Farewell, Frankenstein

This is why I’m terrified to apply to go back to school: because I sit around for 11 hours coming up with muck like this FOR FUN! I’m pretty sure that I’m not making the world a better place…

Intro – Early bio of PBS and MWS, their relationship up until then

Thesis – structure exists purely to send msg to audience = husband, and is largely ineffective, from all biographical notes. She couldn’t have done it otherwise…MS used the structure to draw attention to comparable Coleridge, and deduce details from there, that her husband should have noticed.

  1. Positive views of relationship/love/PBS as person (not poet/politician) –
    1. Relationship of Walton/Frankenstein vs MWS/PBS
    2. Relationship bw fiction-world/real-world vs Understanding/Fancy
    3. marriage
  2. Positive view of romanticism à romantic/poetic ideals, to real life/Coleridge
  3. Negatives, the narrative as criticism of PBS/Byron

Conclusion – effect on captain’s own life/PBS as regretful/apologetic/warning/MWS as apprehensive about PBS & Byron & children own ends, i.e., looking into future.

Poetry curse of poetry / F’s creation of monster / Mariner curse

HOW DO WE KNOW THE CHARACTERS HAVE ANALOGS

HOW DO WE READ BW THE NARRATIVE LINES?
analogous silent seas
ghost ship analogous (prostitute = love w/o love) to Frankenstein AND monster on sleds

impetus, ability to choose—kill the bird w/no reason, mont blanc of shelley, frankenstein doesn’t choose what to do in 1831—in 1818 he has the choice, MS criticizes him FOR CHOOSING, but in 1831 she doesn’t want to believe that he had a choice. SHe’s justifying his not paying attention to her when he was alive.

“unthinking” (radley, p58) / Impetus-ability to choose

Balance bw understanding and fancy

Interruptions of a world not imaginative (Radley 58) [while you’re writing poetry, there’s real shit going on] in ‘Mariner’ being what’s unimportang, what’s not ‘really real’—the world of understanding—whereas it’s the world of understanding that (Radley 131) needs to exist w/sublime.

Albatross (radley 61) “emblematic in a very complex way of man’s inhumanity to man, and of man’s rejection of love” (62, release from the silent sea, external isolation, external penance)

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