The abstract graffiti takes the classic Frankenstein to a whole new level of comprehension. Few, simple colors are used to portray the feelings of the monster. His face is a cold white, with his features a bottomless black. Seeping out of these dreary features is a green and blue expression of feeling. Streaks of a harsh red pour from his hurting eyes, polluting and blending with the calm green. This harsh feeling represented by such little streaks speaks his tale of torment to anyone willing to listen.
http://www.youtube.com/watch?feature=player_embedded&v=0thH3qnHTbI
This song is probably the most famous known monster song. At one end this song is a cute little Halloween song played during the month of October. On the other end the song speaks of darker things like Dracula out of his coffin at the end and the creature we all know so well... Frankenstein in the beginning starting his new life as the dreaded being little children fear. The song has a catchy little tune but get monotonous after a few chorus's. So many songs have been written or tell about monsters that some of them have passed. But this one is so good and so famous it'll still be playing for many years to come. Super Cute!
Alone
From childhood's hour I have not been
As others were; I have not seen
As others saw; I could not bring
My passions from a common spring.
From the same source I have not taken
My sorrow; I could not awaken
My heart to joy at the same tone;
And all I loved, I loved alone.
Then- in my childhood, in the dawn
Of a most stormy life- was drawn
From every depth of good and ill
The mystery which binds me still:
From the torrent, or the fountain,
From the red cliff of the mountain,
From the sun that round me rolled
In its autumn tint of gold,
From the lightning in the sky
As it passed me flying by,
From the thunder and the storm,
And the cloud that took the form
(When the rest of Heaven was blue)
Of a demon in my view.
-Edgar Allan Poe
This poem, as can be gauged by its title, shares the theme of isolation as an enemy with Mary Shelley’s Frankenstein. The narrator describes his childhood and how he was unable to look at life similarly to the other children. He was misunderstood because others did not think about things in the same way as him. The poem begins with a melancholy tone and proceeds to describe glorious images of nature, relating to the Romantic movement; however, these scenes are overcome by the caliginosity of some eminent demon that disrupts his life. This “demon” represents the narrator’s loneliness and once again makes isolation come across as an opposing and cruel force. The ending of the poem is slower than the middle and sounds slightly acquiescing, as though he is at last giving in to his loneliness, or at least admitting that it is there and inescapable. The poem uses descriptions that seem to fit the author’s internal thoughts and emotions and make it harder for the reader to connect with him, proving that even in his written expressions, the poet is still alone.
PROMETHEUS
by: George Gordon (Lord) Byron (1788-1824)
TITAN! to whose immortal eyes The sufferings of mortality, Seen in their sad reality, Were not as things that gods despise; What was thy pity's recompense? A silent suffering, and intense; The rock, the vulture, and the chain, All that the proud can feel of pain, The agony they do not show, The suffocating sense of woe, Which speaks but in its loneliness, And then is jealous lest the sky Should have a listener, nor will sigh Until its voice is echoless. Titan! to thee the strife was given Between the suffering and the will, Which torture where they cannot kill; And the inexorable Heaven, And the deaf tyranny of Fate, The ruling principle of Hate, Which for its pleasure doth create The things it may annihilate, Refus'd thee even the boon to die: The wretched gift Eternity Was thine--and thou hast borne it well. All that the Thunderer wrung from thee Was but the menace which flung back On him the torments of thy rack; The fate thou didst so well foresee, But would not to appease him tell; And in thy Silence was his Sentence, And in his Soul a vain repentance, And evil dread so ill dissembled, That in his hand the lightnings trembled. Thy Godlike crime was to be kind, To render with thy precepts less The sum of human wretchedness, And strengthen Man with his own mind; But baffled as thou wert from high, Still in thy patient energy, In the endurance, and repulse Of thine impenetrable Spirit, Which Earth and Heaven could not convulse, A mighty lesson we inherit: Thou art a symbol and a sign To Mortals of their fate and force; Like thee, Man is in part divine, A troubled stream from a pure source; And Man in portions can foresee His own funereal destiny; His wretchedness, and his resistance, And his sad unallied existence: To which his Spirit may oppose Itself--and equal to all woes, And a firm will, and a deep sense, Which even in torture can descry Its own concenter'd recompense, Triumphant where it dares defy, And making Death a Victory.
This poem also shares a few themes with Mary Shelley’s Frankenstein. The work begins by comparing Prometheus’s suffering for his deed to the temptations and suffering of mortality. Frankenstein had wanted to be the “god” of a new species, but in the end ultimately regrets his desire and is tormented by what he’s done: experiencing the suffering of a creator and mankind’s fear of losing the things that are important to him. The poem also describes Prometheus as being not at all regretful for what he’s done- he will not complain about his position. He is, at least, too proud to admit his offense and thus is isolated; Frankenstein is very much the same way. The second stanza brings up an unyielding Heaven, the cruelty of Fate, and the dominance of hatred. These each had the effect on Prometheus’s sentence, and also each play a part in Frankenstein. Victor is a creator who will not please his monster due to prejudices (an “inexorable Heaven”) and constantly admits to Walton that his fate was sealed (“the deaf tyranny of Fate”), while both he and the creature try to avenge themselves on the other (“ruling principle of Hate”). In Lord Byron’s poem, Zeus is afraid of Prometheus’s defiance, just as Victor is of the monster’s. The third stanza concludes the poem by finally mentioning Prometheus’s crime and adding a new melancholy and darkness to the poem. It states that a lesson can be learned from Prometheus’s experience: man was created by a god and is therefore partly divine, but still cursed to a gloomy destiny. However, defiance to power means a victory- this last part, mentioned in the final lines of the poem, where it slowly winds down, gives that idea that hope is not lost.
The similarities between the music, literery, and artistic aspects of this gothic stlye are very chararistic of the Romantic era in which Frankenstein was written in. Although the book is about a creature and his creator, the underlying aspect is the idea about reflection and emotions. This is what the Romantics were about, but in this particular novel the idea of nature and emotions are the underlying message. In the literature, a more natural goth is used, while in the art a darker sense is used, and in the music it seems that they (and us) like to have fun with the idea of monsters.
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The Re-animator by H.P. Lovecraft is very similar to Frankenstein because the men in it reanimate dead bodies. They have numerous encounters where they bring a dead person back to life but the person is screaming and violent. One incident is when they reanimate a man that goes by the name Halsey. He ends up being very violent and he goes on a cannibal killing spree. He eats 16 people. Other experiments go bad also, causing them to go on killing sprees also. This is all because they wanted to create things that they probably shouldn't have been. It is the opposite of the creature in Frankenstein in that he is misunderstood, conscious, and he's naturally not violent. These creatures like Halsey are unconscious killers.
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