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This is the moment when Victor Frankenstein uncovers the secret that will allow him to create his "monster," and it is one of the most important parts of this novel. Victor has discovered something other scientists have never dreamed of, and the brilliant light symbolizes this knowledge and discovery. Throughout the novel, Shelley continues to use light to show Victor's growing knowledge and understanding, there is always a brilliant light when something important or amazing is about to occur.
Shelley's use of light as a symbol offers some kind of hope to the reader, and it symbolizes what seems to be good in the novel. Poe uses light differently, to highlight strange and bewildering occurrences that are almost always climatic and have to do with the outcome of the story. Poe's light is the light of lightening storms, blood-red moons, and fiery destruction, while Shelley's is the light of creation and clarification. All this indicates that the same symbol can take on a very different meaning when...
Both these authors wrote Gothic Horror, and both wrote stories that had horrific details, but they used symbols very differently, illustrating that even within the same genre, there are many different interpretations and author styles.
In conclusion, these two Gothic Horror authors indicate how the same symbol can create very different meanings in writing. One uses light as a symbol of discovery and enlightenment, while the other uses it to illuminate horrific happenings in his works. Light can create images of hope, or images of horror, and both authors use this symbol differently to "light up" the pages of their writings.
References
Poe, Edgar Allan. Thirty-Two Stories. Ed. Stuart Levine and Susan F. Levine. Indianapolis: Hackett Publishing, 2000.
Shelley, Mary Wollstonecraft. Frankenstein Or, the Modern Prometheus. New York: Collier Books, 1961.
We see the creative mind at work in "The Fall of the House of Usher" as Poe creates a parallel between the house and Roderick. The suspense with this thriller is heightened with the fact that the narrator is inches from the same fate as Roderick. There is undeniable connection between the two that is never fully disclosed. The narrator looks for logical ways to explain what occurs in
Edgar Allen Poe, Washington Irving, Ralph Waldo Emerson, Emily Dickinson, Mark Twain, Henry David Thoreau, Nathaniel Hawthorne, Harriet Beecher Stowe, James Fennimore Cooper, Mary Rowlandson, Walt Whitman) describe writing style, a discussion literary work. Edgar Allan Poe: Poe's amoral universe The American poet and short story author Edgar Allan Poe is one of the most famous mystery and horror writers of the 19th century. Contrary to many of his contemporaries, Poe
It is not a real upbeat rhythm, otherwise the colors used would be bolder and more abstract but it is rhythm based on peaceful ritual. This along with proportion provides the painting with deepness in the frame of reference. The background also adds to this allusion of a realistic environment. Conclusion Degas effectively used the materials and formal elements to illustrate a theme. This theme is that of woman and women
In this story, we find this terror, especially at the end of the story when Fortunato sobers up. Montresor tells us that the cry he hears as he places the final bricks in the wall is "not the cry of a drunk man" (Poe 94). The drunk man and the crazy man are pitted against once another in this tale and there is nothing Fortunato can do when he
Raven," by Edgar Allan Poe tells the story of a man who laments the loss of his lover while a raven slowly drives him mad by repeating the same word: nevermore. Poe is employing a theme he is most comfortable with -- the loss of love. By skillfully employing elements of suspense, atmosphere, symbolism, and narrative, Poe creates a tale of madness that made his name and his works
These pastel-colored etches influenced Degas' late-life paintings. Those were characterized by women frequently engaged in some type of grooming, such as bathing. Rather than the tightly-structured lines of his earlier works, these later works seemed more hurriedly-drawn and less meticulous than his early works. For example, in Woman Drying Her Hair, a pastel on paper, Degas depicts the back of a nude woman, drying her hair. Unlike many of his