Heart of Darkness 30

• “Then I noticed a small sketch in oils, on a panel, representing a woman, draped and blindfolded, carrying a lighted torch. The background was sombre - almost in black. The movement of the woman was stately, and the effect of the torch-light on the face was sinister.” (p. 62)

Marlow discovers the painting Kurtz has created of a woman who is blindfolded, and carries a torch. Conrad most likely intended the woman to be a representation of the Europeans who have come to change the native Africans' culture. Light usually symbolizes knowledge or discovery, which represents the new customs Europeans are trying to enforce. Being focused on their own culture, the Europeans are unaware that these alterations are negative to the native Africans. The Europeans' lack of acknowledging negativity is denoted by the woman in the painting wearing a blindfold.

(Works Cited)
"Heart of Darkness." Marketgems.com. Web. 29 Aug. 2009. http://www.marketgems.com/heartofdarkness/symbolism.html.

(Photo Credit)
Photograph. Life in the Fast Lane. Web. 29 Aug. 2009. http://www.lifeinthefastlane.ca/wp-content/uploads/2007/08/olympic_torch_bearer_4_sfw.jpg.

Heart of Darkness 29

• “There was a vast amount of red - good to see at any time, because one knows that some real work is done in there … However, I wasn’t going into any of these. I was going into the yellow.” (p. 45)

As Marlow is viewing a map, he comments on the colors associated with each country. During this time period, the different colors on the map represented the different territories of certain countries. The color coded system stood as follows: Red - British, Blue - French, Green - Italian, Orange - Portuguese, Purple - German, Yellow - Belgian. Conrad adds the descriptions of the map to reveal Marlow's feelings towards these countries; note that Marlow comments on the British territory, applauding them for their accomplishments, and the German territory, informing the reader that Germany is commonly known for celebrating with beer.

(Works Cited)
Conrad, Joseph. Heart of Darkness. New York: Barns & Noble, Inc., 2003. Print.

(Photo Credit)
Congo Free State. Photograph. Wildlife Direct. Web. 29 Aug. 2009. http://farm3.static.flickr.com/2087/1508818337_2a69c7cbb2.jpg.

Heart of Darkness 28

• “I could see little ivory coming out from there, and I had heard Mr. Kurtz was in there … no more than if I had been told an angel or a fiend was in there. I believed it in the same way one of you might believe there are inhabitants in the planet Mars.” (p. 64)

Much talk is going around about Mr. Kurtz and his existence. Yet, because Marlow hasn’t seen him himself, he is having trouble generating an image based on his description. Throughout the beginning of the journey, Kurtz has simply been a voice or a character, and Marlow has not been able to associate a mental picture with reality. This is exactly why Conrad relates Marlow's situation to the belief of life on Mars; scientists claim there are different forms of life existing, yet it's hard to picture and believe until one has actually seen it with his/her eyes. Until Marlow has witnessed Kurtz’s existence, he has trouble believing the voice and image others have created.

Heart of Darkness 27

• “I began to feel slightly uneasy. You know I am not used to such ceremonies, and there was something ominous in the atmosphere … the other scrutinizing the cheery and foolish faces with unconcerned old eyes.” (p. 45-46)

The description of this passage clearly reveals Marlow’s fear and anxiety towards his upcoming trip. As the two women knit, Marlow becomes very uncomfortable. Their stares and quick glances appear to him like he is under the watch of someone. The reader is misled as it appears the women are fearful for the men about to travel the Congo, by knitting feverishly and staring with intensity. However, in reality, the women don’t seem to care about the dangers that await them because they see different men walk in and out every single day. Conrad perfectly illustrates an uncomfortable atmosphere by the actions of the characters and the setting of the scene.

(Photo Credit)
Old Women Knitting Punk Slogans. Photograph. Glitty Knitty Kitty. Web. 13 Sept. 2009. http://www.glittyknittykitty.co.uk/archive/banksy_grannies.jpg.

Heart of Darkness 26

• “I had no idea of the conditions, he said: these heads were the heads of rebels … Those rebellious heads looked very subdued to me on their sticks.” (p. 103)

Conrad shows Marlow's understanding of injustice as he appears shocked and outraged upon hearing the label the heads on the sticks are given. He finds it extremely unfair for the native Africans to posses such a title as "rebels," as they have not done a single thing to harm the white men. The natives haven’t had nearly enough independence to commit such acts that would rightly earn them that cruel name. Marlow then makes a sarcastic remark saying these supposedly “rebellious creatures” look “very subdued on their sticks.”

Heart of Darkness 25

• “Besides that, they had given them every week three pieces of brass wire, each about nine inches long … So, unless they swallowed the wire itself, or made loops of it to snare the fishes with, I don’t see what good their extravagant salary could be to them.” (p. 82)

This pathetic system of how the Company treats the native Africans truly shows how selfish these men are. Because the natives are so hungry, they become greedy and will do anything for the slightest bit of food. Conrad intends to portray the men of the Company as selfish; they are so low and uncaring that they think giving the natives a useless, non-edible piece of brass wire will suffice as a tool to obtain food. However, because a piece of wire is so hopeless and unsatisfying, the native Africans go crazy in search of any source of food.

(Works Cited)
"Heart of Darkness." Shmoop. Web. 27 Aug. 2009. http://www.shmoop.com/heart-of-darkness/power-quotes.html.

(Photo Credit)

Ningbo Jintain Copper. Photograph. World Importers. Web. 13 Sept. 2009. http://jintiancopper.win.mofcom.gov.cn/www/10%5Cjintiancopper%5Cimg%5C200782091915.jpg.

Heart of Darkness 24

• “The word ‘ivory’ rang in the air, was whispered, was sighed. You would think they were praying to it. A taint of imbecile rapacity blew through it all, like a whiff from some corpse. By Jove! I’ve never seen anything so unreal in my life.” (p. 60)

Marlow is beginning to realize the obsession men have of obtaining ivory. The men of the Company get carried away with their desire to have ivory and turn very greedy, putting aside their morals and civil lifestyle. Marlow notices that the men’s obsession has taken over their minds - appearing to have caused them to worship or ‘pray’ to the ivory. Conrad compares this disturbing concept to “a whiff from some corpse," making Marlow feel sick that a hunger for ivory could take over one’s mind.

(Works Cited)
"Heart of Darkness." Marketgems.com. Web. 27 Aug. 2009. http://www.marketgems.com/heartofdarkness/symbolism.html.

(Photo Credit)
Raw Ivory. Photograph. The Trophy Room Collection. Web. 13 Sept. 2009. http://www.trophyroomcollection.com/ivory/ivoryimg/ivory.JPG.

Heart of Darkness 23

• “It’s queer how out of touch with truth women are. They live in a world of their own … the day of creation would start up and knock the whole thing over.” (p. 48)

As Marlow is conversing with his aunt, he comes to the conclusion that women are unrealistic, and their dreams are slightly out of reach. Marlow seems to be looking down upon and ridiculing their impractical hopes, almost finding it humorous they could possibly dream of such things. Conrad intends for Marlow's character to find this amusing; however, as rude as his opinion is, Marlow also understands and applauds their genuine desire to achieve their goals.

Heart of Darkness 22

• “The moon had spread over everything a thin layer of silver - over the rank grass, over the mud … I felt how big, how confoundedly big, was that thing that couldn’t talk, and perhaps was deaf as well. What was in there?” (p. 64)

Conrad uses vivid imagery in this passage, and establishes a clear connection to human life as Marlow is beginning to consider the silence of nature a little unnatural to tolerate. Under the circumstances, he is uncomfortable with the calm and quiet atmosphere and questions whether the stillness of nature is normal. Marlow also compares the silence to being mute and deaf, much like a human being who possesses that handicap, whose world is completely silent and tranquil.

(Photo Credit)
Beautiful and Tranquil Lake Alpsee. Photograph. Pbase.com. Web. 13 Sept. 2009. http://k43.pbase.com/u32/seanathan/large/33133072.MUNCHEN002.jpg.

Heart of Darkness 21

• “These round knobs were not ornamental but symbolic; they were expressive and puzzling, striking and disturbing … smiling continuously at some endless and jocose dream of that eternal slumber.” (p. 102)

Marlow is extremely mistaken as he thought that the heads on stakes were ornamental balls. Instead, this graphic description is an example of Kurtz’s extreme cruelty. It seems rather unusual that Marlow takes this so lightly and doesn’t seem surprised by Kurtz’s twisted acts. In a way, Conrad assures readers that this act is permissible with the humorous line he includes - “the shrunken dry lips showing a narrow white line of the teeth, was smiling, too, smiling continuously at some endless and jocose dream of that eternal slumber.” It seems obvious to readers that this act of violence is one Marlow shouldn’t be taking lightly.

(Photo Credit)
Thirty Days of Night. Photograph. StateUnit. Web. 13 Sept. 2009. http://www.stateunit.co.nz/images/tdon_30_03_.jpg.

Heart of Darkness 20

• “He cried in a whisper at some image, at some vision - he cried out twice, a cry that was no more than a breath - ‘The horror! The horror!’” (p. 115)

“The horror! The horror!” The last words Kurtz spoke certainly stand out to the reader, clearly marking some significance to Kurtz’s life. The reader can interpret this line in a few ways, but it appears Conrad intends for Kurtz to either be reminiscing on his past or preparing for his future. If Kurtz is referring to his past, he might finally recognize the dark experiences he endured/pursued. On the other hand, Kurtz possibly says this line to inform the reader of the horror/torture his future might hold for him.

(Works Cited)
"Heart of Darkness Group." Http://www.enotes.com/heart-of-darkness/q-and-a/heart-darkness-kurtz-says-horror-what-did-he-mean-1585. Web. 26 Aug. 2009. http://www.enotes.com/heart-of-darkness/q-and-a/heart-darkness-kurtz-says-horror-what-did-he-mean-1585.

Heart of Darkness 19

• “A continuous shower of small flies streamed upon the lamp, upon the cloth, upon our hands and faces. Suddenly the manager’s boy put his insolent black head in the doorway, and said in a tone of scathing contempt - ‘Mistah Kurtz - he dead.’” (p. 116)

When Kurtz dies, flies immediately flood the ship illustrating a main symbol in the story. The flies arriving right after the incident symbolize death. However, it is not a destructive type of death that ends on the spot; it represents a lingering, decaying death much like flies create as they eat and pick away at dead matter. Kurtz’s final words, “The horror! The horror!” seem to be more sensitive and meaningful than the incredibly different words of the servant - “Mistah Kurtz - he dead.” - where Conrad intends the tone to be harsh, yet realistic.

Heart of Darkness 18

• “Kurtz - Kurtz - that means short in German - don’t it? Well, the name was as true as everything else in his life - and death. He looked at least seven feet long.” (p. 104)

Marlow is revealing the ironic comparison between Kurtz’s name and its definition in German. Kurtz’s life seemed far from short, as he was an accomplished and motivated worker. He became powerful, influential, and ambitious. The character he became took much time and many experiences to develop. Conrad also adds that Kurtz’s body looked “seven feet long," somewhat contradicting the idea of the word “short” associated with Kurtz’s character.

Heart of Darkness 17

• “Evidently the appetite for more ivory had got the better of the - what shall I say? - less material aspirations. However he had got much worse suddenly.” (p. 101)

The Russian trader is sharing Kurtz’s desire for more and more ivory. Throughout the story, Conrad reveals the development of Kurtz’s personality. The reader learns he is very power hungry and his thirst for authority is growing rapidly. The desire of power is very dangerous as it can control one’s mind, emotions, and acts. The personality of Kurtz is very similar to Victor, in Mary Shelley’s Frankenstein, as Victor becomes obsessed with uncovering new knowledge/the unknown.

Heart of Darkness 16

• “His aspect reminded me of something I had seen - something funny I had seen somewhere. As I maneuvered to get alongside, I was asking myself, ‘What does this fellow look like?’ Suddenly I got it. He looked like a harlequin.” (p. 95)

This passage is describing the Russian trader who comes to meet Marlow and the manager. Marlow appears to recognize the similarities in appearance between the Russian and a harlequin. A harlequin is a fictional character similar to a clown that could appear in a comic book. Harlequins typically dress in very bright, vibrant colors, with either a checkered or patched pattern. The image Conrad illustrates shows bright colors, patch work, and characteristics a clown might possess. The connections Conrad draws between a harlequin and the Russian reveal a lot about his character - someone who appears not to be taken seriously.

(Works Cited)
"Definition of Harlequin." Google. Web. 25 Aug. 2009. http://www.google.com/search?hl=en&rlz=1G1GGLQ_ENUS315&q=define%3A+harlequin&aq=f&oq=&aqi=g-s1g-sx4.

(Photo Credit)
Circus Clown Costume. Photograph. Costume-Shop.com. Web. 13 Sept. 2009. http://www.costume-shop.com/images/products/80002.jpg.

Heart of Darkness 15

• “And you say, Absurd! Absurd be - exploded! Absurd! My dear boys, what can you expect from a man who out of sheer nervousness had just flung overboard a pair of new shoes!” (p. 90)

This emotional outbreak is the result of Marlow’s decision to throw a brand new pair of shoes into the ocean having heard the death of Kurtz. This selfish act, disposing something that many other men in his situation would dream of having, shows how desperately Marlow wanted to meet and talk with Kurtz. However, after performing that ridiculous act, Marlow agrees that his behavior was “absurd” and out of pure disappointment. Conrad purposely includes this situation in the novel to prove to readers that acting on impulse from frustration or anger sometimes results in immature and dangerous consequences.

Heart of Darkness 14

• “All Europe contributed to the making of Kurtz and by-and-by I learned that, most appropriately, the International Society for the Suppression of Savage Customs had intrusted him with the making of a report, for its future guidance.” (p. 92)

The International Society for the Suppression of Savage Customs seems to have gotten its name from the organization created in 1876, The International Association for the Exploration and Civilization in Africa. King Leopold II formed this organization once the Congo Free State was approved by the Berlin Conference. King Leopold II went on an expedition of the Congo and allowed the Belgians to take any raw materials from the area, particularly rubber, without trading with the natives. Much conflict arose from this system resulting in King Leopold‘s withdrawal and Belgium’s new ownership of the Congo. Conrad sarcastically includes this organization into Heart of Darkness as he is one of King Leopold’s biggest critics.

(Works Cited)
"Leopold II." Answers.com. Web. 25 Aug. 2009. http://www.answers.com/topic/king-leopold-ii.

(Photo Credit)
Leopold II Garter Knight. Photograph. Wikipedia. Web. 13 Sept. 2009. http://en.wikipedia.org/wiki/File:Leopold_ii_garter_knight.jpg.

Heart of Darkness 13

• “You should have heard him say, “My ivory.” Oh yes, I heard him. “My Intended, my ivory, my station, my river, my ---” everything belonged to him. It made me hold my breath in expectation of hearing the wilderness burst into a prodigious peal of laughter that would shake the fixed stars in their places. Everything belonged to him - but that was a trifle.” (p. 91)

In this passage, Conrad is describing Kurtz’s obsession with authority and ownership. Kurtz’s list of objects or places he “owns” truly reveals his character as he comes off as selfish and demanding. Kurtz even goes to the extent of claiming things in nature such as “my river.” Marlow finds Kurtz’s desire for power quite humorous and pathetic; he is surprised the wilderness isn’t laughing at Kurtz’s ridiculous “possessions.”

Heart of Darkness 12

• “The simple old sailor, with his talk of chains and purchases … and making notes - in cipher at that! It was an extravagant mystery.” (p. 78-79)

Marlow’s fascination with his new discovery shows how desperately he has missed contact with civilization. With this recent book, Marlow is distracted from his familiar surroundings and is brought back to a sense of reality and reassurance. Conrad shows Marlow completely surprised and amazed that actual human hand writing was written in the margins; this also makes him feel more connected to civilization.

Heart of Darkness 11

• “This devoted band called itself the Eldorado Exploring Expedition, and I believe they were sworn to secrecy.” (p. 68)

In this excerpt, Conrad is alluding to El Dorado - a mythical country located in South America. El Dorado, or The City of Gold, became known as a legendary place for its fabulous riches, gold, and treasures. The legend began when a tribal chief covered himself in gold and then washed himself in a sacred lake, leaving remains of gold in the water. For centuries, explorers have tried to discover this enchanting, mysterious place but have experienced much disappointment not finding anything. Conrad refers to the Eldorado Exploring Expedition as men who travel in Africa, in search of treasure, but are yet to uncover the unknown.

(Works Cited)
"El Dorado." The Free Dictionary. Web. 24 Aug. 2009. http://encyclopedia2.thefreedictionary.com/El+Dorado+(legend).
"El Dorado." Wikipedia. Web. 24 Aug. 2009. http://en.wikipedia.org/wiki/El_Dorado.

(Photo Credit)
El Dorado. Photograph. Jewelry.com. Web. 13 Sept. 2009. http://www.jewelry.com/binaries/2009-04-jn-eldorado.jpg.

Heart of Darkness 10

• “I let him run on, this papier-mache Mephistopheles, and it seemed to me that if I tried I could poke my forefinger through him, and would find nothing inside but a little loose dirt, maybe.” (p. 63)

During this part of the story, Marlow is describing the brick maker as he is rambling on in hopes of getting on Marlow’s good side. Mephistopheles is a name given to one of the chief demons of Christian mythology. Mephistopheles is commonly used as an another name for Satan or the Devil. Mephistopheles is most known for appearing in the Legend of Faust - an evil spirit who sells his soul to the Devil. However, in this case, Conrad portrays the brick maker as a “papier-mache Mephistopheles,” or someone who appears solid, but is really empty on the inside.

(Works Cited)
"Mephistopheles." Global Oneness. Web. 24 Aug. 2009. http://www.experiencefestival.com/a/Mephistopheles/id/524767.

(Photo Credit)
Mephistopheles. Photograph. Answers.com. Web. 13 Sept. 2009. http://wpcontent.answers.com/wikipedia/en/thumb/b/b9/Mephistopheles2.jpg/250px-Mephistopheles2.jpg.

Heart of Darkness 9

• “By heavens! There is something after all in the world allowing one man to steal a horse while another must not look at a halter. Steal a horse straight out.” (p. 61)

This excerpt has very similar wording to the phrase “one man may steal a horse, while another may not look over a hedge.” There are various ways to interpret this saying - however, its general meaning is there are people who can get away with mischief, solely because one thinks highly of them. Then, there are the people whom one is prejudiced against, and are automatically and most always looked upon under a careful eye. In this excerpt, Conrad expresses his ideas through the brickmaker, as he preaches that everyone should give everyone equal opportunities and not be judgmental.

(Works Cited)
"One man may steal a horse, while another may not look over a hedge." Answers.com. Web. 24 Aug. 2009. http://www.answers.com/topic/one-man-may-steal-a-horse-while-another-may-not-look-over-a-hedge.

(Photo Credit)
Young woman sitting on shoulders of young man, looking over hedge. Photograph. Gettyimages. Web. 13 Sept. 2009. http://cache1.asset-cache.net/xc/200503876-001.jpg?v=1&c=NewsMaker&k=2&d=CED48661B87C5DBF0B18CBA22587CA001F6F6178A68B340C.

Heart of Darkness 8

• “My purpose was to stroll into the shade for a moment; but no sooner within than it seemed to me I had stepped into the gloomy circle of some Inferno.” (p. 52)

Inferno is Italian for “Hell” and here, Conrad is alluding to Dante’s poem Divine Comedy. The poem is divided into three parts, Inferno, Purgatory, and Paradise. The first part of the poem, Inferno, describes the acknowledgment and rejection of sin. In summary, the poem describes the journey of Dante through his medieval perception of Hell which is portrayed as nine circles of misery within the Earth. Clearly, the imagery used in this segment from Heart of Darkness, bases its ideas from Dante’s poem.

(Works Cited)
"Inferno (Dante)." Wikipedia. Web. 24 Aug. 2009. http://en.wikipedia.org/wiki/Inferno_(Dante).

(Photo Credit)

Dante's Inferno. Photograph. Joystiq. Web. 13 Sept. 2009. http://www.blogcdn.com/www.joystiq.com/media/2008/12/dantes_inferno_top.jpg.

Heart of Darkness 7

• “Every day the coast looked the same, as though we had not moved; but we passed various places - trading places - with names like Gran’ Bassam, Little Popo; names that seemed to belong to some sordid farce acted in front of a sinister back-cloth.” (p. 49)

The Gran’ Bassam, or Grand Bassam, was a French colonial capital city. It was a key seaport, but once the capital city was moved to Bingerville, the commercial shipping slowly declined. Little Popo, or Aného, had a Portuguese slave market and became the first German capital of Togo. The town was especially known for its farming and fishing but lost its importance after coastal erosion. Conrad is comparing these names to a comedy act which is described as broad, often with vulgar, dirty, or degrading humor. His description creates a negative feel for readers as an evil, absurd, and offensive atmosphere is being illustrated.

(Works Cited)
"Aneho." Wikipedia. Web. 24 Aug. 2009. http://en.wikipedia.org/wiki/An%C3%A9ho.
Google. Web. 24 Aug. 2009. http://www.google.com/dictionary.
"Grand Bassam." Wikipedia. Web. 24 Aug. 2009. http://en.wikipedia.org/wiki/Grand-Bassam.

(Photo Credit)

Photograph. Show Me What I'm Looking For. Web. 13 Sept. 2009. http://showme.debockwebdesign.com/wp-content/uploads/2009/05/evil_clown_by_namesjames1.jpg.

Heart of Darkness 6

• “Then with a certain eagerness asked me whether I would let him measure my head. Rather surprised, I said Yes, when he produced a thing like calipers and got the dimensions back and front and every way, taking notes carefully.” (p. 46)

In this excerpt, Conrad is referring to the practice of craniology, which during the 18th and 19th centuries was the pseudoscientific study that believed that a person’s character could be determined by examining the shape, size, proportion, and every bump in one’s head. At the time, it was thought that head form indicated the differences in race and intelligence. The doctor believes and suggests that there are noticeable changes in men once they travel in Africa. He claims that men normally go mad once they are exposed to the African race and culture.

(Works Cited)
"Definition of Craniology." MedicineNet.com. Web. 20 Aug. 2009. http://www.medterms.com/script/main/art.asp?articlekey=10855.

(Photo Credit)
Museum Exhibit #1. Photograph. Our Nineteenth-Century American Museum. Web. 13 Sept. 2009. http://antiquescientifica.com/phrenology_calipers_George_Combe_on_Wells_bust.jpg.

Heart of Darkness 5

• “Ave! Old knitter of black wool. Morituri te salutant. Not many of those she looked at ever saw her again - not half, by a long way.” (p. 46)

The Latin phrase, Ave! … Morituri te salutant, translates into “Hail … Those who are about to die salute you.” Before the Roman gladiators entered a match, they would salute the emperor with this phrase. Conrad is drawing a parallel between the two situations; before entering the doctor's office and shipping off into the sea, the two old knitters would be a few of the last people one would see before never returning - similar to saluting the emperor before dying in the arena.

(Works Cited)
"Moritui te Salutant." Wikipedia. Web. 20 Aug. 2009. http://en.wikipedia.org/wiki/Morituri_te_salutant.

(Photo Credit)
Morituri te Salutant. Photograph. Flickr. Web. 13 Sept. 2009. http://farm1.static.flickr.com/82/215205130_d483e9f04a_o.jpg.

Heart of Darkness 4

• “But there was in it one river especially, a mighty big river, that you could see on the map, resembling an immense snake uncoiled, with its head in the sea, its body at rest curving afar over a vast country, and its tail lost in the depths of the land … The snake had charmed me.” (p. 43)

Marlow is describing his fascination of maps and particularly one river that strikes his interest. This river, the Congo, is described as shaped like a snake. The last sentence of the paragraph is slightly ironic, considering that shake charming is the act of hypnotizing a snake merely by playing an instrument. However, in Conrad's case, the “snake” (the river) is the object which is hypnotizing or mesmerizing Marlow. The mystery and adventure which awaits on the river has captivated Marlow to explore it.

(Works Cited)
"Snake Charming." Wikipedia. Web. 20 Aug. 2009. http://en.wikipedia.org/wiki/Snake_charmer.

(Photo Credit)
Charmeur de serpents a Jaipur. Photograph. Wikipedia. Web. 13 Sept. 2009. http://en.wikipedia.org/wiki/File:Charmeur_de_serpents_%C3%A0_Jaipur_(2).JPG.

Heart of Darkness 3

• “I was thinking of very old times, when the Romans first came here, nineteen hundred years ago - the other day …. Light came out of this river since - you say Knights? Yes; but it is like a running blaze on a plain, like a flash of lightning in the clouds. We live in the flicker - may it last as long as the old earth keeps rolling! But darkness was here yesterday.” (p. 40)

In this excerpt, Conrad is referring to the Roman invasion into Britain, led by Julius Caesar. The invasion took place in 55 B.C. and continued in 54 B.C. as the Romans established themselves as a military force in Britain. The Romans didn’t return to Britain for another 90 years but came back to take over the island in A.D. 43. Marlow is saying that even though this event took place “nineteen hundred years ago,” it seems like just yesterday the invasion took place.

(Works Cited)
"The Romans in Britain." History Learning Site. Web. 20 Aug. 2009. http://www.historylearningsite.co.uk/romans_in_britain.htm.

Heart of Darkness 2

• “It had borne all the ships whose names are like jewels flashing in the night of time, from the Golden Hind returning with her round flanks full of treasure, to be visited by the Queen’s Highness and thus pass out of the gigantic tale, to the Erebus and Terror, bound on other conquests - and that never returned.” (p. 38-39)

Conrad introduces The Golden Hind and the Erebus and Terror into the novel to provide a better understanding of the setting for the reader. The Golden Hind was an English galleon, known for its global circumnavigation. The ship was commanded by Sir Francis Drake. Queen Elizabeth gave full approval for Drake to benefit himself and the queen, and to also cause damage to the Spaniards. Upon meeting the Spanish galleon, the ship with the largest amount of treasure, known to date, the Golden Hind transported six tons of treasure in six days back to the queen. Erebus and Terror were ships led by Sir John Franklin that were built to go where no ships had gone before. The ships were in search of the Northwest Passage, but were blocked in by ice. Neither of the ships or crew members have ever been found.

(Works Cited)
"Erebus and Terror, Ships of the Antartic." Cool Antarctica. Web. 19 Aug. 2009. http://www.coolantarctica.com/Antarctica%20fact%20file/History/antarctic_ships/erebus_terror_Franklin.htm.
"Golden Hind." Wikipedia. Web. 19 Aug. 2009. http://en.wikipedia.org/wiki/Golden_Hind.

(Photo Credit)
Francis-drake-galleon-southwark-london-uk. Photograph. Wikipedia. Web. 13 Sept. 2009. http://en.wikipedia.org/wiki/File:Francis-drake-galleon-southwark-london-uk.jpg.

Heart of Darkness 1

Sir Francis Drake

Sir John Franklin

• “It had known and served all the men whom the nation is proud, from Sir Francis Drake to Sir John Franklin, knights all, titled and untitled - the great knights-errant of the sea.” (p. 38)

Sir Francis Drake, 1540-1596, was an English sea captain, privateer, navigator, and slaver. He was remembered for the adventures he pursued and sailing around the world, making him a hero to the English and a pirate to the Spanish. Sir John Franklin, 1786-1847, was a British Royal Navy officer who mapped out a majority of the northern outline of North America. Franklin is considered to be a hero as he led his men in the quest of the Northwest Passage. Conrad introduces these respected men because Marlow admires their accomplishments and hopes to follow in their footsteps.

(Works Cited)
"Francis Drake." Wikipedia. Web. 19 Aug. 2009. http://en.wikipedia.org/wiki/Francis_Drake.
"John Franklin." Wikipedia. Web. 19 Aug. 2009. http://en.wikipedia.org/wiki/John_Franklin.


(Photo Credit)
John Franklin. Photograph. Wikipedia. Web. 13 Sept. 2009. http://en.wikipedia.org/wiki/File:John_Franklin.jpg.
Photograph. Wikipedia. Web. 13 Sept. 2009. http://en.wikipedia.org/wiki/File:1590_or_later_Marcus_Gheeraerts,_Sir_Francis_Drake_Buckland_Abbey,_Devon.jpg.

Frankenstein 30

• “Suddenly, as I gazed on him, an idea seized me, that this little creature was unprejudiced, and had lived too short a time to have imbibed a horror of deformity. If, therefore, I could seize him, and educate him as my companion and friend, I should not be so desolate in this peopled earth.” (p. 126)

Here, the monster believes that the child, who happens to be William, is too young to care about his hideous appearance; he cannot possibly be judgmental and form biases against looks. The monster has good intentions, but becomes desperate for acceptance and turns violent. Due to the monster's inexperience with human interaction, Shelley intends for him to be set up with disappointment again.

Frankenstein 29

• “He tried to make us act plays, and to enter into masquerades, in which the characters were drawn from the heroes of Roncesvalles, of the Round Table of King Arthur, and the chivalrous train who shed their blood to redeem the holy sepulchre from the hands of the infidels.” (p. 33)

Roncesvalles is a mountain pass through the western Pyrenees in Spain. It is the traditional site of the death of the hero Roland during the defeat of Charlemagne's army by the Saracens. King Arthur, a British leader, appointed men to the Round Table; the round shape represented no head or foot and equality of man. The table was said to attract the greatest heroes all over Europe. With this introduction, Shelley reveals part of Henry Clerval’s character. Books of chivalry and romance is what he was interested in - it clearly differed from Victors taste.

(Works Cited)
"Knights of the Round Table." Wikipedia. Web. 11 Aug. 2009. http://en.wikipedia.org/wiki/Knights_of_the_Round_Table.
"Roncesvalles." Answers.com. Web. 11 Aug. 2009. http://www.answers.com/topic/roncesvalles.

(Photo Credit)

Legends of Arthurian Quest. Photograph. Skynet. Web. 13 Sept. 2009. http://users.skynet.be/keltic/table.JPG.

Frankenstein 28

• “No human being could have passed a happier childhood than myself … kindness and indulgence … all the many delights … I distinctly discerned how peculiarly fortunate my lot was, and gratitude assisted the development of filial love.” (p. 33)

Shelley describes Victor's childhood as a positive experience with a strong support system. Victor expresses gratitude for his parents, as they loved him and showed him the “many delights” of life. Because Victor is so appreciative of his upbringing and acknowledges how fortunate he was, one would think that he would treat his creation with the same respect and care. However, throughout the story, the reader finds that Victor does the exact opposite, disowning and abandoning the monster.

Frankenstein 27

• “Of my creation and creator I was absolutely ignorant; but I knew that I possessed no money, no friends, no kind of property.” (p. 107)

After spending numerous hours studying how the three peasants live and interact with each other, Shelley describes this moment as a true turning point for the monster. Learning the language, methods of survival, and how social classes work, the monster is discovering that he has very little to advance him in society. By now, he truly feels abandoned, like an outcast, and struggles to find his own identity. The monster is experiencing reality as he doesn’t fit into a “normal” category and is left stuck in the body of a hideous, deformed creature.

Frankenstein 26

• “When I was about fifteen years old we had retired to our house … violent and terrible thunderstorm … mountains of Jura … I beheld a stream of fire … dazzling light vanished … I never beheld anything so utterly destroyed.” (p. 36)

Light and fire are reoccurring symbols throughout Frankenstein. Victor’s inspiration to create the monster first comes from this particular lightning storm he witnesses. Shelley carries these two symbols throughout the story as they are associated with the monster and his presence. Often when there is a terrible storm, the monster is in the vicinity. For instance on page 68, “Another storm enlightened Jura with faint flashes.” (Also notice the location, the mountains of Jura, is the same as the first lightning storm) In this scene, the monster is around the general area - the two elements, light and fire, tend to accompany his existence.

(Photo Credit)
Photograph. Lifeboat.com. Web. 13 Sept. 2009. http://lifeboat.com/images/frankenstein.jpg.

Frankenstein 25

• “Like one who, on a lonely road, Doth walk in fear and dread, And, having once turned round, walks on, And turns no more his head; because he knows a frightful fiend doth close behind him tread.” (p. 53)

The Rime of the Ancient Mariner was written by the English poet, Samuel Coleridge. The poems tells a story about a mariner, who traveled the seas and shot an albatross, a bird that was thought to guide the ship in the right direction. The crew members are very angry with him, but then believed that the bird was useless anyways. However, the crew members change their mind again and become angry with the mariner. Entering an eerie passage, all the crew members die, except for the mariner, who lived to experience the curse in the eyes of the crew members. Eventually the curse is lifted, the crew members come back to life, and are able to steer the ship back home. Shelley relates Victor's situation to the story of the mariner where he has experienced the curse and its passing, but will never feel completely safe again due to the images he has seen and the guilt he has endured.

(Works Cited)
"Coleridge's Poetry." SparkNotes. Web. 11 Aug. 2009. http://www.sparknotes.com/poetry/coleridge/section1.html.

(Video Credit)
"The Rime of the Ancient Mariner." You Tube. Web. 11 Aug. 2009. http://www.youtube.com/watch?v=czdCzf-E18g&feature=related

Frankenstein 24

• “Delighted and surprised, I embraced her; but as I imprinted the first kiss on her lips, they became livid with the hue of death; her features appeared to change, and I thought that I held the corpse of my dead mother in my arms.” (p. 51-52)

In this excerpt, Shelley is describing one of Victor’s dreams of encountering Elizabeth. Throughout the novel, the reader is slightly confused of the relationship between Victor and Elizabeth. She has been referred to as the adopted sister, cousin, and eventual wife of Victor. Never knowing the exact relationship status, one might interpret Victor's love for Elizabeth as incest - kissing her on the lips and marrying her. Victor perhaps connected Elizabeth with the “corpse of his dead mother” as Elizabeth took on the maternal duties of the household after the death of Victor's mother.

Frankenstein 23

• “Who shall conceive the horrors of my secret toil, as I dabbled among the unhallowed damps of the grave, or tortured the living animal to animate the lifeless clay?” (p. 48-49)

Throughout the story, Victor is forced to keep his work/life a secret. He knows no one could possibly handle the truth of his interests/creation if he ever shared that information. Partly the reason he became mentally destroyed and disturbed is because he couldn’t ask for guidance or support from his family members; he couldn’t share his frustration or dreams. Victor closely followed the works of Magnus, Agrippa, and Paracelsus; all who studied occult beliefs. The Latin word occult means clandestine, hidden, secret - referring to “knowledge of the hidden.” Shelley carries, secrecy, a common theme throughout the entire novel since Victor had to be extremely cautious of what he revealed.

(Works Cited)
"Occult." Wikipedia. Web. 10 Aug. 2009. http://en.wikipedia.org/wiki/Occult.

Frankenstein 22

Paracelsus

Magnus

• “I little expected, in this enlightened and scientific age, to find a disciple of Albertus Magnus and Paracelsus.” (p. 41)

Albertus Magnus was a German philosopher and theologian. He was named a saint of the Roman Catholic Church and was known for his knowledge of the peaceful coexistence between religion and science. Many stories exist where Magnus was an alchemist and magician, and that he believed in occult properties. Paracelsus was a Medieval physician, botanist, alchemist, astrologer, and general occultist. In this excerpt, Shelley describes M. Kremp belief that studying the works of these two men is nonsense and outdated. He claims their studies are centuries old, and living with the information accessible now, Victor should not be educating himself with such knowledge.

(Works Cited)
"Albertus Magnus." Wikipedia. Web. 10 Aug. 2009. http://en.wikipedia.org/wiki/Albertus_Magnus.
"Paracelsus." Wikipedia. Web. 10 Aug. 2009. http://en.wikipedia.org/wiki/Paracelsus.

(Photo Credit)

AlbertusMagnus. Photograph. Wikipedia. Web. 13 Sept. 2009. http://en.wikipedia.org/wiki/File:AlbertusMagnus.jpg.

Paracelsus. Photograph. 1902 Encyclopedia. Web. 13 Sept. 2009. http://www.1902encyclopedia.com/M/MED/paracelsus2.jpg.

Frankenstein 21

• “You seek for knowledge and wisdom, as I once did; and I ardently hope that the gratification of your wishes may not be a serpent to sting you, as mine has been.” (p. 25)

This excerpt is a clear example of one of the major themes throughout the story: the danger of obtaining new, unknown knowledge. One desire can be so strong that it becomes addictive. This instance happened to Victor, as his dream of bringing life to lifeless objects became a superior idea he wanted to conquer. However, this dream took full control over his mind, causing multiple changes in his mental state. Although Victor got what he ultimately wanted, Shelley intended for many consequences to go along with it.

Frankenstein 20

• “The moon gazed on my midnight labours, while, with unrelaxed and breathless eagerness, I pursued nature to her hiding-places.” (p. 48)

Throughout the story, Victor retreats to the serenity of nature to soothe his mind. During the deaths of his family members, Victor escaped to cope with the loss. In this excerpt, Victor is vigorously working on his experiment, yet feels anxious and uptight. To getaway from this, he seeks the calmness of nature. Victor’s reoccurring escape to nature sets the tone and mood of this novel that Shelley was aiming for. However, the tranquility of nature is ruined as Victor has to constantly be cautious of the monster’s “hiding places.”

Frankenstein 19

• “I should guess that I had passed three weeks in this journey; and the continual protraction of hope, returning back upon the heart, often wrung bitter drops of despondency and grief from my eyes.” (p. 183)

Shelley demonstrates Victor's journey is becoming mentally difficult for him to endure. In his younger years, he was powerful, fearless, and in control. Through his miserable experiences, he lost his drive for exploring and discovering the sciences that, long ago, captivated him. Victor was once “knowledge/discovery hungry” - yet now his state of mind shows how one’s craving for obtaining power or knowledge can be damaging.

Frankenstein 18

• “Sir Isaac Newton is said to have avowed that he felt like a child picking up shells beside the great and unexplored ocean of truth.” (p. 35)

Sir Isaac Newton was a physicist and mathematician known for his discovery of calculus, gravitation, and laws of motion. Victor is beginning to uncover the works of other scientists (Agrippa, Paracelsus, and Magnus) and becomes inspired by their work. Victor is the child, experimenting with the unlimited amount of sources, research and previously discovered knowledge. Shelley compares the endless number of opportunities to shells, as one can find a variety along the shore. The ocean, being large, mysterious, and never ending, draws a parallel with the unknown discoveries of the world. Like Newton, Victor yearns to unlock the secrets of nature and his desire of experiencing this feeling is growing immensely.

(Works Cited)
"Sir Isaac Newton." Lucidcafe: Library. Web. 9 Aug. 2009. http://www.lucidcafe.com/library/95dec/newton.html.

Frankenstein 17

• “I was like the Arabian who had been buried with the dead, and found a passage to life, aided only by one glimmering, and seemingly ineffectual, light.” (p. 47)

This excerpt is describing the fourth voyage of Sinbad the Sailor in The Thousand and One Nights where Sinbad is buried alive. However, seeing a light in the distance, he follows the guiding light - finding his way to freedom. Throughout the book, Shelley uses light as a reoccurring symbol to show discovery, illumination, and motivation. As Sinbad escapes death, using a guiding force, Victor unlocks the secrets of his work and makes a fascinating discovery.

(Works Cited)
Karbiener, Karen. Frankenstein Endnotes. New York: Barns & Noble, Inc., 2003. Print.

Frankenstein 16

• "But Paradise Lost excited different and far deeper emotions.” (p. 115)

The monster acquired Paradise Lost, an epic poem written by the English poet, John Milton. Victor and the monster closely compare to God, Adam, and Satan in Milton’s poem. Although the meaning behind Frankenstein and Paradise Lost is very different, Shelley intends the characters to connect in various ways. Victor is similar to God, in the sense that they were both creators - although Victor is more selfish. The monster is much like Adam; both were born without evil intentions, but throughout time their emotions took over their mind. Like Satan, the monster was created a good creature, but fell from the hands of his creator. Both Satan and the monster were shunned and never accepted by their creators.

(Works Cited)
"Comparing Character Traits in Paradise Lost and Frankenstein." Associated Content. Web. 6 Aug. 2009. http://www.associatedcontent.com/article/706643/comparing_character_traits_in_paradise.html?cat=38.

(Photo Credit)
Photograph. Driven to Excel. Web. 13 Sept. 2009. http://edweb.fdu.edu/folio/GodinJ/Website/ParadiseLost.jpg.
Milton paradise. Photograph. Wikipedia. Web. 13 Sept. 2009. http://en.wikipedia.org/wiki/File:Milton_paradise.jpg.

Frankenstein 15

• “I, the miserable and the abandoned, am an abortion, to be spurred at, and kicked, and trampled on. Even now my blood boils at the recollection of this injustice.” (p. 196)

At the end of the story, the monsters describes his feelings of being treated with injustice. The monster’s outburst reveals the reason behind the violent acts he has committed - it’s because all of his life he has felt unwanted and had a lack of a support system. The monster relates himself to an object without feelings, as he has never had the chance to interact with others. Shelley compares the monsters life to an abortion, in the sense his creator neglected him and forced him to survive alone - the monster felt like a useless, unwanted creature.

Frankenstein 14

• “You are my creator, but I am your master; - obey!” (p. 149)

One would think the monster would be forced to follow its creators commands, yet Shelley illustrates an ironic situation. Victor tends to forget the power and authority this creature has over him. It’s true, Victor does not have to create another monster - yet avoiding the task is only increasing the monster's anger and desperate desire to have a companion. The monster possesses such traits as a master, as he has complete control over Victor’s future and the ability to destroy his life.

Frankenstein 13

• “I had not a moment to lose; but, seizing the hand of the old man, I cried, ‘Now is the time! - save and protect me! You and your family are the friends whom I seek. Do not you desert me in the hour of trial!’” (p. 120)

Before the rest of the family members enter into the cottage, the monster begins to panic; creating a very threatening tone as he is speaking to the father. This moment determines whether his appearance truly matters; whether he will be able to interact with humans for the rest of his life. In the excerpt, Shelley demonstrates one of the reoccurring themes throughout the novel; acceptance. Simply searching to be accepted, the monster is in a state of confusion, where all he knows is to beg and cling to the only thing that will give him hope of being accepted.

Frankenstein 12

• “I am blind, and cannot judge of your countenance, but there is something in your words which persuades me that you are sincere.” (p. 120)

Shelley purposely adds the hidden symbol of the blind father in the small cottage to the story; the fact that the man cannot see who he is talking to is very significant. The monster finally has found a human that believes in his sincerity and kindness, but simply because he cannot see the hideous beast that speaks these words. The monster is grasping this moment in which he has found a person where his words are appreciated and appearance cannot influence opinion. An opportunity like this is not found in the rest of the story.

Frankenstein 11

• “Ever since my recovery from the fever I had been in the custom of taking every night a small quantity of laudanum.” (p. 163)

Laudanum, discovered by Paracelsus, is a mixture of ethanol and opium latex or powder. During the 18th century, Laudanum was recommended for practically every sort of illness, particularly to relieve pain and produce sleep. However, there were severe side effects and warnings such as overdose, addiction, depression and hallucinations. Once Victor doubles the dose of his Laudanum, he finds himself experiencing a very frightening nightmare: Shelley's vivid description of the monster choking him and his struggle to escape.

(Works Cited)
"Laudanum." Wikipedia. Web. 3 Aug. 2009. http://en.wikipedia.org/wiki/Laudanum.

(Photo Credit)
Laudanum. Photograph. Wikipedia. Web. 13 Sept. 2009. http://en.wikipedia.org/wiki/File:Laudanum.jpeg.

Frankenstein 10

• “We visited the tomb of the illustrious Hampden, and the field on which that patriot fell.” (p. 143)

While Victor was on his journey, he remembers John Hampden, an English politician. Hampden worked in the Parliament and was known for his strong political beliefs. It is thought that Hampden was the central figure of the start of the English Revolution. In the excerpt, the field Shelley references is Chalgrove Field, where Hampden died for his beliefs. Victor is appreciating Hamden’s bravery and sacrifice during the period he lived, and wonders if he can conquer his own fears.

(Works Cited)
"John Hampden." Wikipedia. 28 June 2009. Web. 3 Aug. 2009. http://en.wikipedia.org/wiki/John_Hampden.

(Photo Credit)
Hampden's Monument, Chalgrove. Photograph. Wikipedia. Web. 13 Sept. 2009. http://en.wikipedia.org/wiki/File:Hampden%27s_monument,_Chalgrove.jpg.

Frankenstein 9

• “It is well. I go; but remember, I shall be with you on your wedding night.” (p. 149)

The phrase, “I shall be with you on your wedding night,” is a reoccurring symbol throughout the book. The monster’s words are very threatening and now haunt Victor daily. Victor also just ruined the dreams and hopes of the monster ever having a wedding night and life long companion, so seeking revenge on Victor is a priority the monster makes for the remainder of the book. Shelley intends for these words to be haunting, and therefore are repeated numerous times throughout the novel.

Frankenstein 8

• “I sympathised with, and partly understood them, but I was unformed in mind; I was dependent on none and related to none. ‘The path of my departure was free’; and there was none to lament my annihilation.” (p. 115)

‘The path of my departure was free’ is slightly altered from Percy Shelley’s poem, Mutability, where it is written as ‘the path of its departure still is free.’ Shelley adds this excerpt as a turning point in which the monster is realizing his freedom of education and the many opportunities accessible to him. However, he is disappointed with the lack of assistance and support from humans - something he will probably never receive.

(Works Cited)
"Mutability." Web. 2 Aug. 2009. http://www.internal.org/view_poem.phtml?poemID=311.

Frankenstein 7

• “It was as the ass and the lap-dog; yet surely the gentle ass whose intentions were affectionate, although his manners were rude, deserved better treatment than blows and execration.” (p. 103)
  

The fable, The Ass and the Lap-Dog, was written by French fabulist Jean de La Fontaine. In the fable, the ass studies the lap-dogs' behavior - which is admired by their master. The ass attempts to imitate the same behavior as the lap-dog to earn the same affection, but instead is beaten back to his stable. Similar to the fable and as Shelley describes, the monster is desperately trying to learn the language and mannerisms of the peasants' in order to find friendship and companionship. Although the monster has good intentions and a kind heart, his hideous appearance will result in the peasants' disgust towards him.

(Works Cited)
"The Ass and the Lap-Dog." Litscape.com. Web. 2 Aug. 2009. http://www.litscape.com/author/Aesop/The_Ass_and_the_Lap-Dog.html.

"Jean de La Fontaine." Wikipedia. 30 July 2009. Web. 2 Aug. 2009. http://en.wikipedia.org/wiki/Jean_de_La_Fontaine.

(Photo Credit)
Photograph. Litscape.com. Web. 13 Sept. 2009. http://www.litscape.com/images/Aesop/The_Ass_and_the_Lap-Dog.jpg.

Frankenstein 6

• “We rest; a dream has power to poison sleep. We rise; one wandering thought pollutes the day. We feel, conceive, or reason; laugh or weep, Embrace fond woe, or cast our cares away; It is the same: for, be it joy or sorrow, The path of its departure still is free. Man’s yesterday may ne’er be like his morrow; Nought may endure but mutability!” (p. 87)

This portion of Percy Shelley’s (Mary Shelley’s husband) poem, Mutability (1816) , is used in the book to describe the occurring situation. Shelley's addition of the poem is very applicable to this point in the story as it reveals the unexpected change throughout time. Victor’s feeling of tranquility is about to be interrupted once he encounters the angry monster he has created. This particular meeting with the monster surely changes Victor’s life forever.

(Works Cited)
"Mutability." Web. 2 Aug. 2009. http://www.english.upenn.edu/Projects/knarf/V2notes/mutabili.html.

(Photo Credit)
Portrait of Percy Shelley by Curran, 1819. Photograph. Wikipedia. Web. 13 Sept. 2009. http://en.wikipedia.org/wiki/File:Portrait_of_Percy_Bysshe_Shelley_by_Curran,_1819.jpg.

Frankenstein 5

• “I contemplated the lake: the waters were placid; all around was calm; and the snowy mountains, “the palaces of nature,” were not changed.” (p. 67)

“The palaces of nature” is taken out of Lord Byron’s poem, Childe Harold’s Pilgrimage. The poem describes the travels and reflections of a young man who, disillusioned with a life of pleasure, looks for distraction in foreign lands. Shelley easily relates Victor’s character to the description of this poem, as he often seeks for distraction in nature to soothe his mind from the monster that he has created.

(Works Cited)
"Childe Harold's Pilgrimage." Wikipedia. 29 July 2009. Web. 2 Aug. 2009. http://en.wikipedia.org/wiki/Childe_Harold%27s_Pilgrimage.

(Photo Credit)
Childe Harold's Pilgimage - Dugdale edition. Photograph. Wikipedia. Web. 13 Sept. 2009. http://en.wikipedia.org/wiki/File:Lord_Byron_-_Childe_Harold%27s_Pilgimage_-_Dugdale_edition.jpg.

Frankenstein 4

• “If you were in an ill-humour, one glance from Justine could dissipate it, for the same reason that Ariosto gives concerning the beauty of Angelica.” (p. 58)

Orlando Furioso, a romantic epic poem, was written in 1532 by Ludovico Ariosto. Having fallen in love with the princess Angelica, Orlando turns mad when he finds out she is married. He is intrigued by her beauty, much like Victor is with Justine, the young girl adopted into the Frankenstein family. Shelley illustrates Justine’s beauty as incomparable and fascinating, similar to Angelica in Orlando Furioso.

(Works Cited)
"Orlando Furioso." Wikipedia. Web. 30 Aug. 2009. http://en.wikipedia.org/wiki/Orlando_Furioso.

Frankenstein 3

• “I believe I left him incredulous to the last, for his constant answer to my unwearied entreaties was the same as that of the Dutch schoolmaster in the Vicar of Wakefield: - ‘I have ten thousand florins a year without Greek, I eat heartily without Greek.’” (p. 53)

The Vicar of Wakefield was written in 1766 by the Irish author Oliver Goldsmith. Shelley is comparing Clerval's father to the stubborn schoolmaster in the novel. The school master believes that “if I don’t use Greek and have succeeded, there is no need for it.” Similar to the school master, Clerval’s father is hard to persuade to accept this type of education as he doesn’t find importance for literature and culture. (Clerval’s father believes it necessary to study the “noble art of bookkeeping” p. 53)

(Works Cited)
"The Vicar of Wakefield." Wikipedia. 22 July 2009. Web. 31 July 2009. http://en.wikipedia.org/wiki/The_Vicar_of_Wakefield.

(Photo Credit)
The Vicar of Wakefield. Photograph. Google. Web. 13 Sept. 2009. http://www.atlantiszkiado.hu/file/i1239734170511z9qzaxxl.jpg.

Frankenstein 2

• “My father looked carelessly at the title page of my book, and said, “Ah! Cornelius Agrippa! My dear Victor, do not waste your time upon this; it is sad trash.”” (p. 34)

Cornelius Agrippa was a German magician, occult writer, theologian, astrologer, and alchemist. Agrippa wrote a masterpiece, De occulta philosophia libri tres, regarding his occult thought (supernatural practices and techniques). In this excerpt, Shelley intends for Victor's father to think that Victors interest in Agrippa’s work is foolish because occult philosophy and practicing magic seem absurd.

(Works Cited)
"Heinrich Cornelius Agrippa." Absolute Astronomy. Web. 31 July 2009. http://www.absoluteastronomy.com/topics/Heinrich_Cornelius_Agrippa#encyclopedia.

(Photo Credit)

Photograph. Cornelius Agrippa. Web. 13 Sept. 2009. http://www.katinkahesselink.net/his/agrippa.html.

Frankenstein 1

• “I loved my brothers, Elizabeth, and Clerval; these were “old familiar faces;” but I believed myself totally unfitted for the company of strangers.” (p. 40)

Old Familiar Faces was written in 1798 by Charles Lamb, an English writer. Lamb was a romantic poet as well as an accomplished essayist, literary critic and letter writer. Lamb became friends with young writers who favored political reform - one including Percy Shelley, Mary Shelley’s husband. In this excerpt, Shelley reveals that the work Victor is about to endure is too extreme and foreign for his friend and family members to be associated with. Victor’s future experiences and family connections would have to be separate relationships.

(Works Cited)
"Charles Lamb." Old Poetry. Web. 31 July 2009. http://oldpoetry.com/oauthor/show/Charles_Lamb.

(Works Cited & Photo Credit)
"Charles Lamb." Poets' Graves. Aug. 2003. Web. 31 July 2009. http://www.poetsgraves.co.uk/lamb.htm.