romanticism - a belief that reason can not explain all within the world and an embrace of nature. Many romantics rejected 'artificial' life (like the monster). 
• Thus the women only being in the distance of science and in nature may convey to the audience how they are much more logical and intelligence. They are far away from involving themselves into the main plot unless forced (Justine was accused of murder).
•  Shelley may be challenging Elizabethan views on women as they were often seen as less intelligent and less rational thinkers. However, women in Frankenstein, women distance themselves from science as a Romantic would have, and remain happy people unlike Victor Frankenstein and the monster who eventually die.  To protect themselves of a chaotic life, the epistolary form shows the women's persistent distance in the novel as a letter would have to be sent to places far away from the sender. 

You can argue that they are passive and then re-argue the narrow nature of the novel. For same reason but less about Romanticism and logical. You can talk about her mother being a feminist and 'a Vindication of the Rights of Women',

LANGUAGE 

Shelley presents women as objects in 'Frankenstein' through the use of pronouns.

•  Victor Frankenstein says he looked "upon Elizabeth as mine" and a "possession of my own" which suggests he thinks Elizabeth belongs to him.
• The use of "my" and "mine" suggests women can be bought if they are objects thus one might argue that Victor is symbolic of conservative and heavily traditional ideas. Shelley's repeated use of the possessive pronouns may be indicative of her disagreement ashelley was greatly influenced by her mother's belief in equal rights between men and wen, for Mary Wollstonecraft, Mary Shelley's mother even wrote a book on her beliefs called 'A Vindication of the Rights of a Women'. 
• Hence, the use of pronouns allow the audience to consider Elizabeth Lavenza's role in the novel as merely an accessory of Victor's. 
• The novel later contrasts Elizabeth's portrayal as one who is respectful and empowering as she tells Justine to "rise" from her deep state of despair. Shelley may be challenging the initial prejudice the characters and the audience are made to feel of Elizabeth: merely property. 
• Thus, the audience may realise that with our without Victor, she is more than a piece of property and that she is humanely empowering and great which forms a positive impression on women. 

STRUCTURE 

Shelley presents women as neglected by men through the use of character presence. 

To induce sympathy for male readers.

FORM

Women are powerful.

- The epistolary form means Mrs Saville, Walton sister, is given no voice. 

• She is simply the intended recipient of Walton's letter. 
• She hears of all the implications rising in Frankenstein yet can not respond to even offer solutions so the men of the novel are left to fend for themselves which only results in death or the unknown (monster leaves the ship in the end and Victor dies). 
• The correspondence owing to Walton's being on a ship, can only be one-sided and as such is scarcely a correspondence at all. As Walton is Frankenstein's sole audience, Mrs Saville is Walton's which vastly amplifies women's power and role in the novel as pushing it forward. 
• Simultaneously, Mrs Saville's lack of voice may induce sympathy from the audience so that they can understand how voiceless women tended to be in Elizabethan society. Shelley shows how women are fundamental in maintaining society and she shows this by having women only involving in the subplots of the novel, as opposed to the main plot which ends in a rather chaotic fashion.

Mention Shelley's influence from her mother: Mary Wollstonecraft. 

Language

Shelley presents women as vulnerable through the use of a paradox.

•  Justine in court reflects the vulnerability of women in society;  she is an innocent women who is driven to "confess" but she "confessed a lie". One might suggest, women were overwhelmed by their stereotypical requirements, so much to the point that they were "threatened and menaced" that they began to think that they were "monster" people deemed she was. 
• To "confess" means to tell the truth which conveys how desolate and hopeless Justine may feel. Shelley ridicules the justice system of Geneva (European nation) as suspected criminals are 'guilty until proven innocent'. Moreover, Shelley addresses the political nature of Geneva and may be addressing the way in which women were treated legally (women could not vote for instance). Moreover, Shelley me be channelling Mary Wollstonecraft's belief in equality between men and women (a modern audience might say feminist views) as Mary Wollstonecraft was Shelley's mother and a great influence on her life. The the use of the paradox may cause the audience to feel rather confused as well but may see the element of injustice Justice feels which may induce sympathy from the audience.

How women were vulnerable through mirroring scenes: Justine is executed and Victor is trialled in court for something he did not do but is able to escape it. Showing his male dominance. An example of mirroring events is when the female monster is thrown "into the sea that very night" and how Harriet Shelley committed suicide in 1816 by drowning herself in the sea. Effect? Why? To show how women were often see as disposable like rubbish. This is a contrast to how traditionally in Christianity, people would be put into graves as a more respectful means. Audience feels at sudden loss as the grave will always be on ground and easy to locate whereas a body in sea is not likely to be found. 

How does Mary Shelley present Elizabeth Lavenza in 'Frankenstein'?

LANGUAGE

Shelley presents Elizabeth Lavenza as comforting to social expectations although as the novel progresses,

• Lavenza breaks out of her shell of stereotypes as shown through the use of a lexical field of piety and adjectives. 
• Frankenstein repeatedly applies 'heavenly' language as her "voice" is "gentle". 
• Her hair is the "brightest living gold". The description of her hair being "gold" suggests Elizabeth is valuable and perhaps money can define her worth as is done with gold. 
• Therefore, Victor suggests Elizabeth is a merely a piece of beautiful property. 
• A contemporary and modern audience might associate gold (perhaps in the form of jewellery) with heaven as Christians often believed that heaven was a place to receive all things one desired which meant luxuries like gold. Her voice being described as "gentle" is almost angelic and may remind the audience of the soft religious instrument: the harp. 
• Shelley's use of angelic and religious language suggests women were there to support their men and follow them like an angel. Moreover, Elizabethan women were commonly used as display pieces for their husband, for Victor only describes her appearance as opposed to innate qualities like personality.

FORM
Found in essay about women's role in Frankenstein.

STRUCTURE
Find in extract for Frankenstein.

------------------------------> It is what happens with minor characters although one might argue Lavenza is not a minor character.

Her belief in human goodness is shattered by Justine's unjust execution. She realises that "vice" is not "imaginary" but real suggesting her previous naive fashion.

She is called a "beautiful and adored companion".

How is Justine Presented in 'Frankenstein'?

Mary Shelley presents Justine Moritz as a symbol of lack of justice through the use of violent verbs. In Chapter 6 of the 1818 edition. Justine's voice is described to have "suffer[ed]" by sobs and she "threw herself" at Elizabeth's presence. Suffocating is usually caused by another human so he "sobs" personified into actions portrays how vulnerable he is at the mercy of her contemporary society. Shelley may be addressing the Elizabethan roles of women as distasteful despite the Elizabeth the I agreeing with inequality between men and women (she was against women's suffrage). Her mother being what a modern audience would define as a: feminist meant Shelley was often influenced by her mother's views of equality between men and women. The injustice and criminal she is accused of being amplifies the way in which she may be seen as a victim by the audience which is ironic. The violent verbs are symbolic of the pain and suffering she receives hence the audience may see Justine as a symbol of a lack justice, but it is broken and destroyed, like how she is (from her death sentence). Thus, Mary Shelley shows how women were broken by their society and that conforming to gender roles was unnaturally felt by women.

How is William Frankenstein presented in 'Frankenstein'?

He is: innocent

• Monster believes he will be 'unprejudiced' but instead William calls him a "hideous monster" and an "ugly wretch". William in chapter VIII of the 1818 edition which conveys how as soon as he becomes known to the audience he becomes killed. His innocence and the injustice he faces is therefore amplified.
• William's unfortunate experiences prove that prejudice against ugliness is not innate as the monster kills him regardless. The young boy fears the monster for his looks.
• His story forms the basis of the subplot involving Justine which allows Shelley to introduce political themes which are central to the relationship between Victor and the Monster. She may be addressing contemporary laws at the time based on racism as it would have been abolished in America by 1818. 
• The Monster is also presented as naive in believing that William will be 'unprejudiced'. Humans are prejudiced from an early age and this is the root of fear. 

He is beautiful

• "Sweet laughing blue eyes, dark eyelashes and curling hair. When he smiles, two little dimples appear on each cheek". 

How does Mary Shelley present the Monster in 'Frankenstein'?

PLAN YOUR ANSWER then write an introduction summing up all three points you are going to talk about. Another option is to leave a gap and write the introduction last.

FORM

In 'Frankenstein', Mary Shelley presents the monster as dangerous through her use of Chinese box (literary form). 

• The Monster begins his narrative following from Victor Frankenstein who follows from Robert Walton. 
• The monster is at the heart of the novel which suggests he stabilises the story and creates the core of it. 
• Both a modern and Elizabethan audience might associate the monster's presence in the middle of the novel as synonymous to Pandora's 'forbidden box'. 
• Frankenstein opens the box which allows horror and turmoil to spill out into the world. By using the Chinese box structure Shelley foreshadows to the audience that they may change their attitude once they hear from the monster because of the compelling nature the monster creates from being the character of negativity in the novel although his story may suggest the contrary. 
• Shelley may be using the monster's lack of opportunity to speak (being the smallest box in the core) to exemplify the little or no freedom of speech in places that were ruled by oppressive tyranical regimes such as Louis XVI's. From his awful dictatorship, the French Revolution began and defined the power of the working class.
• Thus Mary Shelley may be using the monster as one who is mistreated and neglected for something he has no control over: his looks as synonymous to how the working class were prejudiced against due to their lack of wealth in France during the 1700s. Therefore, Shelley uses the Chinese-box structure to convey the power of the working class, including the monster, for he is destitute. The monster's influence as character of the 'forbidden box' shows how powerful people power was in France thus Shelley shows how powerfully dangerous the monster and working class was to those of higher ranks like the royal family and Victor Frankenstein. The working class and the monster both convey their dangerous nature as they reveal the unappealing truths of their society.

STRUCTURE

-------------------------> On revision card.

LANGUAGE 

How does Shakespeare present dark consequences in 'Macbeth'?

Shakespeare presents dark consequences as inevitable in Macbeth through mirroring scenes.

•  For instance, the play commences after a barbaric battle against the Norwegians, although the Thane of Cawdor is said to have betrayed Scotland. 
• This parallels with how his predecessor, Macbeth, betrays Scotland (King Duncan) by committing regicide.
•  Moreover, another mirroring scene is when the witches tell Macbeth the prophecies and he acts upon them in Act 1, Scene 3 which is synonymous to when the witches offer Macbeth a set of apparitions which also determine his future and he acts accordingly to them (thinking that "no man" from a "women's
•  The mirroring scenes give a lack of control to the audience and suggests the witches, who begin the play, have sealed Macbeth's fate long in the past before anyone can notice to change it.The power of the witches are evinced through the mirroring scenes as they are later called "weird sisters" which is a derivative of the word "wyrd" thus meaning sisters of fate. Shakespeare makes the witches the one to hold accountable for the mirroring scenes which would appeal to a Jacobean audience. 
• Macbeth turns an eye towards the supernatural and disregards the warning signals. Shakespeare's intention may have been to appeal to some members of the audience who were interested in witchcraft like King James I, who even wrote a book on his finds ('Daemonologie').
•   The audience may feel rather helpless and nervous as to what the consequences are as the Thane of Cawdor's head is brought to Duncan which may cause the audience to feel as though Macbeth will experience the same punishment thus evoking a sense of inevitability.

Understand that the mirroring would have appealed to King James I as he was a direct descendent of Banquo, and we don't hear about what is mirrored after Banquo's prophecy but only see Macbeth's.

Shakespeare presents dark consequences in 'Macbeth' from guilt through the use of ...
Please find my essay on theme of guilt in 'Macbeth' here.

Dark consequences are presented through the use of soliloquy
-Fear of danger from the unknown
-Macbeth has several which suggests PTSD
-Unknown of witchcraft

Consequences are not dark as shown through happy ending
-Tradegy ending on a good foot
-Malcolm on Throne in Scone, traditional values being followed which means justice has been brought about as often what was believed to be occurring over long periods of time was correct, like religion.

How does Shakespeare present gender stereotypes in 'Macbeth'?

STRUCTURE
In 'Macbeth', Shakespeare presents gender roles as out of rational order through the use of character presence in the play.

• Lady Macbeth begins Act 1, Scene 5 and even tells Macbeth he is "too full" of "th'milk of human kindness".
•  Moreover, the witches begin the entire play which suggests they move the play forward. 
• A Jacobean audience may be stunned as contemporaneously, women were often believed to be rather illogical thinkers and inferior to men. However, the witches and Lady Macbeth seem to be equals to men, as both genders begin and end scenes
• A male ends the whole play which creates a balanced share of power. A modern audience may feel more at ease with women starting the play but may be rather impressed as the witches move the plot forward by offering the prophesies. 
• By allowing women to begin the play and scene, Shakespeare may be appealing to the contemporary interest of witchcraft. Women were often thought to be witches as opposed to men hence by making them seem more powerful by presenting them as equals to men, enhances the dark powers the witches can have thus causing fear into the audience. A Jacobean audience may have fancied the thrill as even King James I, a royal patron for Shakespeare's Theatre Company wrote a book on his finds regarding witchcraft ('Daemonologie').
• Thus, gender roles are presented out of rational order to cause a thrill to the audience and perhaps to challenge contemporary gender roles as Shakespeare knew he had a powerful audience like King James I. Although, rather than challenging the gender roles, he is using them to satisfy the audience by evoking a sense of horror and terror through the witches being conveyed as powerful; allowing their manipulative power to be unleashed.

LANGUAGE 

He uses a lexical field of gender in order to make the audience question the nature of the different sexes.

STRUCTURE

Shakespeare breaks gender stereotypes through the use of contrasts. For instance, when Macduff's wife and children are slaughtered, he says he will much rather "feel it as a man" which opposes traditionally views of masculinity of not being sensitive and emotionally over-stimulated.

• He breaks gender stereotypes as both women and men speak in iambic pentameter.

FORM 

Overall control of the novel.

However, Shakespeare conforms to gender stereotypes through the use of Tragedy which means 'Macbeth' is the protagonist. However, Lady Macbeth controls his actions and is a underlying force to his character downfall although he fights and hears the prophesies.

FACTS: 

In Macbeth, men derive their power from different sources.

Men generally gain their power from military or political means.

Men in the highest ranks of the military had greater chances of ascending rank.

However, the females gain power through marriage. However, Lady Macbeth uses Macbeth to gain power as she becomes Queen as Macbeth becomes King. Lady Macbeth is behind most of Macbeth's gain of rank. 

How does Shakespeare present power in 'Macbeth'?

STRUCTURE

In 'Macbeth', Shakespeare presents power is solely inherited through the ending and beginning of the play and character presence. For instance, the witches begin the play and Malcolm, the rightful heir after Duncan, ends the play in Scone. The witches' power is symbolic as they were often believed to be of a different kind of species to human beings, a power they were born with and humans can not have. A Jacobean audience would have felt separated from witches as the belief of their presence in their society led to many females (supposed witches) being burnt alive or drowned as they were often seen as inhumane and dangerous. The witches beginning Macbeth's story and downfall enhances their power as they allow the introduction of other characters. Malcolm ending the play as King of Scotland in Scone (where king's had their coronation traditionally) means he ends Macbeth's story. The play ending in Malcolm's presence suggests he controls what the audience sees and does not see thus portraying his great power especially as the rightful King. The witches starting and Malcolm ending suggests power can not be bought, killed for or stolen but it is only given to the special few who are destined for it thus appealing to the audience like King James I. King James I was a patron for Shakespeare's theatre company so he would have liked the idea of power being inherited as it seems it is only for a select few which enhances his appeared superiority and power in his society.

STRUCTURE

For opposing paragraph to be critical, you can refer to how Lady Macbeth is given power in Act 1, Scene 5 as a women. Shakespeare's ideas may be to present how women are naturally not the way in which society expects them to be like - you can link women's powerful nature to witches. Witches are often believed to be female.

STRUCTURE

Shakespeare presents power as temporary and misleading through the use of iambic pentameter. Both Lady Macbeth and Macbeth are seen as a powerful couple as Macbeth even calls her his "partner". However, Lady Macbeth's speech changes as the novel progresses, for in Act 5, she no longer speaks in iambic pentameter but in free verse. Shakespeare often uses this technique to define the noble characters in comparison to minor characters. Lady Macbeth therefore loses her power as she no longer seen as respected in the play which stops the audience from seeing her significance in the play. Lady Macbeth's fall in power from a steeply thriving amount of power (her husband becomes King as she then becomes Queen) shows how temporary power is. From being Queen, she ends up dying off stage. She initially speaks in iambic pentameter like when she chants that spirits to "take" her "milk for gall" which reflects the heartbeat so the audience would have been seen as

FORM

Shakespeare presents Duncan's grand power through the use of Freytag's Pyramid.

• Duncan dies before the climax, although his death impacts the rest of the story, including the denouement, for Macbeth ends in Act 5 Scene 9, during Malcolm's coronation in Scone which was as a result of battle with Macbeth over him killing Duncan.
•  The real Duncan who was slaughtered in 1040 was believed to be a weak leader. The audience would have not thought Duncan to be so noble and great. 
• His kindness is shown as he presents Lady Macbeth with a diamond (calling her 'honoured hostess' and says the castle is 'pleasant'. King James would have been pleased to see how Shakespeare presents Duncan as great in the play, which would of reflected on James, as they were both Kings. Shakespeare would have wanted to please King James I, who would have been in an audience of 'Macbeth' as he was a patron for Shakespeare's Theatre Company and therefore would have wanted to show the positive and powerful impact a King can make. Duncan's presence throughout the play allows the audience and characters to distinguish that regicide is dangerous and a great taboo. Shakespeare manipulating his audience may make the King feel safer as ideas of regicide being wrong only stops people from committing it thus making the King feel safer.
•  The use of the pyramid's show how great and power Duncan was as contrary to contemporary belief. 
• The use of the pyramid shows how Duncan remains significant throughout the play, and has power even after death, to affect the lives of many people: Macbeth, Lady Macbeth, Fleance and Malcolm so the audience are given a positive view upon King's who inherit the throne by fair means.

LANGUAGE

You can also talk about how power is presented as only belonging to those of masculinity through the lexical field of gender. "Milk for gall", "pluck" off "breasts", "dash" the "brains" of the baby. 

Malcolm tells Macduff to "dispute" the death of Macduff's wife and children "like a man". 

Screenshot from Mr Bruff's Student Exemplar. The inherited argument for power can also be argued in the following way:

Appearance Vs. Reality in Macbeth

Shakespeare presents reality as deceptive through the use of similes.

• In Act I, Scene 5, Lady Macbeth tells Macbeth to "look like the innocent flower/But be the serpent undert't" thus suggesting that he should not act upon truth but illusion. 
• One might suggest the noun "flower" portrays ideas of softness, purity and personal growth which contrasts to Macbeth's thriving evil, for he has intentions on committing regicide.  
• The simile does not assert exactly of what Macbeth will be like which creates an effect of uncertainty.
• Moreover, the "serpent" may refer to temptation as it may be a religious symbol for the story in Genesis, Adam and Eve are tempted by the serpent, like how Macbeth was tempted by the witches. Thus, Shakespeare creatures a daunting effect towards the witches and may suggest that they may be diabolical and dangerous which would have created fear for both a contemporary and modern audience, for both a Jacobean audience and modern one would have quite a grand awareness of the story in Genesis. 
• Moreover, King James I's escape from being blown up in the Gunpowder Plot of 1605 was commemorated by a medal embellished with a snake concealed by flower. King James I was a patron for Shakespeare's Theatre Company so his intent would have been to please the monarch and add a sense of secrecy in the play thus one might suggest the appearance of reality therefore seems very vague in the play in order to please King James, a patron for Shakespeare's Theatre Company. King James had a great interest in witches, having had written a book ('Daemonologie') on his finds. 
• Moreover, in Act 1, Scene 7, Macbeth says "pity, like a newborn naked babe". The use of "newborn" suggests how Macbeth's is aware of his innocence (ideas associated with the bible and being pure from sin) before committing regicide and insinuates how reality and appearance differ and is therefore deceitful. The use of the simile allows the audience to feel ambivalent over Macbeth's direction of thought as Shakespeare relies on the audience to draw on their own interpretation by the meaningfulness of a simile and this range of interpretation may reflect on Macbeth's possibility to of thought, which presents his thoughtful manner.

Shakespeare presents reality is dangerous through the motif of death.

• In Act II, Scene II, Lady Macbeth says "it was the owl that shrieked".  
• The use of "shrieked" could exemplify that Lady Macbeth's husband and she is excited and nervous about the regicide they are about to commit to. 
• Moreover, in Act 1 Scene 5, Lady Macbeth chants for the "thick night" and to take her "milk for gall".
•  One might suggest the imagery of "night" conveys death as the lack of colour in the darkness of night, brings death.
•  "Night" is also symbolic of when humans sleep which is when they are mostly inactive thus reflecting on how humans seem when they are dead: completely inactive. 
• The motif of death insinuates to the audience the it is a central theme to the play which creates an ominous effect as who is going to die is inestimable but death happening is estimable which creates a feeling of unease for the audience. 
• The "owl" is also a bird of prey which can be a euphemism of Duncan have been murdered, as it was the Macbeth's 'prey'. The recurring themes of death could build a sense of insecurity for the audience which worsens as the King commits regicide, as a Jacobean audience would have often perceived the King as God's representative.
•  The motif of death, therefore, reminds the audience that Shakespeare is breaking ideas about the sanctity of life, and he is breaking the rules of Christianity which would have shocked the audience and created a sense of thrill. 
• Committing regicide would have been seen as a completely immoral and illicit act which suggests Shakespeare wanted the audience to see the dangers of the reality of the play (Macbeth's urgency to commit regicide), through the motif building up a sense of fear in the audience.

You could also make the same point but how Shakespeare uses a lexical field of birds.

• In addition, the Old Man reckons other unnatural events have been immanent, like a "falcon" being "killed" by an "owl".

BBC Bitesize says: "The Old Man answers that other unnatural things have been happening, too: "On Tuesday last, / A falcon, towering in her pride of place, / Was by a mousing owl hawk'd at and kill'd" (2.4.11-13). The falcon's "pride of place" is the highest point of its flight. And the owl, which usually catches mice on the ground, went up instead of down, and killed a falcon. Also, a falcon is a day creature, and a royal companion, while the owl is an untamable bird of night and death. If things in nature stands for things in human life, King Duncan was the falcon, and Macbeth the owl. "

How does Shakespeare present themes of ambition in 'Macbeth'?

Shakespeare presents ambition as perpetual through the lexical field/motif of rank. Initially, Macbeth seeks to become "Thane of Cawdor" then "King  of Scotland". He is stimulated to vouch for high ranks from Malcolm being appointed as Prince of Cumberland. The different mentions of rank suggests ambition is never-ending. The motif reminds the audience that Macbeth's obsessive nature to improve his titles. Moreover, the audience may recall it was common belief that kings were selected by God as his representative. Hence, a Jacobean audience may feel that Shakespeare is presented ambition as never ending to show how delusional Macbeth has become and his pending Tragic Fall.

Ambition is presented as dangerous through biblical ties. "Be the innocent flower,/But the serpent under't" which refers to the serpent in the story of Adam and Eve, tempting the two humans thus mirroring the way Macbeth is tempted. Akin to Adam and Eve, Macbeth taking action (Adam and Eve eating the forbidden fruit), unleashes a great deal of negativity, it unleashes Macbeth's character downfall, like in the story of Adam and Eve. The audience would have known about Genesis in the Bible which would have amplified the illicit nature of Macbeth committing regicide and the threat it has; eternal punishment and doom. Shakespeare referring to a universal subject allows the audience to feel 'Macbeth' affecting all parts of their lives as it extracts ideas from their religion which would have been majorly popular which increases the tension felt by the audience.

A good essay example from https://www.youtube.com/watch?v=J7DYol0YHhw