This influences Shelley as reflected when Frankenstein describes how the "Morning, dismal and wet, at length dawned.” (Shelley 42). She utilized the Arctic and Lake Geneva to depict the unwelcoming, inhospitable environments that helped shape the gloom and despair felt by the characters she wrote about. Shakespeare’s play, The Tempest’sinfluence on Shelley was significant, and it was part ofthe reason her Gothic novel is also an enduring, popular work. The similar motifs and elements result in rich characters who allow for social commentary on issues important to the authors. TheTempestled the way with its uncanny universe and Shelley capitalized on this in creating her own uncanny, dark, destructive Gothic work. Prospero’s initial hatred and desire for revenge is
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Surname 6reflected in Frankenstein’s hatred of what he created. Caliban and Frankenstein’s monster share inhuman physical characteristics and monstrous attributes. They also share commonalities in learning language, although they differ in how they regard it. Caliban’s desire for autonomy and independence is countered by the monster’s desire for companionship and acceptance. Notwithstanding the differences, it is clear that Shelley was influenced by Shakespeare’s play in her development of the monster. His influence led to the creation of settings, themes and characters Shelley uses to explore ideas about the power of nature and make sociopolitical criticisms.
Surname 7Works Cited"William Shakespeare: The Life and Legacy of England’s Bard." BBC. 2016. Web. 26 October. 2018.Dabundo, Laura. Encyclopedia of Romanticism : Culture in Britain, 1780s-1830s. New York; London: Garland, 1992. Web. 26 October. 2018.De Quincey, Thomas. Essays. London: Ward, Lock and co. 1886. 2013. Web. 26 October. 2018.Escudero, Andrew Mario. "Exhuming Caliban : Gothic and Madness in Late Twentieth and Twenty-first - Century Caribbean Literary Fictions." 2012. Web. 26 October. 2018.Frintner, Carley. "Lonely Madness: The Effects of Solitary Confinement and Social Isolation on Mental and Emotional Health." Web log post. May 2005. Web. 26 October. 2018.Hirst, Derek. ‘‘Text, Time, and the Pursuit of ‘British Identities’.’’ British Identities and English Renaissance Literature. Ed. David J. Baker and Willy Maley. Cambridge: Cambridge UP, 2002. Web. 26 October. 2018.Journals of Mary Shelley, 1814-1844. Oxford: Clarendon Press, 1987. Print.Shakespeare, William. The Tempest: A Norton Critical Edition. Ed. Peter Hulme and William H. Sherman. New York: W.W. Norton, 2004. Print.Shelley, Mary. Frankenstein, or the Modern Prometheus. 1818. Rev. ed. 1831. London: Penguin Classics, 2003. Web. 26 October. 2018.Tomaselli, Sylvana. "Mary Wollstonecraft." Stanford University, 2014. Web. 26 October. 2018.Vlasopolos, Anca. “Frankenstein's Hidden Skeleton: The Psycho-politics of Oppression (le Squelette Caché De Frankenstein: La Psycho-politique De Poppression)”. Science FictionStudies 10.2 (1983): 125–136. Web. 26 October. 2018.Wilson-Okamura, D. S. "Virgilian Models of Colonization in Shakespeare's Tempest." ELH 70.3 (2003): 709-737. Project MUSE. Web. 26 October. 2018.
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