The Trove

Fresh air doth skip my trove this very night

Oaks halt the sand and stand against the waves

The leaves doth keep the gifts from any blight

No creatures cut the spot that sits in haze

Felicity spark in the hastening hands

Which lift the lid and find the treasure here

The opalescent bottles somehow stands

Dank oozing slugs and snakes that only jeer

Handled gently the bottles had no marks

The vile ablaze under moon's dull glow

Yet bites and scrapes spike him 'til trembling mars

His wants, his needs, and the intrepid goal

Elixir swigged 'til it rid of remorse

The poor man morph'd into a brain dead horse!

Mary Shelley (Sort of) Speaks

This blog is a revision of Journal #7: Orientalism:
 http://2013jamesa.blogspot.com/2012/10/journal-7-revision-orientalism.html



              As Frankenstein's monster continues to limn its secluded life, Orientalism begins to surface. European artists and authors are well known for amplifying the exoticism of Middle Eastern culture, and through the monster's eyes,  Mary Shelley expresses her own Orientalism views.

            One instance of this is the Turk's underlying plan to keep Safie from marrying Felix. The Turk goes along with the engagement only to appear as a man that is true to his word. Shelley also uses words such as "tyrannical" in context to the Turk. Shelley's usage of the Turk demonstrates the negative ideas that European cultures had of the Turks during the 19th century.

                    As the Turk represents the negativity, Safie represents the opposite. She is exotic to the monster, and the monster seems to show no disfavor towards her. Although she is very pleasantly mentioned, there are some implications towards her abilities that could negatively reflect the ideas that Europeans had of Oriental women. Safie's voice is described like music; there are no words and no dialogue from her in the passage. She is doted for her beauty, but she is slower in learning than the monster, which has only been alive for little over a year. The combination of exotic beauty and lack in intelligence implies that Shelley believed the women of the Middle East to be admired more as accessories than companions and contributors in their society.

             So what does all of this mean? This may just be a conjecture, but I believe that Shelley's usage of Safie and the Turk expresses gratefulness for the fact that she wasn't born in the Middle East.

Power vs. Authority in The Tempest

             In Act 1, Prospero and Antonio are revealed to have a dysfunctional relationship. Antonio has forced Prospero from the authority of the Duke of Naples. Antonio has acquired governmental authority through the betrayal, but the questions remain:

Who really has the upper hand in this relationship? Who has the authority AND the power?

        In Scene 1, Antonio is introduced to be traveling in a ship with the king of Naples. In this scene, the only proof of his position is the fact that it is mentioned by the Boatswain. Antonio curses the Boatswain just as the mariners do. This shows that Antonio is just as base as the mariners, who are considerably low on the job food chain during this era. 

        In Scene 2, as Prospero limns the story of his brother’s betrayal to Melinda,  there are implications that Prospero has magical power. Prospero has engendered the very tempest that has overthrown the ship with these powers. As he orders around Ariel, the ghost, he reveals that he has freed her from the imprisonment of magic. THrough his own disparaging words, Prospero demonstrates power that goes beyond his brother’s: the power to control the dead. 

         The wrathful Prospero throws his weight around in the way that he treats Ariel and Caliban. On the island that Prospero has been exiled to, Caliban is a physical slave to Prospero. In this scene, Ariel is presumably an indentured servant; she began the tempest in order to obtain her freedom. The dependant positions that the two are placed in demonstrated that Prospero has authority on the island. 

      Antonio has acquired great power in his betrayal, but only to a certain extent. Antonio is limited as the Duke, an underling of the King. Prospero, on the other hand, is the king of an island. Prospero has his own slaves and an heir, while Antonio only has the shifty position of the Duke and more money than the other underlings. So far, on the scoreboard, Prospero has the three points while Antonio only has two. 

        Power is, as Emily Dickinson once said, “A fickle food on a shifting plate.” In this case, Prospero has shifted the plate, and Antonio is at his mercy.
            

Frankenstein's Characters

       In Frankenstein, Victor Frankenstein is the failed romantic. He tries to go into Romanticism during his early years by studying works from Agrippa and performing Alchemy. As he dives deeper into study at Ingolstadt, he actually represents Classicism.

      During the Age of Enlightenment, artists and scientists tried to keep certain classical ideals alive despite the growing transition that physics and architecture had brought. Victor tries to revive the classical forms of natural science through his own growing studies at the university by studying ancient philosophers and scientists. The fact that Victor can stand for Classicism illustrates the diversity in his ideals and methods.

         By embracing both the antiquity of his ancient mentors and the novelty of his own anatomical discoveries, Victor ends up creating the monster. This creation represents the impact of science's growth on the classical society that Victor stands for. During the Age of Enlightenment, most clergyman showed disgust towards the growing power of science in society. Mary Shelley uses the relationship between the monster and Victor to demonstrate this attitude to her readers.

          Shelley also uses Henry Clerval to represent the Romantic era. Henry contrasts with Victor's Classicism largely because Henry is focused on what is already in front of him while Victor focuses on inward ideals and situations. During the Romantic era, artists painted and poets composed on environmental scenes the way that Henry relishes every detail of the countries the two visit in chapters 18-20.

         Shelley also uses the catastrophe in chapters 18-20 to predict the downfall of both eras. Henry Clerval appreciates the details of the natural settings and art of each country. Victor loves Henry because of his manner, but the monster abruptly ends the relationship by murdering Henry. After the end of the Romantic era, the Industrial Revolution (also represented by the monster) brought every person's focus to modern machinery and nearly ended the focus towards the natural world and antiquity. The Romanitc Era reflected certain ideals of the Age of Enlightenment, just as Henry was linked to Victor. So in the end, science brings down the Romantic Era and Classicism.

Image Courtesy of I Luv Cinema

        

Knowledge: Tree or Fire?

               In Frankenstein, the monster broods constantly. In Paradise Lost, Adam and Satan are the same. Their individual circumstances are different, but they're all thrown into grief that causes them to question their own creator. Why was I formed? Why am I exiled? Why can't I be higher than God?

               One instance is the monster's peripeteia after it studies Paradise Lost, Lives, and Sorrows of Werther. Like Adam, the monster bights the forbidden fruit of knowledge. Before, it just considered itself to be unlike the others; it was even pleased with the thought of having protectors that were happier than it was. The books illustrate characters that are comparable to it. Through comparison, the full situation of its abandonment by its master and the hopelessness in trying to be human hits the monster right in its stitched heart.

           Likewise, Satan is exiled. Unlike the monster, Satan has his own hubris involved. He was a top angel; his angel name, Lucifer, literally translates to his celestial work, "light-bearer".

       How did one of the most regarded and beautiful angels become estranged? He denied his creator. Much like the monster, woe changes into hatred for humanity. Unlike the monster, Satan knew exactly what he was up against beforehand, and his creator held him in high esteem. Thematically, this hubris demonstrates a large flaw in arrogance and ambition; regardless of how much he thinks one knows (which rebel angel to choose and a plan of attack), knowledge doesn't ensure success.

                Adam, one of the first humans created, was Satan's target. The forbidden fruit is bitten, and Adam and Eve are almost as woeful as Satan and the monster. Much like the monster after it is spurned by the De Lacey family, Adam questions his existence. His thought process has completely changed; before, only his environment was on his mind, but now he contemplates God, who is beyond human reach.

                 The common thread between Frankenstein's monster, Satan, and Adam is their resulting knowledge. Adam differs here because he doesn't contemplate until after he is enticed. Even then, his mold as a human isn't broken. Satan and the monster's level before their deepest inquiries afforded them a stable position in their individual lives. Between the three, knowledge completely shifted their life. Thematically, this implies that knowledge, as abstract as it is, can burn more than it can develop a person.



Definition of Lucifer courtesy of IsraelofGod.org
The Thinker image courtesy of Auguste Rodin and Chantal Powell Artists Blog
Wildfire Image courtesy of Mindspower



                

Nostalgia Journey: A Cartoon Hell

You are in a desert. It's supposed to be a town, but only one shack occupies endless, fruitless acres. The cracked ground screams for an unlikely downpour. As you approach a nearly dilapidated house, the wind spits sand in your face. You knock at the door, and minutes drag on with no one in sight. Just as a creeeeak is heard from the other side of the door, a small lilac colored dog approaches. The color of its fur isn't what makes your eyes widen: the dog is standing and holding a gun ray to your face.

      Where do you think you are? "This is Hell" is probably what you're thinking. Well, it is, figuratively. You have just been in the town of Nowhere. Those who grew up during the 1990s probably remember the children's cartoon Courage the Cowardly Dog. The main character is the aforementioned dog. As the title suggests, it is easily afraid, but it nonetheless saves its owners from peril in nearly every episode.

        Despite the title of the show, Courage represents Cerberus, the mythological hellhound. Nowhere is arid and only the greediest and most prideful people enter. Courage guards the home of Eustace and Muriel Bagge. Instead of contending with living heros, Courage must fight off Le Quack, King Ramses, Queen of the Black Puddle, Katz, and numerous other avaricious villians who threaten the balance of the home.

        Regardless of how many times Courage saves the Bagges, his owner, Eustace, constantly yells at him. Also, Eustace usually tries to find a short cut or two in order to get rich. Why is this? Because in this cartoon Hell, Eustace is Hades. In Greek mythology, Hades is outshined by Zeus in the eyes of their parents, Cronus and Rhea; Eustace's dead brother outshines Eustace in the eyes of Ma Bagge. Like Hades, this parental preference turns Eustace into an irascible character.

    Muriel is the person that Courage adores the most in the series. She is a cheerful Scottish wife and homemaker of Eustace, and her optimism in perilous situations borders on oblivion. She is the only maternal figure that Courage has, and in this town, she represents Traditionalism. Muriel is the only woman in the show who cooks, cleans, sews, and other light tasks. She is in Nowhere because traditionalism is presumed to be dead, but not gone. For instance, every villian tries to reap something out of her by trying to cook her or sell her in some way. This suggests the idea that conventional manners are constantly on the brink of being taken advantage of by Greed (the villians).

          The show Courage the Cowardly Dog uses the characters of Courage, Eustace and Muriel in order to convey the idea that traditional methods are always in danger. Courage, the little Cerberus, guards them in the continuously advancing town.

For more information about the show feel free to visit the Courage the Cowardly Dog Wikia.   

Image of Desert courtesy of & Beyond Travel Blog
Black and White Image of Courage the Cowardly Dog courtesty of ssgba1380 at Deviantart.org.  

Journal #7 Revision: Orientalism

                          Victor Frankenstein's monster continues to evolve when the Arabian lady Safie arrives. Safie proves to be an important character. Not only does Safie teach the monster the fact that there are countries far from its hovel, but she brings a background story with her.
                   Mary Shelley uses Safie and her father, the Turk, in order to make some contrasting implications through Orientalism. One instance of this is the Turk's underlying plan to keep Safie from marrying Felix. The Turk goes along with the engagement only to appear as a man that is true to his word. Shelley also uses words such as "tyrannical" in context to the Turk. Shelley's usage of the Turk demonstrates the negative ideas that European cultures had of the Turks during her era.
                     Unlike the Turk, Safie is mostly a representation of positive Orientalism in the monster's story. She is described to have angelic beauty and a lovely singing voice. She is exotic to the monster, and the monster seems to show no disfavor towards her. Although she is very pleasantly mentioned, there are some implications towards her abilities that could negatively reflect the ideas that Europeans had of Oriental women. Safie's voice is described like music; there are no words and no dialogue from her in the passage. She is doted for her beauty, but she is slower in learning than the monster, which has only been alive for little over a year. The combination of exotic beauty and lack in intelligence implies that Oriental women are more accessories than they are humans.
                 Mary Shelley's views of the Orient are suggested in this part of the monster's story. Under her pen name, Shelley wasn't able to openly discuss it, but there are implications of her opinion towards arranged marriage. For instance, in the monster's description of Safie's situation, it describes arranged marriage as "walls of a harem" that only have "infantile amusements". This attitude suggests the negative view that European women of Shelley's era might have had towards arranged marriage.