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• W89296918 abstract "The therapeutic value of oral and written self-expression is a recurrent theme in Mary Shelley's works, particularly in those works, such as Mathilda and Valperga: or, Life and Adventures of Castruccio, Prince of Lucca, in which heroines have been subjected to psychological trauma. For example, eponymous heroine of Mathilda refuses to tell her friend Woodville of her father's incestuous passion for her because she fears especially word incest, and, perhaps partially as a result of this self-censorship, she lives out her life in a state of chronic depression. In contrast, Beatrice, brutalized prophet of Valperga, does relate her tale of suffering to sympathetic (and aptly named) Euthanasia, but this narration provides only temporary relief. Mary Shelley's often garrulous characters frequently speak or write of their experiences, even when, as in case of Frankenstein's monster, these narrations seem implausible. As Marc A. Rubenstein notes, the author permits monster an improbable series of digressions as he relates how he has passed months since he wandered away from Frankenstein's laboratory (168). There is, however, a psychological reason for narrative, which Rubenstein touches on when he compares monster to a patient in psychoanalysis (168)--the monster feels need to work through and even validate experience, and Frankenstein is only person who will listen to him. In this essay I will argue that while Mary Shelley presents characters who are skeptical about therapeutic value of verbal self-expression, she acknowledges human need to put suffering into and short-term relief that can provide. Moreover, Shelley suggests that in case of extreme trauma writing is sometimes more viable than speaking as a form of language therapy. Mary Shelley's somewhat skeptical attitude toward power of was probably influenced by Percy Shelley's views on language.(1) In On Life, Percy writes: How is it to think that can penetrate mystery of our being (475); he goes on to argue that the misuse of and prevents the mind from acting freely (477).(2) His frustration with inadequacy of language is forcibly expressed in note to On Love: are inefficient and metaphorical--Most so--No help-- (474). Moreover, in A Defense of Poetry, Percy Shelley asserts that over time decline into signs for portions or classes of thought [i. e. abstract ideas] instead of pictures of integral thoughts--if poets do not intervene to revitalize them, language becomes dead to all nobler purposes of human intercourse (482). Percy's concern about inadequacy and abstraction of language is also expressed in poetry. In Prometheus Unbound Prometheus repudiates curse on Jupiter, declaring that words are quick and vain (IV.i.303), a sentiment echoed by Maniac in Julian and Maddalo, who exclaims How / Are words! (472-473). These declarations can be compared to many of pronouncements in Mary Shelley's fiction regarding effectiveness of language. For example, her meditation on failure of to improve human condition in her historical novel The Fortunes of Perkin Warbeck recalls Percy's views on language's limitations: Oh, had I, weak and faint of speech, to teach my fellow-creatures beauty and capabilities of man's mind; could I, or could one more fortunate, breathe magic word which would reveal to all power, which we all possess, to turn evil to good, foul to fair; then vice and pain would desert new-born world! is not thus: wise have taught, good suffered for us; we are still same. (III: 18) Moreover, Clifford, villain of Perkin Warbeck, soothes his evil passions with words, thus exemplifying the misuse of and that Percy Shelley warns against in On Life: It was some relief to this miserable man to array thoughts in their darkest garb, soothing evil passions with which acted on them as a nurse's fondling talk to a querulous child (II: 73-74). …" @default.
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• W89296918 date "1994-09-22" @default.
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• W89296918 title "Mary Shelly on the Therapeutic Value of Language" @default.
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