Author: Jawwaad

In both the play The Tempest by William Shakespeare and the novel Frankenstein by Mary Shelley, certain characters are presented as victims of circumstance. A range of literary techniques are employed by the authors to portray the monster of Frankenstein and Caliban of The Tempest as unfortunate victims of circumstance, allowing readers and the audience alike to gain an understanding of the injustice faced by those who have suffered as a result of happenings that are out of their control. The authors have done this through a range of techniques—through the use of many language devices and certain structural components. While Frankenstein’s monster and Caliban are presented as victims of circumstance it is oddly difficult to find literal elements of the text that refer to them as such. Instead, both Caliban and Frankenstein’s monster are illustrated as anything but protagonists to the storyline. After analysis this is even more apparent especially as both characters are not made clearly to be victims of circumstance instead their ‘evil’ sides are more prevailing. However they are victims of circumstance where one feels pain or suffering through no fault of his own and without the ability to control the situation. The writers have used a number of techniques as previously mentioned to present them as such. Comparatively, there is a range of between the two texts with similarities in the techniques, language device and structural, by both writers but there are also differences. Within the following essay, I shall discuss these similarities and differences and eventually conclude stating which is more apparent. Nevertheless it can be definitely stated that Frankenstein’s monster and Caliban are presented as victims of circumstance.

The authors of Frankenstein and The Tempest both employ imagery to depict the harsh reality that Frankenstein’s monster and Caliban face every day through no fault of their own. This language device is key to not only the narrative but also readers’ and audience’s understanding of the characters themselves. Imagery has been used in both works to show that the pain Frankenstein’s monster and Caliban feel has not been caused by themselves but others. Thus they are victims of circumstance. In The Tempest, Caliban is illustrated in this way by his moaning of pain and intolerance as he says ‘for every trifle are they set upon me’; ‘their pricks at my footfall’. This is use of imagery where the reader is forced to envision a disgruntled and enduring Caliban who is suffering as a result of events that are out of his control. The ‘pricks’ at his footfall, suggest that whenever he does something which does not please his master Prospero or his followers, he is made to experience agony. This imagery correlates with being a victim of circumstance as his pain as stated is through no fault of his own but actually that of his master Prospero. In Frankenstein, the monster towards the end of the novel speaks in pain at his creator by exclaiming ‘I ought to be thy Adam but I am a rather fallen angel’ and ‘which drivest me from joy for no misdeed’. This directly links to Frankenstein’s monster being a victim of circumstance as a ‘fallen angel’ describes Satan being pushed out of heaven. Frankenstein was supposed to an ‘Adam’, a new wonderful creation but inevitably this was not the case. A ‘fallen angel’ would infer that Frankenstein’s monster did wrong, as Satan but we also know from that narrative and ‘for no misdeed’ that this was not the case either. Frankenstein’s monster was not received by the world as a wonder, but a monster and this is not his fault but his creator’s. Therefore through the use of this language device, imagery, both William Shakespeare and Mary Shelley have portrayed both Caliban and Frankenstein’s monster being victims of circumstance. The fact that Frankenstein’s monster is a victim of circumstance may occur from contextual influences concerning Mary Shelley. She, as a woman, at a time of great hardship in 1818 with limited rights, can be regarded as a victim of circumstance. In the Victorian era, she and many other women were unable to publish, mainly because of their inferior status in society to men. Being a woman at this time meant that—through no fault of her own—she was born the incorrect gender to be allowed to publish her work.to suit her work. In accordance to Frankenstein’s monster being the antagonist, Mary Shelley’s own position as being different from the rest of society because she was a woman may have been an influence onto Frankenstein’s monster as a victim of circumstance also. Overall, there is a distinct similarity where both writers have displayed the characters Frankenstein’s monster and Caliban as victims of circumstance through the use of the language device, imagery.

Within both texts the writers employ hyperbole to portray the characters Frankenstein’s monster and Caliban as victims of circumstance. One way the characters are victims of circumstance is that the control of their lives and futures have been taken away. In Frankenstein, Shelley uses hyperbole in ‘he was ugly then’ and ‘but when those muscles and joints moved he rendered capable of a motion even Dante could have not perceived’. This narration by Victor Frankenstein elaborates on the hideous appearance of his creation. Hyperbole, where exaggeration is used as device in figurative speech, is in this case used to elaborate extensively but unnecessarily upon the appearance of the monster. This shows the audience that the appearance of the monster is extremely appalling and to understand the severity of it all hyperbole must be used. But not only is the appearance of the monster grotesque, so is the care he has had from his creator. The care of which Frankenstein’s monster received was so appalling at his creator’s fault it certainly makes him a victim of circumstance with being brought up in this manner he had no control over himself. This occurs as the appearance of the monster is so hideous (displayed by hyperbole) it has led to the creator running at soon as he realises his creation’s appearance. Hyperbole here also figuratively describes the event of being unable to control your own life and those who you thought you could trust choosing to alienate you at every possible moment. You cannot grow into something properly successful without care and decent welfare, but this is intensified as the creator has also made him hideous. Shown by ‘even Dante could not have perceived’ the monster’s appearance.’ Appearance is literally impossible to change, so we are left with the fact that this hyperbole has portrayed the monster as a victim of circumstance, by the author’s intention. This is also apparent with Caliban in The Tempest, as hyperbole has also been used in a similar manner and for similar effect. Hyperbole as a device has also been used to illustrate to the reader that Caliban is a victim of circumstance. It is presented by ‘he that Caliban whom I now keep in service’ then ‘thou best know’st what torment I did find thee in’ and ‘thy groans did make wolves howl’. Such hyperbole when analysed is more a narrative piece of Caliban’s story than anything else however it does still cause the reader to see this character of a victim of circumstance. Similar to how it is used in Frankenstein, hyperbole shows that the control of Caliban’s life is taken away and placed in the hands of his master, Prospero. In a literal sense, Caliban is a victim of circumstance as he is in ‘debt’ and awaiting to fulfil a meaningless lifelong service to his master. But through the hyperbole which is the continuation figuratively (and slightly unnecessarily) of the description concerning the disgraceful situation that Caliban was in previously, we can continue to perceive him as a victim of circumstance. The ‘groans’ heard by Prospero, seem to give Caliban an animalistic nature. What separates man from animal is man’s ability to shape and understand his future. If Caliban is presented in this way then surely he is of this nature and thus unable to have a say in his life. As Caliban is unable to control his future and is at the mercy of his master, the audience can conclude that the character is a victim of circumstance. The attitude to people who were different or of a lower class at the time could have been a factor which influenced Shakespeare. As within the early 1600s the status of different people, mainly those who were black, was extremely insulting to a human. Racism was extreme at this time, with a black person being at the lowest ranks of society. Shakespeare, appeared to have narrated this through Caliban being the antagonist. But in contrast with the perception of black people at the time, Shakespeare has made sure to present Caliban as a victim of circumstance, as many black people were in Europe at the time: having no control over their appearance and circumstances, but still subject to ridicule and torment just as Caliban was. Shakespeare opposed the negativity, stated the view as a character and gave him an evil and good side. Nevertheless, the point of control of the character’s lives and futures being taken away is repeated in Frankenstein and The Tempest as shown by the use of the similar language feature in both texts, hyperbole.

Both works use foreshadowing to evidence that powerful God-like forces will impact the lives of the characters. In addition, the simple use of foreshadowing by the authors implies a certain sealed fate for these characters, further reinforcing the notion that their destinies are out of their control, and that they can do no more than suffer through whatever circumstances they are thrown into. In Frankenstein, this is simply illustrated by ‘the whole village was roused’. There is clear use of foreshadowing here, with Shelley warning the user how the monster will continue to feel excruciating alienation. More simply, this is a metaphor for all the pain that the monster is having to experience. And that if the whole ‘village’ is ‘roused’ then the whole world at the sight of the monster will do the same. As this is the world This will continue to occur, and never will the monster find love or even companionship. Another way that the author can be seen as foreshadowing Frankenstein’s monster to be a victim of circumstance is that if he has a creator then ultimately all of his problems will also be the consequence of this initial act of creation. This means that Frankenstein’s monster is definitely a victim of circumstance as the majority of the problems and issues surrounding his life are not in his control. This device of foreshadowing is repeated in The Tempest to make Caliban also seem a victim of circumstance.  This is done by the title: ‘The Tempest’. A tempest is a violent and windy storm. At the end of such storms, there is usually little that remains unscathed. This foreshadows what will happen to Caliban, especially as he is a foil character, looking to the contrast with as many ideals as possible the protagonist, Prospero holds. Those usually not the protagonist, at the end of the narration have been dealt the most harm which is exactly what occurs to Caliban. And this is simply warned to the audience by the use of foreshadowing. Foreshadowing also means a sealed fate of which powerful forces control what happens to the characters such as Caliban and not themselves. Thus Caliban is also a victim of circumstance through use of the structural component, foreshadowing. Caliban as a character is presented as primarily ‘evil’ with aspects such as being a victim of circumstance presenting the side of his personality that is less ‘evil’. Shakespeare has done this to give his views on unjust prejudice in the 1600s. As previously mentioned, there was extreme racism at this time but there was also prejudice to anyone not of high status. Meaning that people such as Caliban are also targeted because of their economic and social status. However Caliban was primarily victimised through the play because of his different appearance. Contextually, workers of the lower-class were at the time looked down upon with very little welfare. Perhaps this may be an influence as to why Shakespeare has developed Caliban over the course of the play. Generally, there is a definite similarity which is the use of the structural component, foreshadowing in both texts Frankenstein and The Tempest for effect that is the representation of Frankenstein’s monster and Caliban appearing as victims of circumstance.

In conclusion, evidently both Frankenstein’s monster and Caliban are victims of circumstance. The writers Shakespeare and Mary Shelley had presented their characters by use of language and structural methods. This essay was in regards to the comparing such methods and I am finally able to define both texts as very similar in the manner of how the characters Frankenstein’s monster and Caliban are presented as victims of circumstance. The similar techniques of language which are imagery, hyperbole and rhetoric devices are used in both scripts and so is the structural component foreshadowing. The only major difference where characters being portrayed as victims of circumstance is the frame story in Frankenstein and the use of an aside in The Tempest. Otherwise, in terms of character representation there is no such differences between the texts. But as society and culture changes our interpretation may also and we may come to believe the way Caliban and Frankenstein’s monster are presented as victims of circumstance is different after all. However after this essay and through comparison it definitely true that for now the majority of ways and techniques the authors have illustrated certain characters as victims of circumstance are similar for Frankenstein and The Tempest.

The Flag.

By John Agard.

Written in a structured and concise manner allowing for the use of repetition and rhetorical to embrace the ideology of the ‘Flag’. The poet rhetorically questions at the beginning of each stanza about the ‘movements of a flag’. This is then again for each stanza followed by the same line ‘It’s just a piece of cloth’. This embraces and presents the idea of how the flag which has such power can be just a piece of cloth. To finish off, especially at the end of the poem and the end of each stanza is a statement that presents the idea of the power of what a flag can do. Simply, it presents the actual idea of the poem.

There is no rhyme scheme but there is a structure of rhetorical questions then a statement that is repeated every stanza. 4 lines in every stanza also. It ends with a statement that presents a question to the reader of the consequences of a flag’s power.

A literary technique used by the poet is repetition. This is in every stanza where it is stated as ‘It’s just a piece of cloth’. This is trying to clarify the problem that is the delusional idea that a flag can have such power which is ‘just a piece of cloth’. Nevertheless, the reader is presented with this idea which clarifies some confusion which could have been caused by the constant idea of this poem about the power of a flag.

The use of a rhetorical question in every stanza calls for the poet to be known for their skill. This is a question (not to be answered directly) that starts each stanza and states the basics of what you may observe or know about a flag. But the poet has obviously not done this for the reader to gain this ‘useful’ knowledge but the quite the opposite. The rhetorical question affects the reader by them having to question what exactly does an everyday flag mean and do, especially in terms of power.

Within the first line of the stanzas as previously mentioned a rhetorical question is used. But imagery is also used. This technique causes the reader when faced with the image of a flag unfurling or fluttering etc, to question what exactly a flag may mean other than ‘just a piece of cloth’. The power is clearly present and therefore such imagery is useful by the poet in this case.

‘that dares the coward to relent.’

This quotation presents the immense power that a flag has even though ‘It’s just a piece of cloth’. This is key to the poem as it can be considered different from the rest of the poem. Especially, as I believe that a coward being forced to actually work (perhaps for the greater good) by the power of a flag, also known as patriotism, is intense. It represents the idea as a whole of the stupidity of a ‘piece of cloth’ being able to do such things which the reader can only think of imagine of. This cloth has the authority to make the ‘the coward to relent’, this coward may be the reader. This is a significant point to the poem which I believe may be underestimated.

Text Response Piece

Bare Vexed.

Dear Ms Kerr,

I write to you as I share your passion for good English which is being ridiculed by our peers. That has unfortunately led to us being stereotyped as a generation. I like you, am driven to show to others that good English is not a mystery or difficult. I am strong believer that the English Language today is under developing and instead going backwards. It is degrading to say that, due to current and appalling 21st century culture among a number of other factors, the manner of speech is fast declining. As part of this generation I try to withstand against any nonsense however it’s extremely difficult to do so. It’s simply tragic that from such nonsense, the future generations of this world are appearing incapable and simple-minded to the rest of the world. Overall, I’m just happy to see there is another person who understands this problem probably even more than me as your article depicts. I’d like to speak of certain effects that have arisen from this tragedy and I just hope that with our passion and my solution we can turn this it around.

A problem is that this so called language is now recognised and accepted by those at Oxford Dictionary. This is portrayed in your article as extremely negative and with that, I totally agree. Slang phrases and words such as ‘twerk’, ‘selfie’, ‘adorbs’, ‘brick’, ‘bro hug’ and ‘amazeballs’ are not the way we should speak and by Oxford accepting this, there is no way to turn back to the days of real English. Especially as a point in your article is that it is complete nonsense for such an institution to be accepting the nonsense itself.

I believe that from this problem the results and effects are going to be catastrophic. However at least I know this is not the case with all organisations as I have encountered many grammatical proofreading errors upon the slang used in this letter. As shown by your article, if the elite such as Oxford Dictionary start believing in this gibberish then all of us youths are encouraged to as well. And if this continues then I must say, not only will it be a problem but a disaster.

The other major problem is that by the majority of our generation speaking in such a manner it makes the whole of the generation suffer. That is, all of us are now expected and believed to speak such drivel. This is something of a main point in your article. I mean this is simply not the case. Teenagers are given a very two-faced profile by this. There is evidence, as in your article there are tweets by our (intelligent) peers who also believe that it is ridiculous for all teenagers to be expected to speak in such a grotesque manner.

A major effect as well is that the whole of our generation is deemed incapable of normal everyday tasks. It is unfair to you, I and the few others who are not so ignorant. Sadly I can speak from experience, as I have in situations tried to urge my fellow-man that by using their ‘language’ it will be of no benefit later on in the real world and will only continue to embrace the insensitive view of teenagers. But doing this causes no difference. They act as if wanting of this disaster. It appears that this problem will persist with the continuation of the whole of our generation being labelled as just plain idiots.

I do have a solution but it will only work with your help. Your perspective includes that the ‘linguistic calamities’ which is the use of slang, should be solved and I know how. That is we show to our generation there is everything wrong with the way they speak. We can do this, if you with your reputation as a writer campaign alongside me primarily on social networking sites. We can produce texts and cartoons trying to show to teenagers that their speech will cause a catastrophe. I mean, it already has with the rest of us having to suffer too.

Another part to the solution is that we encourage the use of good English in and out of schools, either by holding talks or again by social networks to show that it really isn’t that difficult. This is rather abstract but hopefully it will work however I can only do it with your assistance. Concluding, I wrote this letter to outline the problems of general slang in teenagers which you have also done in your article. I also did so to say I have a solution which I am regretfully forced to ask  for your assistance in knowing the idiocy of the problem itself. But, I am still hopeful you will take me up on my offer to stop this illiteracy. Nevertheless, I will always be proud that you and I are one of those who are not part of this mindless generation.

Yours Sincerely,

Jawwaad Quamar.

A knock at the door. Time stood still as they took a moment to understand what just happened. This ‘knock’ was a sign of change, a change which wasn’t welcome. A knock meant so much more here on the island than anywhere else, the majestic peace had been disrupted. Harry felt as if he was choking on air, he had been so free and alive until this one point but now he felt as if his heart was in his mouth. They were on the island, for the sole purpose of being alone. They had wanted to get away from the war and chaos that had been consuming their lives. Now after all this time, twelve years in fact they were not. They needed to process their defeat. After all, someone was there with them and may have been with them the whole time.

Lily would remember this day for the rest of her life. Harry and Lily hadn’t even heard the sound of another being breathing since they stepped foot on their island twelve years ago. War had been inevitable but the confusion and turmoil wasn’t. So to get away Lily and Harry wanted something different, somewhere different, that was the island. From the day they arrived they believed Tiprus would be their haven of peace forevermore. But this single sound had changed all of that. This noise made it feel like the beginning of the end. The beginning of chaos and frustration all over again. They had finally felt like it was really their home and somewhere where they could rebuild their lives after having experienced the devastation that the war had caused. But now all of that peace and all of that hope which they held so dear had been snatched before their eyes in an instant. Simply, they were unable to comprehend how they lives had just been obliterated.

Time had become obsolete. It was becoming a factor here, perhaps the person outside was becoming as frustrated as they were. This knock continued to change their lives, not just by disturbing the peace but by disturbing all that they held dear. The lovers stood frozen in silence for what seemed like an eternity with their minds filled with an apprehension for the future that neither of them thought they would ever have to experience again. The waves of Tiprus, sounded a million times louder now. Harry in particular couldn’t properly take in the fact that their island with all of it’s beauty and magnificence was no longer their own. The fighting and madness they had left behind had found a way to creep back into their lives with the will to destroy any hope and clarity they had.

They did not move. They could not. Anxiety and fear was all they could feel. After all, both of them knew that no matter what stood behind that door the beautiful lives they had created for themselves was about to end. There was no way it could continue, an impossible feeling of despair overcame them just like before. Time continued to fly by and eventually Harry rose up to this impossible task.

Harry after quite some time, realised what had to be done. And if not for him but for the sake of his wife and their unborn child. Their child deserved so much more than the small fraction of happiness they had had. But to do that they had to face this obstacle upon the way. So whatever happened when the door was opened it had to be made sure that their baby was not affected. Harry understood all of this and so finally he did it. He opened the door.

In front of him stood the emaciated figure of a man with a crazed look in his wild eyes. The sight and idea of another being there with them on the island was simply bewildering.  Harry however couldn’t focus on him instead all he saw were the smoke and ashes coming out from the volcano behind the man. He felt that trying and trying to come out of a nightmare which he could not waken from would be of some comfort. Lily was different, she could not help but stare at this strange man who regardless of his intentions was about completely change their lives.

A silence lingered in the room which was only interrupted only by the occasional sound of waves crashing on the beach. Their lives had been disrupted most probably for the worst but Harry thought to look for the future. Maybe not all people were as evil as he had been, the alleged leader who didn’t rest until all was in despair. After a while they realised it may not be so bad. There was hope. They were vulnerable and scared but maybe there wasn’t anything to fear, especially from a man who appeared to be just as scared and vulnerable as they were.

For the first time in human history, the obese outnumber the malnourished. Worldwide there are 925 million victims of malnourishment. However, an even greater number are obese, at an estimated 1.5 billion people globally. How grotesque is it that people are starving to death but others not far away are dying from being too fat?

At first glance malnourishment which has been the reality of human life for so long, seems to be a problem completely opposite to that of obesity. Something that has only been a significant public health concern for the last 30 years. As you shall see both obesity and malnourishment occur due to poverty. That is why I speak here today to tell you that such nonsense cannot stand as it is a disgrace to our predecessors to fall because of frankly speaking, stupid problems.

I am sure you will agree that poverty harms us all,  so poverty is a problem worth solving. Here I’d like to explain the detrimental effects of poverty. Being below the poverty line causes the inability to feed oneself (particularly in developing countries). Or at least in developed nations, only unhealthy foods will be available at such low prices and thus obesity happens. Therefore, reducing poverty will reduce malnourishment and obesity. So, what I want to say is that I can fix both problems. The problems being, obesity arising in developed nations and malnutrition in developing nations. Both solutions are based on the influx of money in a structured way. If they’re not accepted then I guarantee a catastrophe is on its way.  All I can do is hope that you will take my solutions and find the will to fix this incoming disaster.

My first solution combats the problem of mass obesity which usually occurs in developed countries. The solution is so simple but we continue to ignore it most likely due to the fact that we are a bit too comfortable with our luxurious and rich lifestyles. But I am telling you, your extravagant ‘lifestyles’ will be the not just the death of you but of us all. This solution is raising the national minimum wage. People with more disposable income can purchase healthier goods, and not be tied to fatty and rich foods instead allowing them to afford more nutritional food. Thus healthier food leads to a healthier diet, and less obesity all round. And so whatever position you and I may be in, it is vital that we fight against this disease, which is happening in front of our eyes and in our own homes. It’s cruel for such a preventable problem to continue so I am forced to ask you, do you think it is right not to adopt this easy solution?

My other solution aims to reduce poverty and inherently malnourishment in developing countries. Here people are starving to death because again there isn’t enough money around. The ignorant West continues to ignore this issue with no end in sight. It is unfortunate that the majority are just too lazy to do anything about it. My solution is for NGOs and banks to lend micro loans to those in rural areas such as farmers, with low-interest rates. This will increase their productivity. Then they can sell more to neighbours thus gaining more. So a farmer has larger stock which he (and these ‘neighbours’) can feed off of and a receive a larger income from increased sales. This structured way will make sure there isn’t even a problem of malnourishment to begin with. You may think this is ‘ridiculous’ or ‘impractical’ but how would you know if no one has bothered to try? Did you know that nothing is being done even though all economists already know of this easy fix? But now you’re also aware so if the problem continues then we know who to blame.

In conclusion, if  we execute these simple solutions then the problem would be eliminated.That is poverty leading to obesity and malnourishment. We have sadly, reached a point in civilisation where we are forced to ask ourselves who we are but more importantly who we want to be? So I sincerely request now, that if you like me take a step to change how poverty affects people then there may no poverty at all.