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A new species would bless me as its creator and source; many happy and excellent natures would owe their being to me" (Shelley 51).
This is one of the ways in which Shelley, then, both embraces and simultaneously contests this particular romantic ideal.
The moment which Shelley describes in Frankenstein is neither a moment recalled from her personal experience, such as a contemplative moment in nature, nor is the narrative voice her own, yet she is still portraying a particular quest to achieve the sublime.
The final comparison that he draws is between the winds of each place.
In Switzerland, the winds are “but…the play of a lively infant" (Shelley 42), not the tormented sea squalls that batter the rock face of the Orkneys.
In this sense, he is highly romantic., although to the reader familiar with romantic poetry, it may seem that nature is somewhat less important or less central than the role it plays, for example, in the poetry of Percy Shelley, or in the romanticism examples of poetry of Wordsworth, and Coleridge.
Nonetheless, from the novel’s opening, the importance of the reader getting a sense of physical place is established by situating the text within a particular environment, the qualities of which will both mirror and contradict the inner states of the main characters.This rethinking is achieved by Shelley’s engaging and simultaneously challenging the typical romantic tropes, which results in the production of a novel that is “more complex than we had earlier thought" (Goodall 19).The introduction of Gothic elements to questions the facile assumptions of romanticism, thereby redefining and contextualizing the romantic text.may not seem to conform to the brighter tones and subjects of the poems of her husband Percy Bysshe Shelley, and their contemporaries and friends, William Wordsworth and Samuel Taylor Coleridge, Mary Shelley was a contemporary of the romantic poets.Despite this apparent difference, Mary Shelley was deeply influenced by the romantics, and the reader of is actually more sophisticated than the prose of other romantic writers, as this novel “initiates a rethinking of romantic rhetoric" (Guyer 77).He must perfect the role of the scientist by attempting to accomplish the impossible, a process which is inevitably frustrated, as it must be, by the fact that overstepping human boundaries has significant consequences.Shelley’s Frankenstein is not a mad scientist, as his character has been reduced to over the years, but a scientist who is passionate about the primary questions and preoccupations of his time.These appropriate pairings of characters with their environments will be re-emphasized throughout the novel, and the physical qualities of the environments will provoke contemplative thought for most of the main characters, especially Victor and the Creature.is clearly a novel about romantic striving against the customary boundaries or limitations placed on our existence.The Creature occupies a world that is bleak, that is attacked on all sides by an unforgiving set of conditions.Victor, his family, and the De Lacys occupy a world that has beauty, even though each has had to deal with occasional harsh realities.