The Nature of Mephistopheles

How should he be played on stage? What do we learn about his relationship with Faustus?

As an otherworldly being, I would expect Mephistopheles to have a detached air about him, the way he speaks is often short and snappy "Arch-regent and commander of all spirits.” like a soldier responding to his captain, this is rightly so as M is a servant of Lucifer.

Though M is Faustus' servant and companion throughout the play, we must remember the true reason he is there - to secure Faustus' soul. The first line spoken to M by Faustus is "I charge thee to return and change thy shape." Faustus chooses to be ignorant of whom and what M really is: a devil. Therefore M in my opinion is always running a double act: to happily fulfil Faustus' desires and be his friend "Nay I know not, we shall be cursed with bell, book, and candle (joking with Faustus)." whilst bringing a firm hand when he falters from the pact "Revolt, or I'll in piecemeal tear thy flesh." "Think thou on hell, Faustus, for thou art damned."

Simultaneously though M for the most part speaks with a subordinate tone to Faustus after the pact is signed and done. Before that, in Act 1 Scene 3 M is less respectful to Faustus taking on a more teacher role to Faustus in lines 78-84 when answering questions on Hell. This surfaces the idea that M is manipulative, acting according to whether he sees the potential to gain a soul for Lucifer.

M does not seem to care much for hold his relationship with Faustus if we carry on the idea he is only working for his soul. As we can see in Act 3 Scene 2, he appears to Robin and Rafe in hopes of securing more souls, we can see that this is a regular routine for M and Faustus is just another soul on the list "(Aside) O, what will not I do to obtain his soul?" - Act 2 Scene 1; M is just a desperate devil out for a desperate soul.

M is not without a sense of humour and takes his own delight in playing tricks on Faustus bringing Faustus a devil when he asks for a wife "Tell, Faustus, how dost thou like thy wife?" and if we interpret M to be playing dumb with the Horse-Courser "Come, villain, to the constable." Faustus' leg falling off may have been M's prank.

M's relationship with Faustus sometimes takes on a parental bond. Act 2 Scene 3 like a parent tired of a child's pestering questions, M ceases to answer Faustus' questions when they reach the subject of who created the world. Act 3 Scene 1 M refers to Faustus with the endearment 'my' in the line "And now, my Faustus, that thou mayst perceive", as if he has brought a child to a play area (Rome). Act 4 Scene 1 M watches over Faustus as he sleeps and would rather he not be disturbed "I tell thee he has not slept this eight nights." M sympathises with Faustus' tiredness.

Nonetheless whatever kindness, friendship and amusement M provides all fall back on his desire for Faustus' soul in Act 5 Scene 1. This is shown by M's anger at Faustus' near-repentance and desperation to rewrite the deed "Do it then quickly, with unfeignéd heart," M's threats "Lest greater danger do attend thy drift." and M's re-assumed 'kind' persona "thou shalt desire Shall be performed in the twinkling of an eye.".

Faustus on the other hand seems oblivious to M's manipulation, or perhaps too desperate for a companion to convince himself M is only out for his soul. Faustus' final line "Ah Mephistopheles!" may be spoken in sad relief that his fate is to be with his one and only friend or anger at the damnation M has brought on him, either of these, it demonstrates the huge role M has had in Faustus' life.

Dr Faustus Reading Journal ^ Act Five

Act 4, Scene 1:

• Summary: Chorus tells of Faustus return to Germany; having travelled the world and gained much knowledge, he is famous and will dine with the Emperor to put on a show with his magic. For the Emperor, Faustus conjures apparitions of Alexander the Great and his paramour whilst punishing a Knight for undermining his power. Faustus sells a horse-courier a fake horse and the man returns for compensation but instead momentarily pulls off Faustus leg.
• Faustus powers are put to much pettier uses than he intended, as time has gone on, he has exhausted his passion for astrology and instead of making grand feats such as 'chasing the Prince of Parma from our lands', he uses magic to entertain a king instead. A mere entertainer than a pioneer in discovery and ruler of lands.
• "that not only gives thee horns but makes thee wear them." - Faustus lowly entertainment is matched with his crude wit and serves to further liken him to commoners like Robin and Rafe.
• "hereafter speak well of scholars." - Faustus punishment of the Knight shows he has not changed completely, he is still arrogant. May also show Faustus taking on Pride from the Seven Deadly Sins.
• "Short'ning my days and thread of vital life," - Alludes to Faustus life in the hands Three Fates similar to Macbeth's life being manipulated by the Three Witches.
• "if thous lik'st him for fifty, take him." - Faustus seems more and more petty as he initially refuses to sell his horse for just ten dollars more than offered, even though money is of no significance to Faustus who wields anything he desires.
• "Confound these passions with a quiet sleep." - Like Victor during his hunt for the Creation, Faustus looks to sleep to numb his mind
• Though Faustus having his leg pulled off is quite comical, it may foreshadow his fate when he is to-be ripped apart.
• "Christ did call the thief upon the cross," - Just like the thief crucified alongside Christ who was offered paradise at his last minute repentance, Faustus believes and hopes himself that he may repent and be saved at the last hour.

Act 4, Scene 2:

• Summary: Faustus meets with the Duke of Vanholt and offers to help his pregnant wife by getting her grapes. The Duchess is both impressed and grateful and the Duke offers a reward.
• Faustus as a womaniser? Faustus as a genuinely kind man? Faustus as a show-off? Faustus as a lonely old man trying to do some good?
• Faustus' visits become less and less impressive as his twenty four years runs down: from the Pope to the Emperor to a nobleman, Faustus' feats of magic become more and more pathetic with each host.
• Interesting juxtaposition between the old and dying Faustus and the pregnant woman symbolising new life.

Act 5, Scene 1:

• Summary: Wagner announces that Faustus must be intending to die soon as Faustus has willed all his possessions to him and now dines a merry feast with his scholars. After the feast, an Old Man speaks to persuade Faustus to repent but after Mephistopheles' threats, Faustus instead asks for the Old Man's torment and to be with Helen of Troy.
• Parallels between Faustus' feast and Christ's Last Supper; a blasphemous parody with the entertainment by a beautiful woman and Christ's miracles matched with Faustus' magic.
• May be seen that Mephistopheles is only out for Faustus' soul as he hands him a dagger for him to commit suicide and reiterates to Faustus the pact he has made with Lucifer.
• The confirmation of Faustus' lost soul is shown by the use of 'sweet friend' first towards the Old Man (line 58) but then towards Mephistopheles (line 76). By calling M 'friend', he is aligning himself to the order of the devils; 'our hell'.
• "Sweet Helen, make me immortal with a kiss." - Faustus looks to human desires to save him from Hell but he does this with a devil "Her lips such forth my soul". In the mortal sense, it may very well be that "heaven be in these lips," but it is in fact ironic that through kissing this fake-Helen, Faustus is further damning himself.
• Lines 98-110: Faustus' speech here is reminiscent of the earlier Faustus who spoke eloquently and grandly, towards his final moments, Faustus drops the crude persona he gained.
• "For hence I fly unto my God." - Unlike Faustus, the Old Man's faith in God is strong enough to protect and save him from Hell's torments, the use of the word 'fly' stresses that Faustus is held down by Lucifer.
• Accurséd Faustus, miserable man," - Like Victor in his last moments, Faustus is claimed to be miserable and wretched.

Act 5, Scene 2:

• Summary: The ultimate scene, Faustus tells his scholars of his pact with Lucifer, they agree to pray for him as the hour comes whilst Faustus realises damnation is inevitable and curses Lucifer for having deprived him of the joys of heaven, Faustus is dragged to hell.
• "but the devil threatened to tear me in pieces if I named God" - The constant presence of fear, both Gothic and demonstrative that Faustus does not choose damnation.
• "Fair nature's eye, rise, rise again, and make" - the regular rhythm of Faustus speech echoes the inevitability of what is to come and the chiming of the clock which represents the motion and unstoppableness of time; making man weak and insignificant compared to the activities of supernatural otherworldly powers in play "You stars that reigned at my nativity,".
• Mountains and hills, come, come and fall on me," - Faustus like Victor looks to nature for comfort and security, but where Victor worshiped nature's beauty, Faustus looks to its power to free him for Heaven.
• "Why wert thou not a creature wanting soul?" - Faustus believes that creatures have no souls much the same way Victor struggles to see a soul and being within the Creation.
• "That have deprived thee of the joys of heaven." - Faustus is finally able to see what Mephistopheles meant about being deprived of heaven meaning he has completed his transformation into a spirit.
• "I'll burn my books. Ah Mephistopheles!" - That Faustus pleads for salvation by burning his books suggests that selling his soul really was in the name of knowledge. I interpret the way 'Ah Mephistopheles!" is spoken is with sad relief as M has been Faustus only friend for most of Faustus' life and he meets him with content that he will be in Hell with him.
• The twenty four years of Faustus' pact pass remarkably quickly, especially given that the audience is only shown three major events. Whilst we are told that Faustus has made many journeys, it is difficult to perceive the speed at which things have happened. This pace coupled with the shortness of the play helps the audience empathise what Faustus is experiencing, that a lifetime is short and slipping away and his fate draws ever closer.

Epilogue:

• Summary: Finalises the play as a Christian tragedy that man should not reach further than God allows.
• "To practise more than heavenly power permits." - Faustus is very much like Victor here in the sense they both went against nature and God to pursue knowledge and fell as a result.
• "Cut is the branch that might have grown full straight," - Like Macbeth and Victor, Faustus had so much potential to be great but failed through chasing greatness against the natural order.

Dr Faustus Reading Journal ^ Act Three

Prologue

• Use of the word 'not' in the beginning lines suggests the play is not about grand schemes like war and love, but of a scholar with humble backgrounds. This brings a sense that the story of Faustus can happen to anyone, especially the ordinary portion of Marlowe's audience.
• Learn of Faustus' wrongdoing; after becoming disenchanted with his scholarly interests, of which he excelled in, he begins studying black magic. Marlowe expresses a new issue of his time, man's faith in his own intellect over the rule of Christian foundations.
• Imagery and reference to the myth of Icarus, conveys Faustus' fall from over-pursuing his interests. Similar to Frankenstein's demise from pushing science, but where Victor goes against nature, Faustus goes against religion. Therefore, each novel expresses the author's concern over issues relative to their time; boundaries of science/enlightenment/romanticism/nature - religion/discovery/renaissance.

Act One, Scene 1

• Summary: Faustus considers his extensive knowledge in logic, physics, philosophy, theology and finds no satisfaction in them. He picks up and takes much interest in a book of magic. He sends his servant Wagner for experts in the field to help him. Visited by Good/Evil Angels over his pursuit of magic. Faustus ponders on the possibilities of wielding magic and is tempted by the ideas of Valdes and Cornelius; deciding to proceed.
• "A sound magician is a mighty god." - Faustus is attempting to play God through learning magic like Victor tried the same by extending science.
• "And make swift Rhine circle fair Wittenberg." - Gothic theme of foreign settings, much of Marlowe's audience had only just begun to be able to travel within the country, let alone another country. Faustus' manipulation of the land is similar to Victor's tampering with Nature.
• "This night I'll conjure, though I die therefore." - Last line of the scene foreshadows events, however it brings into question the extent of Faustus' understanding of what he is doing e.g. does he know the consequences?
• "And reign sole King of all our provinces;" - Desire for power much like Macbeth's
• Gothic theme of the supernatural reflected in Faustus' playing with black magic and Macbeth's communications with the Three Witches.

Act One, Scene 2

• Summary: Faustus' fellow scholars wonder about his recent absence, upon being told by Wagner that Faustus is mingling with Valdes and Cornelius, they concern over his safety.
• "God in heaven knows." - Wagner plays on the idea God is watching/judging Faustus' actions.
• "he corpus naturale? And is not that mobile? Then," - Wagner references Aristotle's Metaphysics, mimicking Faustus' vast knowledge, but the fact Wagner is a mere servant talking to two scholars perhaps suggests Marlowe used this for comical effect.
• "O, but I fear me nothing can reclaim him." - Recurring idea; 'can or cannot Faustus be saved?'
• Wagner's role in this scene is similar to the Porter's scene in which a subordinate of the protagonist plays 'the fool' who is in reality, clever and even dangerous.

Act One, Scene 3

• Summary: Faustus begins his incantations and summons a devil named Mephistopheles who goes on to explain he fell with and serves the fallen angel Lucifer. Even after Mephistopheles' warnings, Faustus is enthusiastic to doom his soul for twenty-four years of power.
• "Did not my conjuring speeches raise thee? Speak." - Faustus mistakes his own efforts for being able to summon a devil, instead Mephistopheles came for his soul, suggesting that Faustus in fact has no power compared to that of religion and the supernatural. Like Macbeth being tricked by the Witches and Victor destroyed by the Creation, Faustus is naive to think he can handle such otherworldly power.
• "For which God threw him from the face of heaven." - God is more powerful than Lucifer, Marlowe amplifies the power of Christianity, more so and again in the lines "And tasted the eternal joys of heaven,/In being deprived of everlasting bliss?”
• "Learn thou of Faustus manly fortitude" - Marlowe portrays Faustus as exuberant, overconfident and ignorant in that Faustus has the 'guts' to tell a devil that has experienced limitless misery. The use of the word 'manly' shows both the ignorance of mankind and the 'human-ness' that Faustus enjoys right now, of which he is about to throw away.
• Faustus shuns the reality of things; he is in denial of Mephistopheles' suffering, further symbolised by his request that Mephistopheles reappear as a Franciscan Friar. "Thou art too ugly to attend on me." - Faustus refuses to accept the reality and hideousness of Hell, simultaneously Marlowe uses irony, poking fun at the Christianity.
• "I'll live in speculation of this art" - The scene ends with Faustus still pondering on the idea of selling his soul and going to hell in return for power, reiterating how Faustus is constantly torn within himself.

Act One, Scene 4

• Summary: Wagner threatens Robin with torment by devils less he agrees to serve him for seven years, Wagner manages to summon two devils to follow up on his threats and Robin thus agrees to servitude. This scene mirrors and resembles the scene prior very much so, most likely mocking the foolishness of Faustus agreement.
• "How? My soul to the devil for a shoulder of mutton," - Robin's reply to giving his soul for some pork parodies and highlights the stupidity of Faustus' bargain.
• "bind yourself/presently unto me for seven years," - Wagner asks for seven years servitude like Faustus asks for twenty-four years; both random and fruitless quantities in the grand scheme of things.
• Simultaneously, the small-minded antics and desires of Wagner and Robin help show the grandeur of Faustus' ideas.

Act Two, Scene 1

• Summary: Faustus wavers between God and Lucifer vouched to by the Good and Evil Angels, deciding upon Lucifer Faustus signs the deed in his blood but not before it congeals and has to be liquefied again. Markings appear on the frightened Faustus arm, but Mephistopheles distracts him from it by conjuring devils to give him a taste of entertainment. Faustus finalises the oath and then questions Mephistopheles on the nature and possibility of Hell, undaunted, Faustus asks for a paramour and also receives necromantic books.
• Faustus' indecision towards selling his soul is similar to the indecision experienced by Macbeth over murdering Duncan, common Gothic theme of character anxieties.
• "My blood congeals, and I can write no more." - Suggests the unnaturalness of what Faustus is doing, that his body refuses to cooperate. May also symbolise a split between Faustus' mind and his physical body, after all he does gain the power to become a spirit.
• "I'll fetch thee fire to dissolve it straight." - Idea of burning Faustus' body foreshadows his damnation in Hell.
• "Why shouldst thou not? Is not thy soul thine own?" - Marlowe suggests a person's soul does not belong to them, does it belong to Christianity/God/Devil? Question's the reign of religion over the person's growing faith in their own knowledge.
• "Tell me, where is this place that men call hell?/Come, I think hell's a fable." - Faustus signs the deed condemning his soul before he even knows what it is; is Marlowe questioning its existence? Does this portray Faustus' naivety?
• "Hell hath no limits, nor is circumscribed/All places shall be hell that is not heaven" - Reinforms the reader of Mephistopheles' earlier sentiments that anywhere not Heaven is Hell and possibly that Earth itself is Hell.

Act Two, Scene 2

• Summary: Having stolen one of Faustus' magical books, Robin tells Rafe, another stable stableman, what he hopes he will be able to do. Largely a comic scene that mirrors a lowly representation of Faustus' acts and desires
• "Now will I make all the maidens in our parish dance at my pleasure stark naked before me" - Robin's acquisition of magic after Wagner who followed Faustus shows a decline in moral standards as magic is used by constantly lowering classes.
• "things rubbed and made clean; he keeps such a chafing with my mistress about it," - Extremely crude humour and innuendo may be used to represent language of lower orders and bring entertainment to audience.
• "I can make thee drunk with hippocras at any tavern in Europe" - Shows the pitiful interests of lower classes.
• "Nan Spit, our kitchen maid, then turn her and wind her to thy own use" - Robin's lustful desires reflect Faustus' indulgence sexual pleasures.

Act Two, Scene 3

• Summary: Faustus curses Mephistopheles of having deprived him of the possibilities of heaven and falters towards repenting, again with the input of the Good/Evil Angels. Faustus is unable to repent with Mephistopheles reminding him of his joys possible now but will not answer Faustus question on who made the world. Faustus calls for Christ and Lucifer appears instead, offering to appease him with a show by the Seven Deadly Sins which reaffirms Faustus' allegiance.
• "It was made for man; therefore is man more excellent." - Mephistopheles suggests that Heaven was made for man, not man for heaven, thus making mankind greater than heaven. Perhaps Marlowe is criticising man's reliance on a blissful afterlife when reality of bliss is in life instead.
• "Ay, but Faustus never shall repent." - The Evil Angel foreshadows Faustus fate and predicts, almost with certainty that Faustus will not repent despite all his doubts to come.
• "'Faustus thou art dammed!'...envenomed steel...Are laid before me" - Faustus is losing his mind as he hears voices and imagines weapons in front of them meant for his destruction; like Macbeth's imagining of the dagger before him.
• After all of Faustus knowledge, it invariably leads him to God, the one thing he has forever denied himself of. Mephistopheles' refusal to tell Faustus who created the world may have been Marlowe's way of saying his view that God did not make the world and that Christianity does not know neither.
• "Ah Christ, my Saviour," - Lucifer's entrance after Faustus calls for Christ may signal and confirm Faustus' damnation. Marlowe himself may have been attacking religion by choosing the Devil to appear in place of The Saviour and this furthers the complete absence of a God in the play.
• Faustus fails to see the show of the Seven Deadly Sins as a warning and instead thinks of it as good entertainment; he fails to recognise the severity of his crimes "O, this feeds my soul!"
• "O, I might see hell and return again, how happy were I then!" - Marlowe hints again that Faustus continuously doesn’t understand the concept and reality of hell, possibly contributing to his naivety and lack of care for his future.

Act Three, Scene 1

• Summary: Wagner gives an account of Faustus' travels and that his studies will take him to Rome to take part in St Peter's Day. Faustus discusses the sights he has witnessed with Mephistopheles and together they ruin the Pope's feast.
• "He now is gone to prove cosmography," - Having finished with astronomy and "heavenly" affairs, Faustus points his attention to more "earthly/human/less grand" matters in cosmography beginning in a depreciation of his ambition.
• By disrupting the feast and having Faustus box the Pope in the ear, Marlowe makes a laughing stock out of the Catholic Church in front of his Protestant audience.
• "What, are you crossing yourself? Well, use that trick no more," - The use of the word 'trick' here suggests that Marlowe is making out religious faith to be a lie.
• "We shall be cursed with bell, book, and candle." - Depending on the way Mephistopheles speaks this line and the way Faustus responds, this line may be mocking the Church by ridiculing how simple, insignificant objects like a 'bell', 'book' and 'candle' can curse Mephistopheles and Faustus. On the other hand, M and Faustus may be genuinely afraid of the power of God and the Church.
• The chanting of the Pope and Friars is very similar to the magical incantations of the Witches from Macbeth, with the parallel of good (Pope and friars) vs. evil (witches).

Act Three, Scene 2

• Summary: Robin and Rafe, having stole a cup from a tavern are pursued by the vinter, claiming they do not have it, Robin conjures up Mephistopheles who's presence scares the vinter away but also angrily turns Robin and Rafe into an ape and a dog; they treat the ordeal as a joke.
• This scene, involving the clownish antics of Robin and Rafe mimics the acts of Faustus and Mephistopheles with the Pope. This brings a resemblance between Faustus and the petty dumb-foolery of lower orders, showing Faustus' degradation from his mighty claims as the play progresses.
• Mephistopheles' anger at appearing before Robin and Rafe suggests a little that he does not come at command but at his own choice - "am I hither come/Only for pleasure of these damned slaves."

Frankenstein Reading Journal: ^ Volume Three Chapter VII (Chapter 24)

Chapter I:

• Creating another monster involves again travelling from Geneva - reiterates the pureness that Geneva represents to Victor, a pureness violated by the Creation several times.
• Once again like in Volume One, Chapter 6, Victor puts off his own consummation with Elizabeth for scientific work and the consummation between the Creation and the to-be female. Is he afraid of women? Instead he would rather go to a far away land with Clerval; another man.

Chapter II:

• Victor compares the attractions of England to Switzerland, but England offers many more man-made wonders e.g. it's historical cities; it is in Scotland Victor must go to carry out his act, a country of more natural wonders - perhaps this highlights Victor's constant contaminate nature with his atrocities.
• Victor's mental state deteriorates again from the solitude of his task “my spirits became unequal; I grew restless and nervous.".

Chapter III:

• Victor begins to have anxieties (gothic) and second thoughts over creating the female monster.
• References to nature - "Eye of the moon"; a Godly presence that Victor feels is judging his actions.
• Victor's unfocused mind is reflected by his thoughts wandering between his laboratory and South America, mimicked also by the transition of night and day.
• Power shift between Victor and the Creation "but I am your master; obey!”
• Foreshadowing of future climaxes "with you on your wedding night" and "gentlemen was found murdered here" - reader grasps ideas quicker than narrator.
• Gothic elements of focusing on light and dark (day and night).
• May sympathise with Creation because all he wants is a companion but Victor also because he has experienced the losses of creating the first one.
• The journey from Geneva to Scotland may represent the emotional journeys of both Victor and the Creation; Victor no longer wants to pursue science and the Creation has matured to want a mate.
• Destroying the female may represent Victor's fears of femininity or even his desire to have the Creation solely to himself.
• By throwing the remains of the female into the sea, Victor gives back to nature what he has taken.

Chapter IV:

• Arriving in Ireland, Gothic element of foreign settings.
• Imprisoned for the murder of Clerval, essentially Victor is being punished by humans for his act of making the Creation.
• Falling into convulsions both at the sight of Clerval dead and at the trial show Victor's worsening condition to be able to cope with the burden of the Creation and his deeds "The human frame could no longer support the agonizing suffering".
• Like after finishing the creation of the first monster, having finished his business with the second, Victor again falls into illness, except this time his last saviour, Clerval, is dead. In his place comes his father Alphonse; showing the value of family and perhaps foreshadowing the death of Alphonse. Like previous, death often comes to those who try or offer help to others.
• Victor's mind crumbles further as he supposes the coming of his father could be the monster "Oh! Take him away! I cannot see him;" - he forgets that the monster is hideous and has had no success in communicating with humans so could not have been granted access to Victor.

Chapter V:

• Victor slowly becomes more like the Creation in both his animosity towards humans and his fear that they would hate him for unleashing the Creation upon humanity "But I felt I had no right to share their intercourse...How they would, each and all, abhor me,".
• Upon seeing Elizabeth again, like he, she has lost some of her beauty, no longer are they both wonderful and perfect, as if they are the scorned Adam and Eve "She was thinner, and had lost much of that heavenly vivacity that had before charmed me;" Also, they are more alike what could have been the union between the Creation and the female, both weathered and unbeautiful. Still yet, Victor wants her as his wife, he has a choice where as the Creation did not in the destruction of his companion.
• Victor's dull description of Nature shows it now takes a less emotional and impactful stance, his life has been degraded and instead of nature offering an elevating consolation, it is just a setting for Victor's sorrows.

Chapter VI:

• Elizabeth is murdered, Alphonse dies of heartbreak, Victor resolves to tell the people but the court will not help his efforts to bring the Creation to justice.
• "pale yellow light of the moon illuminate the chamber." - like the yellow skin of the Creation, the light entering the room represents the Creation ravaging and staining the private place of the newlyweds.
• Victor claims the magistrate responds to his confession with "the whole tide of his incredulity returned" however the magistrate's words do not suggest this showing perhaps the idea that no one would believe Victor was all his own thinking and that he had been exaggerating his fears; narrator bias.
• The climax of the novel with the last of Victor’s family dead, Elizabeth in particular, Victor is stripped of the one thing that separated him from the Creation, his social companions, now he becomes the bloodthirsty and vengeful monster.

Chapter VII Victor:

•  Victor tells Walton of his pursuit which leads him to the North: visiting his family gravesite in Geneva, Victor sees the Creation beginning his chase all across Europe, leaving everything behind. Victor dies on the ship with his last words warning Walton "Seek happiness in tranquillity and avoid ambition," and asking him to succeed where he failed in killing the monster.
• Similar to Macbeth, 'Sleep' is of some value here, unlike Macbeth who "murdered" sleep; it is only in sleep that Victor may see/be with his loved ones. Awake, Victor is a demon hell-bent on revenge.
• Where before, nature held strong emotional attachment to Victor, it now just marks points in his journey to kill the Creation i.e. the Black Sea and Mediterranean.
• Victor's unsettled mind is reflected by his constantly changing location.
• Victor's transformation into becoming the monster is complete “I was cursed by some devil,” he is fuelled by his desire for vengeance like the Creation was fuelled by his desire to make Victor feel his pain.
• Victor did feel a duty towards his Creation "bound towards him, to assure...his happiness and well-being." but this was put aside for Victor's love for his own kind "My duties towards the beings of my own species".

Chapter VII Walton:

• Narrator reliability "then himself corrected and augmented...giving life and spirit to the conversations".
• Victor as Adam "He seems to feel his own worth and the greatness of his fall."
• Victor was the Creation's last scope into humanity and with his death, he feels sorrow of bringing such pain and losing his father "what does it avail that I now ask thee to pardon me?"
• Walton acts as the voice of the reader who sympathises most with Victor "You lament only because the victim of your malignity is withdrawn from your power."
•  The Creation is given the oppurtunity to truly announce his emotions "but I was the slave, not the master, of an impulse which I detested, yet could not disobey" - like Adam drawn to the temptation of the apple. Hearing multiple perspectives of the central characters leaves the reader questioning who was the actual monster "my agony was still superior to thine;".
• Paradise Lost: "the fallen angel becomes a malignant devil." even Satan had associates but he is alone.
• Reclaiming of the unnatural Creation by nature "my ashes will be swept into the sea by the winds."

Second Coursework Ideas: Critical Reading of Marxism

1. The Politics of Class: Marxism

Since last week, my attention has been drawn to George Orwell's novel '1984'.
I understand Orwell wrote this book in 1949 in the context of the Soviet Union rising from World War Two as one of the world's new superpowers. As a communist nation the USSR undoubtedly held Marxist values within it's ideology. I believe Orwell tries to foreshadow and mirror the negative consequences of such a constitution upon the individual. 1984 reflects the extreme imbalance of  power by the state comparing it to the realities of fears from the western world for what would become of the new Marxist USSR.
I don't quite know how I'm going to argue this and I have only just begun the book so I'm not entirely sure this will be my final choice.

Frankenstein Reading Journal: ^ Volume Two Chapter 9 (Chapter 17)

Chapter I:

• Victor begins to feel the repercussions of his actions as he sinks into depression, remorse and guilt, he seeks the cradle of nature to soothe him.
• Aligns itself with Romanticism in that it promotes the grandeur of everlasting nature "the supreme and magnificent Mont Blanc,...its tremendous dome overlooked the valley." - which remains forever beautiful against science's hideousness and failures.
• Transformation of Victor from a blissful being to a loathing wretch between times since he has been with nature "Six years had passed then...but nought had changed in those savage and enduring scenes." - nature outlasts all human forms.
• "sleep crept over me;...and blest the giver of oblivion." foreshadowing of the absolution that sleep (death) may give.

Chapter II:

• These sublime and magnificent scenes...my grief, they subdued and tranquilised it." - Blend of Romantic themes creating Gothic themes of the mind being manipulated, the word 'tranquilised' makes me think of intoxication and poisoning of the mind; madness.
• "'do you dare approach me?" Victor's threats exemplify his extreme hate for the monster but they are also likened to the threats by a father who dares his own child to stand against him.
• "come on, then, that I may extinguish the spark which I so negligently bestowed.'" - reference to Prometheus who bestowed upon humans fire, unlike Prometheus, Victor is angry at his own actions; he is depicted by Shelley as morally ideal rather than Prometheus who went against his superiors and was subsequently punished.
• Impression given by the voice of the Creation makes Victor out as an ignorant villain and the Creation the victim, who in fact is not the cold monstrosity given by Victor's biased impression but a suffering. literate, intelligent being.
• "thou hast made me more powerful than thyself;" - Shelley may have tried to criticise man's pursuit of science by suggesting the potential imbalance of power between the maker and the creation.
• "I am thy creature," - the Creation is forever belonging to Victor like Adam and humankind are forever children of God.
• "Begone! I will not hear you." - God's (Victor) disownment of Adam (the Creation).
• "perform thy part, which thou owest me." - as his 'Father', Victor owes the creation his love and support.
• The Creation has a simple nature, perhaps Shelley's take on a return to the ideal by mankind "misery made me a fiend. Make me happy and I shall again be virtuous." he is simple and naive in that sadness leads to treachery and happiness leads to virtue.
• After reading a homosexual critical reading; the pain and anger that the Creation and Victor cause to each other may be Shelley's criticism of their homosexual bond; they pursue each other the entire novel.
• "Yet it is in your power to recompense me," - no matter how intelligent or powerful the Creation has become, it is still in Victor's (the Father) hands that the power to help the Creation lies.
• Shelley's use of describing a fire inside a cold hut in the midst of an icy mountain is metaphorical for Victor's cold demeanour towards the Creation which is to be warmed by the Creation's words and the empathy of his own soul.

Chapter III:

• Narrative changes to the point of view of the Creation, note that the words now have to go through several different people: Creation-Victor-Walton.
• Chapter dictates the Creation's first actions into the world; eating, sleeping, creating fire, avoiding civilisation, finding the hut of the exiled family.
• Observes and learns the kindness of the cottagers "The girl was young and of gentle demeanour...he took the pail from her head and bore it to the cottage himself.", their kindness towards each other exasperates the lack of kindness towards him and his loneliness.
• Beginnings of the Creation's desire for a companion "the gentle manners of the girl enticed my love."

Chapter IV:

• The cottager’s unhappiness despite their belongings of luxury such as house, a fireplace and clothes is fickle compared to the Creation's grievances of being solitary and imperfect.
• The Creation is kind and good by nature shown by his own decision to abstain from taking their food and collecting firewood for the cottagers.
• Acquires language from observing the cottagers.
• The theme of human moods being connected with nature is reiterated by the Creation's joy as spring comes into season "My spirits were elevated by the enchanting appearance of nature; the past was blotted from my memory," - both the Creation and Victor are able to forget the gloomy past in the beauty of nature.
• Both Frankenstein and the Creation come to see 'knowledge' as dangerous thing, pursuit of knowledge in science lead to the Creation who murdered Victor's family and knowledge of the Creation's appearance likewise causes harm to come to the Creation.

Chapter V:

• The family help serve the purpose of teaching the Creation values such as chivalry and sacrifice; within the hovel he gains knowledge of humanity; the home acts as a cocoon for the Creation that when he leaves it, he is far different from when he entered.
• The Creation's progress in acquiring language aligns him closer to his human companions and is key to creating his narrative voice in the novel.
• Most importantly, the family values the cottagers display help contrast the underline the Creation's lack of companionship, acceptance and love "But where were my friends and relations? No father had watched my infant days,".

Chapter VI:

• Gothic conventions in the tyranny of Safie's father over her and Felix, simultaneously Safie reverses the convention by openly rejecting her life in Constantinople; not 'the submissive women'.
• As a feminist, Shelley could have been trying to convey women's equality through the story of Safie and Muslim culture.

Chapter VII:

• Creation conceives ideas of tragedy from acquiring the book Paradise Lost; taking the novel for fact and considering his own life from Victor's journal, it inspires his own tragedy to win the favour Victor - "many times I considered Satan as the fitter emblem of my condition,"
• "Autumn passed thus." - gives an idea of how long the Creation has been learning and living with the cottagers; almost an entire year and he still hasn't introduced himself, shows his insecurity and fear of rejection.
• Crucial moment as it is the first time the Creation converses with another person "Pardon this intrusion" - possibly this can be taken as the Creation's entering of the human realm in which he does not belong.
• The Creation's acceptance by the blind De Lacy but not the other cottagers emphasises the Creation's problem with of society not by his actions but by his ugliness.

Chapter VIII:

• The Creation leaves the cottage after it is abandoned by the cottagers, wretched, he heads towards Geneva, is shot after saving the life of a girl, strangles William and frames Justine for murder.
• The coming of winter again reflects the internal hardship of the Creation "the sun became heatless;...the surface of the earth was hard".
• Though winter and the icy Alps serves Victor to 'freeze his guilt', it is only barren to the Creation who revels rather in the bliss of spring.
• The Creation's murder of William shows to him he too can bring pain and hurt ""my enemy is not invulnerable; this death will carry despair to him," thus he murders to hurt not his victims but Victor.
• The chapter ends with the Creation asking Victor to create for him a companion of the same form.

Chapter IX:

• Victor's duties as father and creator, coupled with the prospects of the Creation's self-exile from humankind implore him to heed to the Creation's request of a female mate.
• Under the Creation's promise and influenced by his tale, Victor agrees to task, the Creation decides to monitor Victor's every action to ensure he does this.

Frankenstein Reading Journal: Volume One ^ Chapter 8

Letter I:

• The address of the letters show of a foreign setting; unfamiliar, alien, mysterious gothic setting.
• "evil forebodings" - gothic convention.
• "breeze play upin my cheeks...fills me with delight" - joy of the unfamiliar is naive "ever presents itself to my imagination as a region of beauty".
• Repeated reference to solitude; foreshadows Frankenstein's lose of family/friends and the creation's loneliness.
• Much talk of his fascination - more romantic than scientific. Walton was a failed poet, now turned explorer.
• Walton has an obsession for knowledge, knowledge is power; conformity to the gothic 'power-hungry tyrant'.

Letter II:

• "I have no friend" - emphasises the importance/recurring theme of companionship in the novel. Romantic.
• My best years under your gentle and feminine fosterage" - Like Victor, Walton has lived a sheltered life.
• "if I should come back to you as worn and woeful as the 'Ancient Mariner'" - reference to Samuel Coleridge's epic poem of ambition.

Letter III:

• "Why not still proceed over the untamed yet obedient element?" - Reference to Walton's perceived power of man over nature.
• Outlines the ambitions of Walton and his endearing passion to succeed.

Letter IV:

• Trapped and surrounded by ice, Walton's ship is found by Frankenstein who is ill and nursed by Walton.
• "'we are unfashioned creatures," - Frankenstein speaks of wisdom and nobility as a trait of only born humans rather than 'fashioned' ones i.e. the creation.
• Frankenstein's condition foreshadows Walton's future if he continues on his path of ambition and glory.
• Narrative changes at the end of the chapter to Victor's voice being written down by Walton.

Chapter I:

• Like Walton, Victor describes a blissful and tender childhood. Both were captured by the thirst for knowledge.
• Suffering taking place before and during Victor's childhood e.g. Beaufort's death and Elizabeth's life pre-adoption. Juxtaposes suffering alongside joy as a natural part of life. Emphasises the creation's suffering as he lives a sad life, but without the joys that Frankenstein is afforded.

Chapter II:

• The character Henry Clerval contrasts Victor's character as a boy with an objective to study science and pursue knowledge. Henry is a romantic, he finds bliss in literature and is more a man of the arts. Similar to the young Walton.
• The thunderstorm not only inspires Victor over the possibilities of science and electricity but demonstrates the power of nature in its destruction of the tree.
• The perfect and sublime nature of Frankenstein's childhood elevates the severity of his loss when it is contrasted with his current state in the ship.

Chapter III:

• Victor's mother dies from contracting scarlet fever as a result of caring for Elizabeth, the death of Victor's mother shows the harm that can come from trying to do good and misguided intents i.e. Victor's losses from creating life. It also shows the harm of that comes from loved ones Victor essentially causes the death of his family.
• "I felt as if my soul were grappling with a palpable enemy" - Mention of soul; romanticism.
• Victor's pursuit to further knowledge in the sciences is mirrored by Walton's pursuit to reach the North Pole.

Chapter IV:

• Victor's immersion in his studies takes over and shrouds him from all else; including his beloved family whom he ignores for two years. His obsession introduces the theme of insanity, synonymous with gothic concepts.
• "but was engaged, heart and soul," - Ties the soul with Victor's passion for enlightenment. Through devoting his 'heart and soul' to his quest in the name of science; Shelley, like Romanticism, is criticising the Age of Enlightenment by depicting Victor as taking his heart and soul away from the focus of his loved ones to his new obsession with knowledge.
• "then drive away incipient disease;" - Victor's toils clearly show a negative impact on him; may be interpreted as nature trying to stop Victor from creating this unnatural creation.

Chapter V:

• "Dreary night of November." - eerie pathetic fallacy; gothic setting
• "I had selected his features as beautiful." - Victor like God fashions his creation to be perfect and imagines it to be wonderful, but the reality of his creation is disgusting and detestable. Like Adam, it was unrealistic to imagine a being without perfection.
• During Victor's childhood in Geneva, he was innocent and pure and this is replicated in the mountains and rivers (all natural scenes) but having carried out his dark pursuits in Ingolstadt, the streets (man-made) are 'black' and have a 'comfortless sky' on the eve of his success.
• The security that comes with the arrival of Clerval amongst such distress gives the reader a false sense of safety, furthered by the fact the monster is no where to be found.

Chapter VI:

• Under the influence of Clerval, Victor once again appreciates all the beauties of nature, this is amplified by his own failure to replicate it and witnessing the hideousness of man-made creation.
• Victor's character may be argued as selfish; after not having returned home for 6 years, he delays further by going on a walking tour.
• Justine is referred to as a servant with rights; this shows the equality that may come from mankind, an equality that is lacking with the monster who shares similar concepts with Justine.
• The mood of the chapter is nostalgic with appearances/voices of characters from Victor's past and Victor is quite queasy; as if he has woken from a nightmare and is reminded by its details through minor details such as seeing scientific instruments in the university.

Chapter VII:

• The effect of finding out William's murder changes Victor's overwhelming by creation into an overwhelming by loss. There are contrasts in the polars of emotion.
• The heavy use of letters that is becoming apparent in the novel undermines the reliability of the narrator as Victor could not have remembered that accurately the details, it brings in to question the potential for bias narration.
• Henry's character is also very pure, this is contrasted with Victor's ill health and immoral conducts.

Chapter VIII:

• The recognition of Justine's isolation and suffering by Victor demonstrates his irrational denial of his creation's misery as he can see it but chooses to ignore it because of the creation's monstrosity.
• Victor may have such detail of the trial out of guilt from causing Justine's situation; as he cannot liberate Justine out of fear for being labelled insane (a gothic theme), he must do her justice and seek liberation from within himself by being able to account the entire truth of Justine's case.
• "How shall I ever again believe in human goodness?" - Justine, like the creation and like God, loses faith in humanity.
• Justine puts her faith and devotion to religion "God raises my weakness and gives me courage", her character plays the role of showing dedication to religion and God "Learn from me...to submit in patience to the will of heaven!" - Victor should not have tried to go against God by creating life and defying death.
• Justine also tried helping Victor's mother on her deathbed but now she is condemned to death. There is a motif that those who try to help others will pay a price. Victor pays his price through helping science in creating life.
• Justine very clearly outlines the gothic character of the weak and submissive female; she admits to her crimes even though she knows she is innocent and the only one that can save her is a man losing his sanity.