The Great Gatsby Study Guide and Summary

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Frankenstein Study Guide and Summary

Frankenstein By Mary Shelley Study Guide and Summary

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Frankenstein Character List

Victor Frankenstein – The ruined character and narrator of the major part of the story. Understanding in Ingolstadt, Victor understands the technique of lifestyle and brings about a wise but repulsive huge, from whom he recoils in fear. Victor keeps his generation of The Monster a technique, sensation progressively more responsible and humiliated, as he knows how dependent he is to reduce The Monster from damaging his lifestyle and the day-to-day lives of others.

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The Monster – The eight-foot-tall, hideously unsightly generation of Victor Frankenstein. Intelligent and susceptible, The Monster efforts to incorporate himself into human being sociable styles, but all who see him avoid him. His sensation of abandonment forces him to search for vengeance against his designer.

Robert Walton – The Arctic seafarer whose characters make Frankenstein. Walton selections the bedraggled Victor Frankenstein up off the ice, assists doctor him rear again to wellness, and understands Victor’s story. His information the amazing story in a line of characters dealt with to his sibling, Maggie Saville, in Britain.

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Alphonse Frankenstein – Victor’s dad, very considerate toward his son. Alphonse units Victor in times of suffering and motivates him to consider the significance of family.

Elizabeth Lavenza – An orphan, four to five years fresh than Victor, whom the Frankenstein’s take up. In the 1818 variation of the novel, Electronic is Victor’s relation, the kid of Alphonse Frankenstein’s sibling. In the 1831 variation, Victor’s mom saves Electronic from a destitute peasant holiday cottage in Italia. Electronic represents the novel’s style of inactive women, as she stays with patience for Victor’s interest.

Henry Clerval – Victor’s boyhood companion, who medical professionals Victor rear again to wellness in Ingolstadt. After working unhappily for his dad, Mom starts to adhere to along with in Victor’s actions as a researcher. His cheerfulness displays Victor’s moroseness.

Bill Frankenstein – Victor’s newest sister and the favorite of the Frankenstein family. The Monster strangles Bill in the wood outside Geneva in order to harm Victor for breaking him. William’s passing greatly saddens Victor and problems him with enormous shame about having designed The Monster.

Justine Moritz – A fresh woman used into the Frankenstein family while Victor is increasing up. Justine is attributed and carried out for William is hard, which actually dedicated by The Monster.

Caroline Beaufort – The kid of Beaufort. After her dad is passing, Caroline is taken in by, and later marries, Alphonse Frankenstein. She passes away of scarlet nausea, which she agreements from Electronic, just before Victor simply leaves for Ingolstadt at age 18.

Beaufort – A business and companion of Victor’s father; the dad of Caroline Beaufort.

Peasants – A category of peasants, together with a shades old man, De Lacey; his son and kid, Felix and Agatha; and an overseas person called Safie. The Monster understands how to discuss and work together by following them. When he explains himself to them, wanting for relationship, they defeat him and adhere to him away.

M. Waldman – The lecturer of biochemistry who leads to Victor’s desire in research. He dismisses the alchemists’ results as misguided but sympathizes with Victor’s desire in a research that can describe the “big concerns,” such as the beginning of lifestyle.

M. Krempe – A lecturer of all-natural beliefs at Ingolstadt. He dismisses Victor’s research of the alchemists as spent time and motivates him to start his research over.

Mr. Kirwin – The justice of the peace who accuses Victor of Henry is hard.


Frankenstein Analysis of Major Characters

Victor Frankenstein

History of the life of Victor Frankenstein is the heart of Frankenstein. A child in Switzerland grew up in Geneva reading the works of ancient and outdated alchemists, a background that is sick, when he attended the University of Ingolstadt. There he learned of modern science and in a few years, teachers of all that their teachers have to teach him. He fascinated by the “secret of life,” he discovered, and brings a hideous monster to life. The monster proceeds to kill the younger brother’s best friend Victor and his wife, he also indirectly causes the death of two innocents, including Victor’s father. Though torn by remorse, shame and guilt, Victor refuses to admit to anyone the horror of what he created, and see the consequences of his creative act spiraling out of control.

Victor changes over a young man fascinated by the novel perspectives innocent of science into a disillusioned man, guilty, determined to destroy the fruits of his arrogant scientific attempt. Whether because of his wish to reach the divine power of creating a new life or his rejection of the public arena in which science usually done, Victor doomed by a lack of humanity. This is the World Cup and, finally, fully committed to the obsession of revenge on the monster animal.

At the end of the novel, having chased his creation ever to the north, Victor tells his story to Robert Walton and then dies. The company’s product portfolio includes a series of narrators, and so many different perspectives, the novel leaves the reader with the color contrast interpretations of Victor: classic mad scientist, breaking all boundaries without concern, or a reckless adventurer, unexplored countries scientific, held responsible for the consequences of his explorations.


The Monster

The monster is the creation of Victor Frankenstein, assembled from old body parts and strange chemicals, animated by a mysterious spark. It takes life to eight feet high and mighty, but with the head of a newborn. Abandoned by his creator and confused, he tries to integrate into society, only escaped the universal. Looking in the mirror, he is aware of its grotesque physical aspect of his personality that blinds society to his initially gentle, kind nature. Seeking revenge against his Creator, he kills Victor’s younger brother. After Victor destroys, his work on the female monster meant to ease the loneliness of the monster, the monster’s best friend and murder of Victor and his new wife.

While Victor feels the absolute hatred of his creation, the monster shows that it is purely evil. Monster eloquent narration of events (as always by Victor) reveals his remarkable sensitivity and benevolence. Attend a group of poor peasants and saves a girl from drowning, but because of its appearance, rewarded only with beatings and disgust. Torn between the desire for revenge and compassion, the monster ends up lonely and tormented by remorse. Even the death of its creator became self-destructive offers only bittersweet relief: joy because Victor has caused so much suffering, sadness because Victor is the only person that had a relationship.


Robert Walton

Letters Walton to his sister forms a frame around the main narrative, tragic story of Victor Frankenstein. Walton captains’ North Pole-bound ship trapped between the ice sheets. While waiting for the ice to melt, he and his crew take Victor, weak and emaciated from his long chase after the monster. Victor gets a little ‘, Walton tells the story of his life, and then dies. Walton regrets the death of a man with whom he felt strong and meaningful friendships are starting to form.

Walton serves as conduit through which the reader hears the story of Victor and his monster. Also plays a role that parallels Victor in many ways. Like Victor, Walton is an explorer, chasing “the land of eternal light” knowledge without a teacher. The influence of Victor on him is paradoxical: one moment he exhorts men near Walton rebels to keep the way with courage, in defiance of danger, the next day he acts like a pathetic example of the dangers of heedless scientific ambition. In its final decision to end his pursuit treacherous, serving as a foil Walton (someone whose traits or actions contrast with the increase and by another character) to Victor, or obsessive enough to risk death and almost certainly not brave enough to let his passion for the ride.


Frankenstein Themes, Motifs & Symbol


Life, Brain, and Existence

As Winner is the designer of his huge, this plan immediately product recalls the greater significance of our being situation and the marriage between man and God. The marriage between Winner and the huge increases many concerns about the indicating of human beings and lifetime. If the huge is a present day Adam, then it becomes distinct that man is alone in a galaxy with an unsociable God, that the full world delivers problems even to the soothing and good. Men are not blessed nasty, yet created nasty by the precondition on the planet creates people nasty. If the huge is the decreased angel of Heaven Dropped, and if Winner is the self-sacrificing God, then the written word demands a whole different choice of concerns. In this circumstances, nasty prevents being nasty. The huge instead is someone with whom we sympathize and whom we recognize. Further, designs have fee will, and that totally freedom go over the range of the creator’s thoughts. This creates the act of generation a naturally risky and even risky act, for the designer but also the full people. From here, we must problem who is the real leading man and who is the bad guy when we consider the huge in regard to Winner.

Risky Knowledge

The search of information is at the center of Frankenstein, as Winner efforts to increase beyond recognized human being restrictions and accessibility the technique of life. Also, John Walton efforts to go over past human being search by seeking to arrive at the Northern Post. This questionable search of information, of the light (see “Light and Fire”), shows dangerous, as Victor’s act of generation gradually results in the damage of everyone beloved to him, and Walton confirms himself perilously caught between linens of ice. Whereas Victor’s excessive hate of the huge pushes him to his passing, Walton eventually attracts back from his dangerous aim, having discovered from Victor’s example how dangerous the hunger for information could be.


Frankenstein is in one feeling the fictional symptoms of an entire population’s worry of medical growth. It assists both as an expression of present times and a caution for the long run. In another feeling, Shelley does not condemn medical research itself, but rather the neglect and neglect of it by unaware or responsible people. Either way, Frankenstein would recommend us to continue but be careful as we always discover and to make.


Obviously, this style pervades the entire novel, as the huge is at the middle of the actions. Eight ft in height and hideously unsightly, the huge declined by community. However, his waist results not only from his repulsive appearance but also from the unpleasant method of his generation, which consists of the deceptive movement of a mix of dropped areas of the body and unusual chemical substances. He is a product not of collaborative medical efforts but of black, great functions.

The huge is only the most literal of a number of huge organizations in the novel, such as the information that Winner used to make the huge (see “Dangerous Knowledge”). One can dispute that Winner himself is a kind of huge, as his aspirations, secrecy, and envy distance him from human being community. Common on the outside, he might be the true “monster” inside, as he is gradually eaten by an excessive hate of his generation. Lastly, many experts have described the novel itself as huge, a stitched-together blend of different comments, word messages, and tenses (see Texts).


In Frankenstein, vengeance becomes the remedy for both Winner and his huge. While these two character types often practice vengeance against each other, they take a place as opposed to other character types that take up the more Religious benefits of transforming the other oral cavity. Yet it is vengeance that eventually gives both Winner and the huge an extended network to the entire world they are wrecking for themselves, and it gives them an extended web link to each other. Revenge becomes an altered way of growing a person being connection with another person.


Victor conceives of medical research as a thriller probed; its techniques, once found, must be jealously secured. He thinks about M. Krempe, the all-natural thinker he fulfills at Ingolstadt, a style scientist: “an uncouth man, but greatly imbued in the techniques of his medical research.” Victor’s entire attraction with developing daily normal life surrounded in secrecy, and his attraction with wrecking the huge is still likewise technique until Walton learns his story.

Whereas Winner goes on in his secrecy out of waste and waste, the huge required into privacy by his repulsive appearance. Walton assists as one more confessor for both, and their terrible marriage becomes immortalized in Walton’s characters. In admitting all just before he passes away, Winner destinations the mesmerizing secrecy that has damaged his life; also, the huge uses Walton’s existence to create a person being network, wanting really that at last someone will recognize, and sympathise with, his unpleasant lifetime.

Language and Communication

Frankenstein is entire of concerns of network and expressions. The story itself designed as a story within a story within a story. Letters kind the structure for personal stories. Communication itself is a point of thinking. Language is how we name the entire world. Yet the huge has no name. He does not fit into the entire world. There is no way to add of him, so he does not get a brand. We can not name him “hero” or “villain”, and Winner can not name him at all. Victor’s name, however, is interesting. He is anything but a victor. Yet his name strongly results in him in certain practices. The name is an allusion to Heaven Lost, aiming him with the number of God “The Victor”. In addition, the monster’s arriving into being developed once he develops a expressions. He angered into legal functions because of expressions, but he also comes to recognize his great characteristics because of it. Language improvements his capabilities for both great and nasty. One does not drop the other. Language at once gives and requires away his people.


Elements are regular components, contrasts, and fictional products that can help to build and tell the text’s key styles.

Passive Women

For a novel published by the child of an important feminist, Frankenstein is specifically without powerful women character types. The novel is full of wit inactive women who experience comfortably and then expire: Caroline Beaufort is a self-sacrificing mom who passes away looking after her used daughter; Justine carried out for hard, despite her innocence; the generation of the women huge aborted by Winner because he concerns being incapable to control her measures once she animated; Electronic stays, eager but dependent, for Winner to come back to her, and she is gradually killed by the huge. One can dispute that Shelley makes her lady’s character types so inactive and subject them to such ill-treatment to call attention to the excessive and risky habits that Winner and the huge present.

The style of abortion recurs as both Winner and the huge communicate their feeling of the monster’s hideousness. About first seeing his generation, Winner says: “When I thought of him, I gnashed my tooth, my little brown eyes became infected, and I ardently thought to extinguish that lifestyle which I had so without consideration made.” The huge believes a similar dislike for himself: “I, the unpleasant and the empty, am an abortion, to be spurned at, and quit, and trampled on.” Both lament the monster’s lifetime and wish that Winner had never interested in his act of generation.

The style seems to be also in respect to Victor’s other activities. When Winner eliminates his work on a women huge, he basically abort his act of generation, avoiding the women huge from arriving in existence. Figurative abortion materializes in Victor’s information of all-natural philosophy: “I at once offered up my former occupations; set down all-natural historical past and all its progeny as a disfigured and abortive creation; and busy the biggest contempt for a would-be medical research, which could never even step within the limit of real information.” As with the huge, Winner becomes disappointed with all-natural beliefs and shuns it not only as unhelpful but also as intellectually repulsive.


Light and Fire

“What could not be estimated in the region of long-lasting light?” demands Walton, showing a trust in, and aspiration about, medical research. In Frankenstein, light-weight represents information, development, and enlightenment. The all-natural entire world is a place of black techniques, disguised. phrases, and unfamiliar mechanisms; the aim of the researchers is then to arrive at light-weight. The risky and more extremely effective relation of light-weight is fireplace. The monster’s first experience with a still-smoldering marriage explains the double characteristics of fire: he understands consistently that it results in light-weight in the night of the night, but also that it damages him when he variations it.

The existence of fireplace in the published word also delivers to mind the entire subject of Shelley’s novel, Frankenstein: or, The Present day Prometheus. The Ancient god Prometheus offered the information of fireplace to people and was then greatly tried for it. Winner, seeking to become today’s Prometheus, is certainly tried, but as opposed to fireplace, his “gift” to humanity—knowledge of the technique of life—remains a technique.


Frankenstein Context

In 1816, a young well-educated in England traveled with her lover in the Swiss Alps. Outside the rainy season remain trapped in their homes, where they entertain themselves by reading ghost stories. At the request of the famous poet Lord Byron, a friend and neighbor, who put his pen to paper, competing to see who could write the best ghost story. The young woman, Mary Wollstonecraft Godwin, won after a scary story not only made enough to take its place along the old German story that she and her companions were playing downhill, but also to become a best-seller in its time and a still resonates with readers almost two centuries later.

Mary Wollstonecraft Godwin was born August 30, 1797 in London, the great literary stock. Her mother, Mary Wollstonecraft, the author of a claim of women’s rights, a feminist tract encouraging women to think and act for themselves. Wollstonecraft died giving birth to Mary and left her daughter in the care of her husband, William Godwin, a member of a group of radical thinkers in England were Thomas Paine and William Blake among its ranks. Education of Mary in this rarefied atmosphere exposed her at an early age to revolutionary ideas, and has forged relationships useful for her to such notables as Lord Byron.

Writing in the 18th century, Mary Wollstonecra...
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Other genres that Mary met as a teenager was Percy Bysshe Shelley, poet young and attractive. Sparks, and in 1814 ran away together for a tour in France, Switzerland and Germany Marie-escape from his family and wife of Percy. Initially happy, their relationship soon under pressure. Relationship with Mary Percy fluctuated with the requirements of his wife, Harriet, meanwhile, took care of Mary with another man. Despite these distractions, the relationship lasted and finally formalized in scandalous circumstances: Harriet, pregnant with Percy drowned in London in November 1816, Mary and Percy married weeks later.

Union between Mary and Percy was not only romantic but also literary. Percy Annotated Frankenstein and Mary is commonly supposed to have written the preface under his name. Frankenstein published January 1, 1818 and became an immediate bestseller. Unfortunately for Mary, this success was only positive in the midst of a series of tragedies. From 1815 to 1819, died three of his four young children, in 1822, Percy drowned off the coast of Tuscany, leaving a widow and single mother of Mary. Mary turned to her husband’s poetry and prose, editing and publishing his poems in 1824 and his posthumous works of poetry and Letters in 1839. She spent the rest of his time on his own writing, editing Valperga in 1823, The Last Man in 1826, the fortunes of Perkin Warbeck in 1830, Lodore in 1835 and 1837 Falkner. A serious illness plagued Mary, and she died in London in February 1851.