Fluent Essays

See attachment for instructions. Frankenstein Critical Analysis Evaluation Essay is written about the 1818 version of Mary Shelleys novel. See attachment for articles and rubric. May focus most of your attention on this first critique, If the author of your critique is not specified, focus on the publication of the critique. Assignment specific, minimum of 3 typed pages or at least 750 words. minimum of 3 typed pages or at least 750 words. You need at least two critiques in addition to the novel in Works Cited. In other words, you need three sources total incited in the essay and on the Works Cited page in order to earn the maximum points in the corresponding column on the grading rubric. Evaluate the critic/author: Who wrote the criticism you read? What credentials does the author have?  (If you are using a valid source, you should be able to find these easily) Find the thesis of the article: What is the thesis of the critical article you’ve chosen? What point does the author want to make about Frankenstein? Evaluate the thesis: Do you agree with this thesis? Why or why not? We’ve covered many ideas in the study guides. Can you find points within the guides that support your agreement or disagreement with the critical writer(s)? Look for new supporting information rather than revisiting the same ones the critics have chosen. Evaluate the support: Whether you agree or disagree with the thesis, does the critic provide sufficient research from the text and outside references to make a strong case? What does the article have for support from the text or outside sources? In your opinion, what makes these references valid? Do you feel the author uses this support properly? Next, locate a second critique about the novel that includes ideas somewhat similar (genre classification, for instance) to any of the discussions you have in your essay. The second critique can either support or refute any of the claims in your paper. The objective of this portion of the essay is to further support your opinion of the primary critic’s thesis or support. Therefore, for example, if you choose a secondary article that refutes any of your claims, you will need to counteract those ideas to bring the focus of your essay back in alignment with your essay’s thesis (your personal opinion of how the primary critic is either correct or incorrect in his or her thesis claim and/or how the first critic is either effective or ineffective in his or her support). Every discussion in this essay should ultimately support the claim you make in your thesis. For instance, if the first critic argues that Shelley’s writing is juvenile, and if you agree, does the second critic also support this thesis? How so? If the second critic does not support your assessment of the first critics thesis, what evidence can you use from the text to argue that the second critic is incorrect? Consider another example: if the first critic believes the novel is autobiographical, and if you disagree, does the second critic help you argue your own view of the first critics thesis? If so, how? Perhaps the second critic disagrees with your view and feels the novel is autobiographical-- if thats the case, be prepared to use evidence from the text to refute the second critic’s thesis and support your own argument. Using two critiques in this way will allow you to create a polished, comprehensive Evaluation Essay that allows you to connect your own ideas to those of seasoned critics. In addition to addressing each of the evaluative components above, develop your essay so it has a clear introduction, body, and conclusion. You must include an evaluative thesis statement in both the introduction and the conclusion. Ensure that each of your claims is supported with valid evidence from the literary criticism you have chosen; the novel, Frankenstein; and/or the study guides. Using proper MLA style, insert parenthetical citations for all borrowed information in addition to a Works Cited page for Frankenstein and your chosen literary critiques; you are not required to cite the study guides if you use them. Helpful Hints: For a thesis statement, try answering a question like: How and how well does this piece of criticism state and support its argument regarding Frankenstein? You might use these as possible guidelines in crafting your thesis statement: (Critic, aka author of the critique) uses (add critic title) to (add an adjective to describe the effectiveness of the argument such as “adequately” or “inadequately”) argue that (add critic’s thesis) by (explain why and/or include your support). OR (Critic)’s (add critique title) (add an adjective to describe the effectiveness of the argument such as “adequately” or “inadequately”) argue that (add critic’s thesis) because (explain why and/or include your support). More specific thesis examples: John Smith uses Frankenstein Critique Essay to adequately argue that Victors mother created the first monster by coddling Victor as a boy. OR John Smiths Frankenstein Critique Essay does not effectively argue that Victors mother created the first monster because the novel Frankenstein too strongly supports inherent good or bad, which means nurturing roles cannot be held responsible. La Belle Assemblée, or Bells Court and Fashionable Magazine, 2d Series, 17 (March 1818): 139-142. This is a very bold fiction; and, did not the author, in a short Preface, make a kind of apology, we should almost pronounce it to be impious. We hope, however, the writer had the moral in view which we are desirous of drawing from it, that the presumptive works of man must be frightful, vile, and horrible; ending only in discomfort and misery to himself. But will all our readers understand this? Should not an author, who has a moral end in view, point out rather that application which may be more generally understood? We recommend, however, to our fair readers, who may peruse a work which, from its originality, excellence of language, and peculiar interest, is likely to be very popular, to draw from it that meaning which we have cited above. The story of Frankenstein is told in a letter from a Captain Walton to his sister, Mrs. Saville, residing in England. Walton is almost as much of an enthusiast as the wretched Frankenstein, whom, as the Captain is in search of finding the north west passage, and penetrating as far as possible to the extremities of the pole, he meets, engaged in the pursuit of the demon-being of his own creation: Walton rescues Frankenstein from the imminent danger of losing his life in this pursuit, amongst the floating flakes of ice; and after this Prometheus recovers, in part, his bodily strength, and relates his history to Walton. Frankenstein is a Genevese; (these people are not naturally romantic) but Frankensteins mind has been early warped by a perusal of those authors who deal in the marvellous. His father is a respectable Syndic, and has taken under his protection a niece, born in Italy. In due time, Frankenstein and his fair cousin become lovers, and their union is sanctioned by his father. He has also the blessings of a sincere friend, Henry Clerval, of a stronger mind than the Prometheus, who is absorbed in the study of natural philosophy, which he declares as the genius that regulated his fate.—When he becomes a student at the University of Ingoldstadt, he bewails, as his first misfortune, the death of his mother; and when his grief has begun to subside, he devotes himself entirely to chemistry and his favourite science: the structure of the human frame particularly excites his attention, and, indeed, every animal endowed with life: he then proceeds to examine the cause of life and death—(how vain)—and finds himself capable (we use the writers own words) of bestowing animation on lifeless matter!!! This reminds us of the famous philosopher who declared, that, give him but matter enough, and he could create a world! Why, then, could he not form one in miniature, about the size of an egg or a walnut? To return to Frankenstein; he had no longer any doubt but what he could create a perfect man! But his workshop, and the process he was compelled to observe, disgusted him; for he tells Walton, that the dissecting-room, and the slaughter-house, furnished him with materials. On a dark night of November he completes his work, and the eye of the creature opens; whom, in order to make superior to his species, he has formed eight feet high! He is soon after surprised by a visit from his friend Clerval; and trembles at the idea of his seeing the monster he has created: he steals up softly to his apartment, and finds that the demon has fled. After a fit of illness, which causes a cessation of his studies, he is afflicted, on his return to them, by a letter from his father, acquainting him that his little brother William is murdered; the picture he wore round his neck being found in the pocket of an interesting young girl, the attendant on Elizabeth, Frankensteins cousin, she is accused, and suffers innocently. After visiting the parental roof, as the unfortunate Prometheus is wandering among the Alps, he beholds the frightful being he has formed, and he feels convinced in his own mind that he is the murderer of his brother.—This being seems, indeed, to have a supernatural power of following his maker wherever he goes, and he soon after meets with him near Mont Blanc. He here relates to Frankenstein how he has supported his miserable existence; but he feels the charm, and the imperious want of society, by having beheld, in a cottage, an old peasant and his daughter, with a young man; they are indigent, but, in comparison with his forlorn state, most happy. Delighted with the picture of social life and its affections, he seeks to contribute to their wants; piles wood before their cottage, when they want fuel, and other offices unperceived: by listening, he gains speech, and understands the meaning of different words. The arrival of an Arabian lady serves to complete the savages education: he hears the young man read to her, and obtains a slight knowledge of history. This part of the work is rather prolix and unnatural; the monster learns to read, and is delighted with Paradise Lost, Plutarchs Lives, and The Sorrows of Werter! The demon then confesses himself the murderer of Frankensteins brother; and, moreover, declares his intention of immolating the rest of his family, if he does not create a female like himself, with whom he may retire to undiscovered wilds, and molest mankind no more. Frankenstein, at first, positively refuses, but at length consents. After pausing some time in travelling, Frankenstein and Clerval visit Scotland; and the former retires from the society of his friend, to undertake, in the solitude of the Orkney Islands, the dreadful task assigned him. When he has half finished the wretched work, he reflects that, perhaps, he is bringing a curse on future generations, and he tears the thing to pieces on which he is engaged. The monster presents himself, and after some severe upbraidings, he tells him he will be with him on his wedding night. The fragments of a human being lying before him, urge Frankenstein to seek his safety by flight; he packs them in a basket, sails from the Orkneys, and sinks them when he has attained the midst of the sea: he next arrives at a good harbour, where he is taken up for murder; and for the murder, too, of Clerval, his friend, whose mangled body is presented before him: this deprives him of reason; and in a gaol, loaded with irons, like a malefactor, he suffers all the agonies of the mind, accompanied with frenzied fever. He is, however, at length, honourably acquitted, and accompanies his father, who comes for him, back to Geneva, where preparations take place for his wedding; for which, when the day is arrived, Elizabeth is found dead, after coming from the sacred ceremony, and lying across her bridal bed. He now makes a solemn vow to find out the fiend of his creation, and to destroy him, though the work of his own hands. He traverses wild and barbarous countries; where, in some places, he beholds inscriptions on the rocks and trees, as, My reign is not yet over—You live, and my power is complete, &c. &c. By perseverance, Frankenstein, at length, meets with him, where Captain Walton first discovers him; and whom Frankenstein, after bringing his narrative to a close, intreats to avenge his cause by killing the monster, should he die. He expires soon after; and this wonderful work of man comes in at the cabin- window of Captain Waltons ship, breathes a soliloquy over the coffin of his creator, and then plunges into the icy waves, the same way as he entered. This work, which we repeat, has, as well as originality, extreme interest to recommend it, and an easy, yet energetic style, is inscribed to Mr. Godwin; who, however he once embraced novel systems, is, we are credibly informed, happily converted to what he once styled ancient prejudices. We are sorry our limits will not allow us a more copious review of Frankenstein. The few following extracts will serve to shew the excellence of its style and language:— ENTHUSIASM OF FRANKENSTEIN IN HIS WORK OF FORMING MAN. Life and death appeared to me ideal bounds, which I should first break through, and pour a torrent of light into our dark world. A new species would bless me as its creator and source; many happy and excellent natures would owe their being to me. No father could claim the gratitude of his child so completely as I should deserve theirs. Pursuing these reflections, I thought, that if I could bestow animation upon lifeless matter, I might in process of time (although I now found it impossible) renew life where death had apparently devoted the body to corruption. DESCRIPTION OF FRANKENSTEINS MAN WHEN FIRST ENDOWED WITH LIFE. It was on a dreary night of November, that I beheld the accomplishment of my toils. With an anxiety almost amounting to agony, I collected the instruments of life around me, that I might infuse a spark of being into the lifeless thing that lay at my feet. It was already one in the morning; the rain pattered dismally against the panes, and my candle was nearly burnt out, when, by the glimmer of the half-extinguished light, I saw the dull yellow eye of the creature open; it breathed hard, and a convulsive motion agitated its limbs. How can I describe my emotions at this catastrophe, or how delineate the wretch whom with such infinite pains and care I had endeavoured to form? His limbs were in proportion, and I had selected his features as beautiful. Beautiful!—Great God! His yellow skin scarcely covered the work of muscles and arteries beneath; his hair was of a lustrous black, and flowing; his teeth of a pearly whiteness; but these luxuriances only formed a more horrid contrast with his watery eyes, that seemed almost of the same colour as the dun white sockets in which they were set, his shrivelled complexion, and straight black lips. HIS REPENTANCE AT HAVING FORMED HIM. I considered the being whom I had cast among mankind, and endowed with the will and power to effect purposes of horror, such as the deed which he had now done, nearly in the light of my own vampire, my own spirit let loose from the grave, and forced to destroy all that was dear to me. ARGUMENTS HELD OUT BY THE MONSTER. All men hate the wretched; how, then, must I be hated, who am miserable beyond all living things! Yet you, my creator, detest and spurn me, thy creature, to whom thou art bound by ties only dissoluble by the annihilation of one of us. You purpose to kill me. How dare you sport thus with life? Do your duty towards me, and I will do mine towards you and the rest of mankind. If you will comply with my conditions, I will leave them and you at peace; but if you refuse, I will glut the maw of death, until it be satiated with the blood of your remaining friends. God, in pity, made man beautiful and alluring, after his own image; but my form is a filthy type of yours, more horrid from its very resemblance. Satan had his companions, fellow- devils, to admire and encourage him; but I am solitary and detested. FRANKENSTEINS AGONY ON THE DEATH OF ELIZABETH. Great God! why did I not then expire?—Why am I here to relate the destruction of the best hope, and the purest creature of earth. She was there, lifeless and inanimate, thrown across the bed, her head hanging down, and her pale and distorted features half covered by her hair. Every where I turn I see the same figure—her bloodless arms and relaxed form flung by the murderer on its bridal bier. Could I behold this and live? Alas! life is obstinate, and clings closest where it is most hated. For a moment only did I lose recollection; I fainted. THE MONSTERS REFLECTIONS OVER THE DEAD BODY OF FRANKENSTEIN. That is also my victim! he exclaimed; in his murder my crimes are consummated; the miserable series of my being is wound to its close! Oh, Frankenstein! generous and self- devoted being! what does it avail that I now ask thee to pardon me? I, who irretrievably destroyed thee by destroying all thou lovedst.—Alas! he is cold; he may not answer me. The Literary Panorama, and National Register, N.S., 8 (1 June 1818): 411-414. This novel is a feeble imitation of one that was very popular in its day,—the St. Leon of Mr. Godwin. It exhibits many characteristics of the school whence it proceeds; and occasionally puts forth indications of talent; but we have been very much disappointed in the perusal of it, from our expectations having been raised too high beforehand by injudicious praises; and it exhibits a strong tendency towards materialism. The main idea on which the story of Frankenstein rests, undoubtedly affords scope for the display of imagination and fancy, as well as knowledge of the human heart; and the anonymous author has not wholly neglected the opportunities which it presented to him: but the work seems to have been written in great haste, and on a very crude and ill- digested plan; and the detail is, in consequence, frequently filled with the most gross and obvious inconsistencies. We shall hereafter point out a few of those to which we allude. The story begins at the end. Walton, an enthusiastic traveller, bound on a voyage of discovery in the north seas, after having been for some time surrounded with ice, is astonished by the appearance of a human being of apparently savage character who passes the vessel at a distance, in a sledge drawn by dogs. The day after this extraordinary adventure the ice breaks up; but previously to the vessel sailing away from it, they encounter another human being, nearly exhausted with fatigue and privation. This last, who is taken into the vessel, proves to be Frankenstein, the hero of the tale; who at the time he had been nearly destroyed by the breaking up of the ice, was in pursuit of the being that had passed the vessel on the preceding day. After a time Frankenstein contracts a friendship with Walton, the Captain of the vessel, and relates to him his supernatural story.—In his youth he had been led by accident to study chemistry; and becoming deeply interested by the results of his experiments, he at length conceived the idea of its being possible to discover the principle of vital existence. Taking this possibility as the leading point of his studies, he pursues them with such effect as at last actually to gain the power of endowing inanimate matter with life!!! He instantly determines to put his newly acquired power into practice; and for this purpose collects the materials with which to form a living human being. From the difficulty of arranging some of the parts, arising from their minuteness, he determines to chuse them of more than ordinary size. In short, after incredible pains and perseverance, he at length succeeded in producing a living human being, eight feet high, and of proportionate powers. From this moment Frankenstein commences a life of unmixed and unceasing misery. The being which he has formed becomes his torment, and that of every one connected with him. He causes one by one the death of all Frankensteins dearest connections; his brother, his friend, and lastly his wife— whom he murders on their wedding night. The fiend then quits the country where he has committed these horrors; and Frankenstein, in dispair, determines to pursue him until he shall either destroy him, or die by his hand. The story ends shortly after what we have related in the beginning. Frankenstein dies on board the vessel of Walton; and the fiend may, for any thing we know to be the contrary, be wandering about upon the ice in the neighbourhood of the North Pole to this day; and may, in that case, be among the wonderful discoveries to be made by the expedition which is destined there. We have mentioned that there are gross inconsistencies in the minor details of the story. They are such, for example, as the following: the moment Frankenstein has endowed with life the previously inanimate form of the being which he has made, he is so horror-struck with the hideousness of the form and features, when they are put in motion, that he remains fixed to the spot, while the gigantic monster runs from the horizontal posture in which he lay, and walks away; and Frankenstein never hears any more of him for nearly two years. The author supposes that his hero has the power of communicating life to dead matter: but what has the vital principle to do with habits, and actions which are dependent on the moral will? If Frankenstein could have endowed his creature with the vital principle of a hundred or a thousand human beings, it would no more have been able to walk without having previously acquired the habit of doing so, than it would be to talk, or to reason, or to judge. He does not pretend that he could endow it with faculties as well as life: and yet when it is about a year old we find it reading Werter, and Plutarch and Volney! The whole detail of the development of the creatures mind and faculties is full of these monstrous inconsistencies. After the creature leaves Frankenstein, on the night of its birth, it wanders for sometime in the woods, and then takes up its residence in a kind of shed adjoining to a cottage, where it remains for many months without the knowledge of the inhabitants; and learns to talk and read thro a chink in the wall! Quod mihi ostendit, &c We have heard that this work is written by Mr. Shelley; but should be disposed to attribute it to even a less experienced writer than he is. In fact we have some idea that it is the production of a daughter of a celebrated living novelist. Grading Rubric for Critical Analysis 1 Category Needs Improvement ( point) Meets Requirements ( points) Exceeds Requirements ( points) Thesis  Thesis lacks a judgment about the novel  Thesis does not appear in the introduction or conclusion  Essay contains a single thesis that evaluates the novel  Thesis appears in introduction and conclusion paragraphs  Essay contains a single thesis with a plan of development that evaluates the novel  The thesis appears in introduction and is restated in conclusion Thesis Support or Development  The body paragraphs do not support the thesis with relevant examples, reasons, or evidence  The body paragraphs contain assertions without support from the novel, study guides or literary criticism  Minimal support for each claim  Some irrelevant support present, but most evidence supports thesis.  All assertions are fully supported and relate to thesis.  All support comes from the novel, the literary critique and/or study guides Grading Rubric for Critical Analysis 2 Category Needs Improvement ( point) Meets Requirements ( points) Exceeds Requirements ( points) Category Needs Improvement ( point) Meets Requirements ( points) Exceeds Requirements ( points) Grammar errors are defined as: sentence fragments, subject-verb agreement, verb form and verb tense errors, fused sentence (run-on), pronoun reference, pronoun agreement error, and article misuse.  Four or more different grammatical errors appear in the work  The identical two to three grammatical errors repeated throughout the work  One to three different grammatical errors appear throughout the essay  The same one to two grammatical errors repeated throughout  The essay contains few to no grammatical errors  The essay may contain occasional, one-time grammar error without repetition Punctuation errors are defined as: comma splices, misused commas, and apostrophe errors. Capitalization errors  Four or more different punctuation and/or capitalization errors in the work  The identical two or three punctuation and capitalization errors repeated throughout the work.  One to three different punctuation and capitalization errors in the work  The identical one to two punctuation and/or capitalization errors repeated throughout  The essay contains few to no punctuation and capitalization errors  The essay may contain an occasional, one-time punctuation and capitalization error Grading Rubric for Critical Analysis 3 Category Needs Improvement ( point) Meets Requirements ( points) Exceeds Requirements ( points) Supporting Source  No supporting critical source provided  The supporting source does not comment on novel or the literary form of story  Supporting source does not originate from a university publication, literary journal or online literary website  Supporting critical source about novel provided  Supporting source appeared in a university publication, literary journal, or online literary website  More than one source about the novel provided  All sources appeared in a university publication, literary journal, or online literary website Grading Rubric for Critical Analysis 4 Category Needs Improvement ( point) Meets Requirements ( points) Exceeds Requirements ( points) Documentation Quotes, Paraphrases, and Summaries  The essay did not employ direct quotes, paraphrases, and summaries but relied on only one type, probably quotes.  Quotes are not integrated into sentences.  Quotes have an introduction, a speaker, or integrated into sentence.  The essay used two out of three: quotes, paraphrases, or summaries  Quotes are properly integrated into sentences.  Quotes, paraphrases, and summaries are employed in essay. Parenthetical Documentation  No acknowledgment of source of quotes, paraphrases or summaries either as introduction to the facts or in parenthetical documentation.  Parenthetical documentation frequently used after quotes, paraphrases, and summaries but imperfectly formatted.  Parenthetical documentation used in correct format after all quotes, paraphrases, and summaries. Grading Rubric for Critical Analysis 5 Category Needs Improvement ( point) Meets Requirements ( points) Exceeds Requirements ( points) Work Cited Entries  No Work Cited entry or inadequate Work Cited entry (full bibliographic omitted)  One critical article from appropriate source in correct MLA format  Novel listed in correct format  More than two sources in the Works Cited  Perfectly formatted Work Cited for all sources in the essay Length  Less than three double- spaced, typed pages or fewer than 750 words (with appropriate font size and margins, excluding Works Cited)  Three typed, double-spaced pages or 750 words (with appropriate font size and margins, excluding Works Cited).  3+ double-spaced, typed pages or more than 750 words (with appropriate font size and margins, excluding Works Cited).