In “Theology” by Paul Laurence Dunbar, “Tableau” by Countee Cullen, and the novel Frankenstein by Mary Wollstonecraft Shelley, the authors concentrate on the importance of purging the assumption that appearance defines someone. This can be seen through the seemingly unusual friendship of a black and white child which immediately draws attention and disapproval in “Tableau”. As well as in “Theology” where the speaker defies true theologian belief claiming he/she knows hell exists out of the speaker’s conviction that their neighbors belong there. In Frankenstein, Shelley creates the tale centering around Victor Frankenstein’s creation of a monster, and the impetuous reaction society continually gives based solely on the creations “physical grotesqueness.” Last Saturday I attended the “Battle of Pianos” with my parents during family weekend. When I first heard of the event and walked into Reitz arena, I had already assumed the event would be nothing more than time spent with my family. Nearly as soon as it started the performer's grand performance made me realize how fallacious my prior disposition was.
Dunbar in “Theology” creates a speaker who fervently believes his qualification to escape his hell doomed neighbors with his rise to heaven. No one person has the power to grant access to heaven over hell; rather the speaker is perceived to be judging his neighbors based on their actions and appearances in society. Dunbar writes, “There is a hell/ If there were not, where would my neighbors go?” (Lines 2-4). I took his prose as comical and light-hearted almost as if picking fun at people’s belief that they are more important than those around them.
Brilliantly Cullen scripts the relationship of two boys who rise above the grotesque hatred displayed by society. Un-phased by their racial differences the two embraced in their friendship outwardly. As if in total shock the town sprouted an ill-intentioned eye. I interpreted the way Cullen described the neighbor's chatter as thunderous reminding reader of the irreconcilable condescension society once held. I related this to Mary Shelley’s Frankenstein. Resulting from the Monsters repeated social denial Victor Frankenstein’s creature is taught the horrors of society. The monster grows angry at his creator and his society stemming from its experienced loneliness and constant rejection. I enjoy Cullen’s happier ending rather than Frankenstein’s vendetta against the world in which he was created. Cullen writes in line nine “oblivious to look and word” the boys ultimately rise against the relentless pressure, sharing a friendship striped of societal impurities.
As a result of this week’s reading I was influenced to take a deeper look into my own personal feelings based on my initial reaction. Mentioned in my experience at the battle of pianos I too was quick to miss judge. Cullen can be read as making similar claims through the duos oversight of physical characteristics in their ability to foster a relationship. Within “Theology,” the speaker’s irrational judgment is one I hardly could take seriously when coupled with the poem’s title. Bringing it full circle, Frankenstein is the story of Victor's creation seeking companionship and the joys of the world he has yet to experience first-hand fully.
“Don’t judge a book by it’s cover.”
Matt Potvin
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