Paradise Lost And Frankenstein Theology Religion Essay

Paradise Lost And Frankenstein Theology Religion Essay Despite being written more than a century apart, Paradise Lost and Frankenstein, share the idea of individuals limitations. As classic science fictions, both books seek to express individuals over the control of a higher authority. In Paradise Lost, John Milton, questions the religious idea of predestination that says every individuals life is perfectly designed by God, and therefore one should happily accept his or her identity. During the 18th century, England empowered churches and priests as messengers of God, and Milton despised the corruption and injustice he saw in these Catholic churches. Through Paradise Lost, Milton celebrates individuals who challenge a higher authority and are willing to shape their own identity. Under the influence of John Milton, Mary Shelley wrote Frankenstein in 1818 in which people are armed with science technology to challenge authority of nature or God. Although both books celebrate protagonists strong will to search and shape their identity, the b ooks still reflect the authors concerns that individuals cannot actually shape their identity that had been already determined by predestination or a higher authority. In Paradise Lost, although Satan declares a revenge on God by ruining his plan on humanity, God always has Satan under his eyes and has authority to trump anything Satan has done. Unlike Satan, the creature in Frankenstein is not always under control or watch by his creator, Victor, but ultimately fails to change his identity of being a monster regardless of how hard he tries to be like a human being. As these books assert the existence of a God or creator, the books depict that individuals in any part of human history cannot shape their authentic identity given by a higher authority because although characters who perceived predetermination attempts to change it by doing what they can do the best, the predestined identity and fate remain still regardless of their best attempts. Although Satan is known for his evilness, his evil identity is conspicuously designed by Miltons God who eliminates all Satans choices except committing sins. In Miltons Paradise Lost, God is the most authoritative figure and often expressed as the will of whole universe. Satan, who desires to escape from God, has to make a false vision in order to reject the influence from God. After his fall from heaven, Satan made a speech to gather and encourage his fellow-demons. During his speech, Satan suggests that it is tyrannical for the  Son to rule over the angels, because the angels are self-begot, self-raisd / By our own quickning power (5.860-61). This is first deception Satan creates to cancel the fact that God is the creator of all angels. This false expression indicates while Satan knows he is ruled by God, he pretends to be out of Gods influence. Swayed by this false sophistry, the demons, and even Satan himself are deluded to believe the false belief. Miltons God does not taking their strengths when defeated. Giving hope that Satan and devils still have chance to overcome God, God rather prevents devils from repenting and receiving forgiveness. By choosing to follow Satans false reasoning, the rebel angels lose all choice in whether they will repent to return to Heaven, and perhaps do not even realize that they are given a chance of repentance. Under Gods machination, they do not have choice because Gods false hope makes them chose to have no choice, but commit sins. The demons wills are not conquered by God but instead their wills are voluntarily surrendered to Him. Satans false claiming that the angels are self-created further deprives Satans will by making him a creator of sort that his creation is a privation. Sin is his self-begotten creation, and with Death, they compose an unholy, sinful trinity. With Sin and Death, Satan, as an inversion of God, is prevented from creating anything good and allowed to create only Miserie, uncreated till the crime (6 .268-69). As Satans choice to be good is initially limited by God and evilness is what Satan is entirely composed of by his false claim, the destiny of Satan is already shaped to be nothing but evil. Despite the fact that Satan is limited by careful designs of God, he still shows a sign of independence by using material objects to support him. Raphael explains to Adam and Even that Gods creations are more refined, more spirituous, and pure, / as nearer to him placed or nearer tending (5.475-476). If Raphael is true, then conversely, Satan must become less refined, spirituous, and pure once Satan turns away from God. However, in the hell, Satan is still ambitious and willing to challenge against   God with his spear and shield. As Satan takes his material arms in a war against God, these weapons are symbols of Satans unconquerable will against Gods will. Using his spear as a crutch to support [his] uneasy steps, as he moves around in hell, Satan, instead of returning to God and seeking for forgiveness, puts his faith in his material things (1.295). Falling with his weapons in hell, Satan never loses faith that his unconquerable will is capable of contravening Gods will. Satans unconquerable will to interrupt Gods plan is also highlighted when Satan enters Eden as a cormorant and wolf and approaches to Adam and Eve first as a lion, tiger, then as a serpent (4.402-08). The change of Satans physical appearance might indicate that Satan is actually being less refined, spirituous, and pure as he turns more against God. However, it also signifies that despite the insignificant physical shape of Satan, he does accomplish his own goal of corrupting Adam and Eve. In addition, Miltons God is omniscient, knowing all that happens and all that will happen, but consequently, God can be seen as tyrannical and cruel in not preventing evil. The success of Satans mission might reflect that God allows Satan to execute his free-will of ruining Gods plans. However, Satans belief in freewill is rather a delusion that he cannot act apart from God and all acts he performs serve Gods service. When Satan returns to hell after corrupting Adam and Eve, he does not receive victory cheers. Instead, he hears a universal hiss as he and his fellow devils transform into serpents. Punished by God, Satan receives punish in the shape he sind, and the rest of the rebels are like in punishment, / As in thir crime (10.516, 544-5). The punishment of this group of sinners reflects that as a poetic justice, Gods justice dispenses punishments that are appropriate to the crimes they committed. The punishment by God further suggests that the rebels punishments are fitting as they choose to be governed by Satan and refuse to be governed by God. The fact that God punished them for their decision indicates that although their actions seem free from God, the result of their actions, the poetic justice, is always held by God. In this sense, a demon gets what he wil ls, but having his will accomplished is always followed by a punishment because what he wills falls short of Gods will. Another instance that Satans freewill actually does not exist is Miltons description of Satan through Paradise Lost. Milton began his epic with pseudo-heroic size of Satan as that of Typhon or Leviathan (1.201). Although Satan is a fallen angel, Milton left his majesty and glory as archangel to provide God with a worthy adversary. However, all the appearances he takes on after fall lesson this angelic nobility; he transforms into a cormorant, lion tiger, toad, and at last serpent. As Satan chooses to appear baser as time progresses, there is gradual decrease in a sinful wills power. His transformation displays an unregenerate aspect of the sinner. Satan did will to be a serpent, and his followers willed for him to corrupt Adam and Eve. However, once they commit sins, their wills are slavishly subjected to the sin that there is no chance of way-out from the sin. Thus, they repeat their sins involuntarily, reminding the results of devils decision to have no choice. Ultimately, the poet shows the abysmal fate of Satan that his will is annihilated as one becomes further enveloped in sin, for his will cannot be redirected from sin after God prevents him from being good. With all these careful plans by God, God not only has the power to trump what Satan uses evil actions of Satan as a part of his plan. By the end of the book, Raphael opens the idea of the fortunate fall, that the corruption of Adam and Eve is also in a way an act that brings more goodness to creation, for it leads to the coming of the Messiah who makes evil turn to good (12.471). Although Satan initially attempts to corrupt Adam and Eve to create evil and disorder in the universe, his will of creating evil actually falls under Gods plan of salvation for humanity. Therefore, when it comes to Satans proud action, it is really Gods will being done, not his, though Satan never realizes this fact. Finally, Satans belief in free-will is rather a delusion that he cannot act apart from God since all acts are performed in Gods service. Satan is rather a very tragic figure whose actions against God in exchange of his own punishments are actually used to serve Gods plans. While Miltons God is almost impossible to overcome, in Frankenstein, the creature seems to have more control over his situations. However, the creature, too, falls to the victim of predetermination by his creator, Victor. Since the time of being created by Victor, the creature is rejected by his creator and world and does not seem to have a place in the world. Since the beginning of his life, the creature is be already abandoned before he knows anything about the world he enters. When the creature muttered some inarticulate sounds, and his hand was stretched out to his creator, Victor refuses to listen and escapes the laboratory (59). In this scene, the creature is portrayed like a baby, who cannot speak a word, but stretch his hands to father for a protection. The rejection by his creator, Victor, indicates that there is already a gap between the actual creature and the imagined creature by the creator. This gap, which the creature does not perceive yet, already reflects the creature as unwanted life and abortion from Victor and his world. Victors first idea of creation and rebirth is somewhat ideal and beautiful, an art work only allowed to God. When Victor with knowledge of science created a life, the created life is rather false and ugly, pointing out that peoples imaginations that sound really appealing can be horrific when brought to the world. The rejection of Victor is therefore significant that the monster is not only rejected by his deformed physicality but also rejected by the fact that he is a resemble of false, imaginative ideas that must only stay in unreal world, in peoples imaginations. In this Mary Shelleys world of science fiction, the creature is able to be brought to the real world with scientific imagination, but since the creature is a false product of scientific imagination, he has no place to belong in the world. The creature is an outlier in the world and cannot shape his identity because his identity is free to be changed only in unreal world and in imagination of Victor. The view of the creature as the unwanted becomes more evident as the creature makes inarticulate sounds like a baby to communicate with his creator. Victors refusal to understand or co mmunicate with the creature suggests that the creatures link with Victor, which is the only connection the creature is born with, can easily fall apart, leaving the creature with no connection to the world, and therefore isolating him from the real world. Regardless of the creature is able to perceive or not, there is again a gap or loss of connection between the creature and the world. In addition to Victors rejection, even the nature of the real world seems to reject the creature. When the narrative is turned to the creature, he describes his experience of first entering the world: The light became more and more oppressive to me; I sought a place where I could receive shade (105). In Frankenstein, light is often a symbol of virtue and life which people use it to celebrate a new birth or goodness. The creature, however, finds more comfort in darkness than light, evidence that he does not seem to fit into the world. Light is rather a torture or discomfort for him that nature does not welcome him for entering the world. As the creature is rejected both in terms of nurture and nature, he clearly does not belong to the world. The idea that the creature does not belong to the world continues even after the creature becomes conscious of his surroundings. After gaining knowledge and human sense, the creature realizes that Satan had his companions, fellow-devils, to admire and encourage him, but [he] is solitary and abhorred (133). The creatures attempts for self-extension, for connection with community do not seem to work at all; as Satan has evilness to have fellow devils and belong to hell, the creature has labeled identity of a monster to belong to its category. It is a tragic irony that while ones original identity guides one to ones original community, there is no such thing as original community for the creature, who does not initially belong to the world. For the creature, the chance of belonging to this world is never given because it is Victor and society that attributes his labeled identity, forcing him to belong somewhere else. Despite his initial rejection from his creator and the world, the creature develops hope to be part of community. Without help of his creator, the creature educates himself to be closer to humankind. The creatures desire to be accepted and assimilated is apparent when he speaks his feelings toward cottagers: The more I saw of them, the greater became my desire to claim their protection and kindnessà ¢Ã¢â€š ¬Ã‚ ¦ to see their sweet looks directed towards me with affection was the utmost limit of my ambition (134). His desire to be a part of the cottagers lives, to have them accept and love him, illustrates a tangible connection felt between the creature and the rest of the humanity. The creature goes on to say I required kindness and sympathy; but I did not believe myself unworthy of it (134). The creature believes himself capable and even worthy of both emotional and psychological reciprocation and by extension, capable of existing in harmony with the rest of humankind. The creature confirms his belief by educating himself, showing that at least there is an opportunity for him to assimilate to the morals and ethics of humankind. The product of his self-education seems fruitful when the creature talks with Victor persuasively: my food is not that of man; I do not destroy the lamb and the kid to glut my appetite; acorns and berries afford me sufficient nourishment (148). Without the teaching from his creator, the creature is able to discern moral right and wrong. The creature is able to form his own code of behavior on example and the behavior he views from others despite the lack of formal education. This is notable that his instinctive sense of morality comes without any help of creator, and although his morality is not inborn, it is obtainable by the creature. Further knowledge on virtue and vice is given to the creature through the books: I read of men concerned in public affairs governing or massacring their species. I felt the greatest ardor for virtue ris e within me, and abhorrence for vice (131). The presence of a creator is again absent from his education, yet he is capable of developing a thoroughly structured sense of morality and ethics. His ardor for virtue and abhorrence for vice is a basis for strong intellectual development, as well as, being skillful in human relations, the end goal of the creatures self-education. His capability of changing himself by learning indicates that the creature is not an incommunicable evil monster by inherent constitution. He is rather born unformed without any shaped identity. Therefore, as he absorbs the characteristics of humans, he feels to be closer to mankind. Despite the creatures effort to be closer to mankind, his constructed inner-personality is easily overridden by his deformity, and ultimately cannot depart from predetermination by his creator, Victor. The fall of his inner-personality occurs when the creature is shot by a boy after the creature saves a girl. The feelings of kindness and gentleness which I had entertained but a few moments before, gave place to hellish rage and gnashing of teeth. Inflamed by pain, I vowed eternal hatred and vengeance to all mankind (143). The sudden turnover of creatures personality from kindness and gentleness to hatred and vengeance suggests how easily his constructed virtue and inner-personality to be a person can be replaced as if his efforts are worthless. Regardless of his efforts in creating his inner-personal identity, the labeled physical monstrosity overlaps his self-construction and even brings him back to his initial status, a rejected and isolated life from the world. The insignificance of his self-education becomes more apparent when Victor replays his rejection to the creature: Begone! I will not hear you. There can be no community between you and me (103). The repetition of Victors rejection is evidence that there is not much change in the creatures connection to the world after his self-education. Although the creature learns the value of virtue and community, Victor denies the creatures needs when he insists that there is no community. As the creatures efforts turn out to be futile, the creator, Victor, seems to be the only one who can save the creature from misery. Even though the creature renounces all his virtue and passion to revenge on Victor after destroying his mate, Victors death, the loss of creator, does not allow him to be independent from misery: in his murder my crimes are consummated; the miserable series of my being is wound to its close (221). While Victor is the creatures source of agony, Victor has been the only relationship he actually has i n the world. The death of Victor represents the loss of core link between the creature and the world, which allows him at least to stay in the world. His demise, in fact, brings the complete isolation of the creature in the world and therefore his own annihilation in the world. The classic science fictions reflect that overcoming the creator or a higher authority is near impossible, and even if one defeats ones creator, what left is ones self-annihilation because one is directly connected with the creator. The scientific imaginations from classic science fiction do not provide actual freedom or extension of independence beyond the limit of the world. In classic science fictions, the freedom of imagination rather brings down the individual by imagining a higher authority in form of supernatural. Therefore, at the time of classic science fiction, the ideas of science fiction are powerful tool to erase existing boundaries in oneself, but seem to paralyze one by giving new boundaries, that are taller than the old boundaries.

Existentialism :: essays research papers

Existentialism has been defined as a philosophical movement or tendency, emphasizing individual existence, freedom and choice that influences many diverse writers in the 19th and 20th centuries. The philosophical term existentialism came from Jean Paul Sartre, a French philosopher. He combined the theories of a select few German philosophers, the phenomenology of Edmund Husserl, the metaphysics of G.W.F. Hegel and Martin Heidegger, and the social theory of Karl Marx. This philosophy became a worldwide movement. One phenomenon of this theory is its proliferation. Since its creation it has remained a part of contemporary thought. One explanation for this is its applicability to contemporary life and society. It focuses on the utter existence of man itself. According to Sartre, a true existentialist believes there is no God and thus man becomes alone with only ourselves as a guide to making the decisions that define our existence. Our existence not only defines, but also must be defined. Subjectivism provides this definition. Subjectivity refers to the radical freedom to choose with or without a God, but also that this radical freedom becomes a responsibility to use or not use. Another definition, provided by Webster’s dictionary defines existentialism as a philosophical movement especially of the 20th century that stresses the individual position as self determining agent responsible for his or her own choices. It becomes very clear through the definitions provided, that existentialism focuses on two things, the individual and choice. Breaking apart the word itself, you come up with another word, exist, to have actual being, and also existent, which is to have existence. The suffix –ism denotes and action or practice. A minimal definition of existentialism might be, an individual practicing his or her right to make choices for him/herself, not communally, during their existence. The acceptance of responsibility for the decisions made must also be a part of this practice since making choices comes with the implication of responsibility. This way of thinking is similar to the teachings of Socrates and his theory of objective reality.

Qualitative Interview on Traits of a Healthy Marriage

Chronister recalled knowing Mr. Rob was â€Å"the one† that night, and Mr. Rob admitted to feeling â€Å"inadequate†¦ ‘ didn't think I had a shot in hell with her. † He decided to pursue her anyway, and said they were inseparable from that night forward. After dating for six months, the couple moved in together and cohabitated for the next 12 years. During that time, they both pursued degrees, Mr. Rob in criminal law and Mrs. Chronister in Biology. Once Mrs. Chronister completed her degree in the summer of 1995, the couple decided to wed. ecause of how their bills nd property were titled, they decided that Mrs. Chronister would not take Mr. Rob's name after marriage. The couple has no children but consider their two dogs, Buster and Baxter, their children. Mr. Rob is an attorney, and Mrs. Chronister is a substance abuse counselor. When asked to identify the greatest strengths in their marriage, strength. Both feel they can go to each other with any issue, and said they have a high level of mutual respect for one another. When asked to describe conflict resolution within their marriage, Mrs.Chronister reported that while they are both strong-willed and highly opinionated individuals, they respect each other's opinions and points of view and strive to find a common ground. Mr. Rob said it's all about â€Å"negotiating. † When asked what role spirituality and faith played in the success of their marriage, Mrs. Chronister said while she is very spiritual, Mr. Rob is much more religious and attends church alone. Mrs. Chronister added that they both hold Christian values and believe you should be kind to everyone no matter what their past is.They agreed that they both strive to be good people and help others when they are in need. When asked to describe the nature of their relationship with their in-laws, they both reported that neither set of in-laws agreed with their cohabitation and that it caused tension on both sides. The couple s aid once their parents realized that they were being responsible, working adults and getting educations, they â€Å"eased up† and accepted their relationship. Mrs. Chronister said she is very close to Mr. Rob's father and was close with his mother before she passed away.Mr. Rob reported feeling close to Mrs. Chronister's parents as well. Concerning roles in the marriage and the challenges associated with those, the couple described Mr. Rob as the breadwinner but much more irresponsible with handling money. Mrs. Chronister handles all finances and pays the bills. Neither of them felt their roles created challenges; Mrs. Chronister said if something comes up where they have a major bill or a vacation to save for, Mr. Rob will give her the money to save and that he doesn't do anything irresponsible with their money.When asked about one of the biggest challenges they went through as a couple, they agreed it was Mrs. Chronister's prior addiction to methamphetamine. She reported be ing sober for 7 years and 5 months as of October 20th, 2013, but said she spiraled out of control during her active drug use. Mrs. Chronister was arrested for distributing and manufacturing methamphetamine, and served 2 h years in prison for the charges. Mr. Rob recalled Mrs. Chronister â€Å"disappearing for days weeks at a time, pawning our things†¦ she Just had no control and I felt so lost.I had no idea where my wife had gone. † Mrs. Chronister said Mr. Rob â€Å"ran around trying to save me, but he couldn't. It took me wanting to change and save myself. † She said he stood by her side through all of it, and visited her every opportunity he had while she was in prison. When asked to discuss their philosophy on marriage and what they considered to be the most important parts, Mrs. Chronister said friendship was the most important part. Mr. Rob agreed, and added that finding a common ground and compromising with each other was equally important.

The Classical Hollywood Style By American Cinema - 1250 Words

American cinema seemingly dominates the movie industry globally and has developed a structure of its own that has influence visual storying telling every where, however, one can find a variation of this structure or even no structure at all when taking a closer look at certain foreign films and how they decide to tell a story. When viewing the critically acclaimed Three Colors: Red, a french movie that is apart of a larger anthology, I noticed that the film did not strictly follow the structure of the Classical Hollywood Style, but instead was seemingly influenced by American cinema provided that it achieved similar results typically seen with the use of Classical Hollywood Style such as having a change in the characters and having the†¦show more content†¦The momentum of a movie is also driven by a series of events that typically, as in the Classical Hollywood Style, displays the normal life of the characters, or an equilibrium, that subsequently gets turned upside down or thrown off by an event, or disrupted, and sends the protagonist and other characters on a journey that leads them to a new equilibrium; this paradigm is seen within the movie and is what leads the characters to change. The opening of the movie not only introduces the audience to the theme of being connected to one another by visually traveling through telephone wires to meet our protagonist Valentine, but also establishes our main characters and the lives they lead. The audience discovers in the first ten minutes that Valentine juggles a long distance relationship, ballet lessons, and a career as a model. Additionally, the audience is introduced to Auguste who is a student studying crime to become a judge and who is a boyfriend to a supportive woman named Karen. Furthermore, Kern is introduced to the audience when Valentine hits his dog with her car subsequently after the movie establishes the normal life of these characters. The pregnant dog becomes the catalyst to the story as itS how MoreRelatedIn Classical Hollywood Cinema, Most Films Are Voyeuristic1686 Words   |  7 PagesIn classical Hollywood cinema, most films are voyeuristic in nature. 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