Imagery

Imagery: Gothic

The term 'imagery' has a vast number of meanings, and can incorporate various literary devices such as simile and metaphor. It is not limited to a visual response, authors also use auditory and tactile imagery.

Imagery of genres

Different genres have associated types of imagery, such as:
- Gothic imagery, which creates a dreary, dark atmosphere.
- Romantic imagery, which conjures up a sense of the Sublime.
In the novel, Shelley employs vivid and descriptive language in order to allow readers a greater understanding of her meaning.

Chapter 5

“It was on a dreary night of November that I beheld the accomplishment of my toils."
"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.”

Pathetic fallacy

In this piece of Gothic imagery, Shelley uses aspects of the setting to create a dark, troubling mood which links to Victor’s own experiences.
- This technique (of using setting and weather to link to characters’ emotions) can be described as ‘pathetic fallacy’.

Light imagery

Shelley adds to the natural darkness of a “dreary” winter’s evening with the focus on the waning light of Victor’s candle.
As light is often used to represent hope and goodness, the lack of light here encourages the reader to anticipate the awakening of the creation as something horrific and evil.

Other imagery

This is furthered by the description of the creation’s movements as “convulsive”, linking to the notion of sickness and a lack of control.

Imagery: Romantic

Imagery and genre

Different genres have associated types of imagery, such as:
- Gothic imagery, which creates a dreary, dark atmosphere.
- Romantic imagery, which conjures up a sense of the Sublime.
In the novel, Shelley employs vivid and descriptive language in order to allow readers a greater understanding of her meaning.

Volume Two: Chapter 1

“Still, as I ascended higher, the valley assumed a more magnificent and astonishing character."
"Ruined castles hanging on the precipices of piny mountains; the impetuous Arve, and cottages every here and there peeping forth from among the trees, formed a scene of singular beauty."
"But it was augmented and rendered sublime by the mighty Alps, whose white and shining pyramids and domes towered above all, as belonging to another earth, the habitations of another race of beings.”

Man's temporariness

Here, Shelley creates Romantic imagery in which the scenery of the Alps is presented as Sublime.
The focus is on Victor’s isolation and solitude.
- The only aspects of human life he sees are either overshadowed by nature, like the “cottages” which barely “peep” through the forest.
- Or in ruins, like the “castles” which seem to be precariously positioned on cliffs, as if they could fall away at any moment.

Supremacy of nature

Shelley shows Victor’s focus to be on the Alps, which (in contrast to the manmade aspects of the setting) are vast and “mighty”.
The language used emphasises this sense of the supremacy of nature, with “towered” suggesting the physical superiority of the mountains, and “white and shining” perhaps implying a heavenly or Godly power.

Imagery: Decay

Chapter 8

“But I, the true murderer, felt the never-dying worm alive in my bosom, which allowed of no hope or consolation.”
- In this image, Shelley presents the guilt Victor feels during Justine's trial as a physical creature eating away at Victor's insides.

Moral decay

The fact that she chooses to use a worm, a creature often associated with rotting and decomposition, could suggest that (by choosing not to speak up) Victor becomes morally decayed.

Love

Furthermore, the place in which Victor feels this creature is his "bosom", the site of his heart, an organ with connotations of love and care.
The image of the worm feasting here could suggest that it is Victor's capacity to feel love and affection which is being consumed.

1Plot Summaries

1.1Volume I

1.1.1Letters I-IV

1.1.2Chapters 1-3

1.1.3Chapters 4-6

1.1.4Chapters 7-8

1.1.5End of Topic Test - Volume I

1.2Volume II

1.2.1Chapters 1-3

1.2.2Chapters 4-6

1.2.3Chapters 7-9

1.2.4End of Topic Test - Volume II

1.3Volume III

1.3.1Chapters 1-3

1.3.2Chapters 4-6

1.3.3Chapter 7 & Walton in Continuation

1.3.4End of Topic Test - Volume III

2Characters

2.1Victor Frankenstein

2.1.1Role

2.1.2Quotations

2.1.3End of Topic Test - Victor Frankenstein

2.2The Monster

2.2.1Role

2.2.2Quotations

2.2.3End of Topic Test - The Monster

2.2.4Grade 9 - The Monster Question & Extract

2.3Other Characters

2.3.1Robert Walton

2.3.2Elizabeth Lavenza

2.3.3Alphonse Frankenstein

2.3.4Henry Clerval

2.3.5Justine Moritz

2.3.6The De Laceys

2.3.7End of Topic Test - Walton, Elizabeth & Alphonse

2.3.8End of Topic Test - Henry, Justine & the De Laceys

3Key Themes

3.1Ambition & Pursuit of Knowledge

3.1.1Presentation

3.1.2Key Quotations

3.2Prejudice

3.2.1Presentation & Key Quotations

3.3Justice

3.3.1Presentation & Key Quotations

3.3.2End of Topic Test - Ambition, Prejudice & Justice

3.4Companionship & Family

3.4.1Presentation & Key Quotations

3.5Revenge

3.5.1Presentation & Key Quotations

3.6Monstrosity

3.6.1Presentation

3.6.2Key Quotations

3.7Gender

3.7.1Presentation

3.7.2Key Quotations

3.7.3Key Themes - Companionship, Revenge & More

4Authorial Method

4.1Genre & Intertextuality

4.1.1Genre

4.1.2Intertextuality

4.1.3End of Topic Test - Genre & Intertextuality

4.2Form & Structure

4.2.1Form

4.2.2Structure

4.3Settings & Symbolism

4.3.1Settings

4.3.2Symbolism

4.4Imagery & Doubling

4.4.1Imagery

4.4.2Doubling

4.4.3End of Topic Test - Structure, Settings & More

5Context

5.1Context

5.1.1Mary Shelley

5.1.2Time of Writing

5.1.3End of Topic Test - Context

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