Henry Clerval | Mary Shelley Wiki | FANDOM powered by Wikia
Henry Clerval functions in the novel as: the good and faithful Like Captain Walton and Victor himself, Henry is eager in his pursuit of knowledge. However. Henry Clerval: Fated Figure of the Romantic authority in the form of one Henry Clerval, close companion to Victor Frankenstein. Clerval emulates the attitude of the eagle and values utmost the guidance of “his own mind,” which . During the pre-marriage European tour upon which the friends set out. After parting from Clerval on his departure for Ingolstadt, Victor does not see his After Frankenstein's recovery, Clerval convinces his father to allow him to join.
This exemplifies the Romantic Era as the purpose is to show human experience and the relationships between mind and others. Frankenstein is selfish Clerval is selfless.
First of all, Frankenstein is the cause of his own illness. He got himself into trouble by creating the monster, so he should be able to take care of himself and fix the problems he created.
However, instead of taking care of his own problems, he needs Clerval to tend to him. Frankenstein has not been a good friend or family member in the past couple of months because he was so involved in his project. He promised to write to Elizabeth, for instance, but did not follow through with this as his studies mattered more to him. Clerval has just arrived to Ingolstadt to study; however, upon seeing his friend in such distress, he decides to be his caretaker.
Frankenstein would not have done the same if Clerval had fallen ill when he was focused on completing his monster.
Frankenstein's illness impedes on Clerval's studies. Frankenstein is extremely selfish while Clerval is selfless. I feel that he fell from one end of a spectrum to the other. He swiftly began to create life from this inanimate body and expected this creation to solve all of his problems.
He completely blocked everyone out of his life and assumed that by creating life he would find all the answers to everything.
Henry Clerval: Fated Figure of the Romantic
I think this mindset was originally instilled in Frankenstein when he was young. He was overly curious about the natural sciences and how things came to be in the beginning of time. He was then shifted when his mother died. Frankenstein wished for this creation to have life and that is what he got. Nevertheless, as soon as he received his wish the unthinkable happened.
His monster turned against him. This gives the reader a sense of maturity to Victor but it also shows how young his mind still is. Henry in this case can act as the older brother as he cares for Victor allowing Victor to get back on track as he was too ill-consumed in science. He violates nature to force it to relay the information it bestows upon no man, which displays the desperate need of hard science to gather the benefits of natural intuition hastily and without regard to the potential destruction of the natural world itself.
Directly after Victor creates his abomination and realizes his own horror at his accomplishment, Henry Clerval re-enters the story, rushing to the rescue of his friend. The fever sown by knowledge, which has consumed him both mentally and physically, breaks with the arrival of Clerval. Henry remarks almost instantly on the wasted appearance of Frankenstein, horrified at the changes the pursuit of hard science has wreaked upon his frame and mind. The poet then commences a nursing regimen of his ill friend for several months.
If we consider the symbolic character of Clerval as a generic representative of Romanticism, we witness the constancy and affectionateness embedded in the genre, which serves to rehabilitate those devastated by the parasitic qualities of empirical data and its pursuit.
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Where science gouges at its host, Romanticism acts as a soothing balm, bringing calm composure back to Frankenstein. As he begins to come out of his sorry state, it seems no coincidence then that the first memory he discusses relates to nature. I remember the first time I became capable of observing outward objects with any kind of pleasure, I perceived that the fallen leaves had disappeared, and that the young buds were shooting forth from the trees that shaded my window.
It was a divine spring; and the season contributed greatly to my convalescence. I felt also sentiments of joy and affection revive in my bosom; my gloom disappeared, and in a short time I became as cheerful as before I was attacked by the fatal passion. Unfortunately for the two young men, the demon of empirical knowledge refuses to surrender its victims so easily.
The monster, the fruit of acquisition of scientific fact, haunts the depths of the mind of Frankenstein, torturing him with the murders of those dear to him and charging him with the manufacture of a second creature.
The murderous offspring of the research Victor completed depicts the hold in which empirical reasoning still keeps him locked, disturbing the efforts Clerval makes on their numerous journeys to restore him to health.
We see the deadlock between science and Romanticism on the two extensive trips Henry and Victor embark on together. The first, which involves the homecoming of the youths to Geneva, helps to denote the blossoming of Henry as a maturing Romantic mind.
The last four could serve to provide Clerval with a more worldly understanding of texts and poetry—classical plays such as those emulated by Percy Shelley would have consisted of Greek and Latin texts, while both Persian and Arabic boast poetic masterpieces, including the works of Rumi.
Though interactions with the monster mar the complete recovery of Frankenstein, he does recognize the differences between his condition and that of Clerval. Romanticism and its ideas, not reasoning proven by experiment, animate Henry, and we become certain of his full evolution into the symbol of the Romantic poet during the second excursion the two men take. During the pre-marriage European tour upon which the friends set out, Frankenstein provides the reader with one of his most lengthy and vivid descriptions of his surroundings in the entire novel.
During his rendering of the environs through which they traverse, the narrator weaves comments on the interplay between Clerval and nature. His soul overflowed with ardent affections, and his friendship was of that devoted and wondrous nature that the worldly-minded teach us to look for only in the imagination.
But the latent fever of scientific fact rears its head to claim Frankenstein once more.Quick-fire quotes: Henry Clerval
He separates himself from the companionship of Clerval and the urgency of his appointed task destroys his physiological and psychological well-being, ravenously devouring the peace of mind the influence of Romanticism has bestowed upon him.
As before, he toils without end toward the fulfillment of his task. This time, though, doubt creeps into his heart. At last, he resolves to halt any further demand of empirical knowledge on him, tearing the second monster to bits before the very eyes of his taskmaster. The monster represents his original burning passion for information, attempting to cow him into subservience to its desire for more cold, hard facts removed from the motherly, beneficent guidance of nature.
The roaring beast that his appetite for artificial knowledge as become repulses his endeavor to deny it. Once Victor has engaged the desire for empirical data, he cannot destroy it, and it succeeds in gaining control over his actions and potential for happiness in life.