But it could have been neither the execution of the work, nor the immortal beauty of the countenance, which had so suddenly and so vehemently moved me. least of all, could it have been that my fancy, shaken from its half slumber, had mistaken the head for that of a living person. i saw at once that the peculiarities of the design, of the vignetting, and of the frame, must have instantly dispelled such idea—must have prevented even its momentary entertainment. it emphasizes the portrait’s artistry. it emphasizes the narrator’s mistakes. it emphasizes the portrait’s history. it emphasizes the narrator’s denial.

1. at the conclusion of chapter 13, the monster realizes that he has none of the qualities or possessions that human beings value, and so he worries the he will be forever miserable. he says, “oh, that i had for ever remained in my native wood, nor known nor felt beyond the sensations of hunger, thirst, and heat! ” this statement recalls one made by victor frankenstein in chapter 10: “if our impulses were confined to hunger, thirst, and desire, we might nearly be free; but now we are moved by every wind that blows, and a chance word or scene that that word may convey to us.” questions: what do these two statements suggest about the impact of knowledge? how do the statements affect the way readers view the monster and victor?

What is the best way to revise sentence number (12)

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