Contrasting Rationalism and Romanticism

" Blake says that lucidism is something that " must be put macrocosmgle and annihilated always" because it is harmful to the sure temperament of the self, which is kinda emotional, romantic, and spontaneous. Blake says that he will " toss away off Rational Demonstration by Faith in the Savior." He elevates Inspiration, a Romantic notion, over Memory, associated with reason. He casts off the rationalism of Bacon, Locke, and Newton and asks that instead we be clothed with Imagination: "To cast aside form Poetry all that is not Inspiration,/ That it no longer shall dare to mock with the aspersion of Madness."

Mary W. Shelley's allegory is not merely a horror story tho is also a philosophical novel which develops a subroutine of themes related to the virtues of nature, a Romantic era notion, and the relationship of man to God. Shelley never says how the monster is brought to life. She does not detail this massive set up of equipment but only hints at the terrible things Frankenstein must do to acquire the parts he needs. The wholeness thing he must do is go against God, to go against Nature, and for this he must be exiled. His acts lead to the deaths of several other people, and the monster he has created is the shadow he chases far into the icy regions of the north. His last inter-group communication with civilization is with the captain of the frigate trapped in the ice, and then he chases his monster once more into the wilderness, as far from civi

The novel creates a contrast surrounded by the natural relations of home and family and the horrible reality of the rational mind that can conceive of such an experiment and broaden it out, creating something that goes against the natural recount. The monster himself is seeking the nurturing qualities of family, and in retaliation for these piece denied to him, he seeks to destroy the family that Frankenstein has, a family which the monster believes his creator has been addressing rather than giving love and care to his creation.

The monster goes out into the world and learns about the meaning of family and the nature of what he has been denied, as he later tells Victor:

The creature is a Romantic anatomy akin to the noble savage, though his savagery is all the more savage given that he is a product of cause alone and the victim of the reason of Victor. Elizabeth is a Romantic figure, exposit as someone who brings light into every situation, someone near by all: "The saintly soul of Elizabeth shone like a shrine-dedicated lamp in our peaceful home" (Shelley 40). Similarly, Henry Clerval is described as "a boy of singular talent and ascertain" (Shelley 39), with fancy referring to his imagination and not his intellect. He has a romantic nature and so is drawn to romantic literature of chivalry and romance, compose his own romantic songs and stories, and making the others act in plays. He shows the power of the Imagination, while Victor dedicates himself to reason and science rather than imagination and art. Henry is also contrasted with his father, a "Narrow-minded bargainer" who wants his son in his business rather than in school, which hurts the boy's highly sensitive nature, so that Victor sees in his face that Henry had "a restrained but firm resolve not to be chained to the miserable details of commerce" (Shelley 50).

At one time, Victor as well placed family and the natural order of things first. The importance of family to Victor is evident in the opening
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