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Comparing Power In The Tempest And Mary Shelley's Frankenstein

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Throughout Shakespeare’s The Tempest and Mary Shelley’s Frankenstein, Prospero and Frankenstein either have power or want it. The power they attempt to and succeed in acquiring superhuman, divine power. Though it seems that they use this power in similar ways, which would lead one to expect similar consequences, Frankenstein has a tragic ending, whereas The Tempest ends more positively. Frankenstein assumes the role of God while Prospero tries to carry out God’s will using limited magic, making Frankenstein a cautionary tale and The Tempest a guide for divinely inspired leadership.
Prospero’s ability to conduct magic and his absent co-creator or partner makes him unlike any other human character in the play. Though his magical abilities are …show more content…

Sarah Denman write that Prospero is like the Church in that he is a messenger of God and has limited “life power.” This interpretation of Prospero is reminiscent of the Divine Right of Kings, which was first mention in England under the reign of James I (1603-1625). It is certainly possible that Shakespeare’s had the concept of the Divine Right of Kings in mind when he wrote The Tempest.
H.K Jones and Mrs. Sarah Denman also write that “when the government of this planet is taken from the powers above and put into the hands of man, then comes destruction.” This comment is a reference to Antonio, Trinculo, and Stephano, which are referred to as “natural” men, but it is also applicable to Frankenstein, who tries to assume power without connecting it to religion. The source states that “natural man” indulges in desires and is destined for destruction. Likewise, Frankenstein has a selfish desire for power and faces destruction as a result.
Frankenstein’s story is a manifestation of the idea that “absolute power corrupts absolutely.” Frankenstein’s total assumption of the God-like power to create life, juxtaposed to Prospero’s limited superhuman abilities, leads him to be responsible for the death of every significant person in his life through his

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Many ideas about the requirements of personhood have been circulating throughout Earth’s history. Many relate to religion and spirituality, and many of the others either contribute to the people v. property debate of the abolition movement or the contemporary pro-life v. pro-choice debates. This paper will address a few of these proposed requirements and how they specifically relate to the Monster created by Victor Frankenstein in the popular novel Frankenstein by Mary Shelley in a secular and non-endorsing manner. This character will then be juxtaposed with a character of a separate work: Lucky from Waiting for Godot by Samuel Beckett.

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In Frankenstein, by Mary Shelley, it scrutinizes the punishments when a man creates life, and plays the role of God. Victor Frankenstein, is at fault for the creature’s actions. Victor was looking for some honor and triumph, but when he accomplished his experiment, not only did it bring terror to Victor, but to the whole world. The monster never learned right from wrong and was never raised correctly, his first moment of life, all he experienced was the fear in Victor's emotion, and was abandoned right from the start. Victor selfishly isolated himself from society and ran away from his responsibilities which caused destruction to the people Victor cared for and loved deeply.

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In the passage, Frankebstein by Mary Shelley , it describes the relationship between the creator Frankenstein and the creation Demon. In the passage , The Tempest , it describes the relationship between Prospero and Caliban. Both passages have an disloyal/unhealthy relationship between two characters. To begin with , the passage Frankenstein , its like an parent trying to reason with a child who continues to disobeythem. For example , "Begone!

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Power, the one thing everybody desires, plays a major role in the lives of the characters of Frankenstein. Throughout the story, Shelley frequently emphasizes the theme of power and the constant struggle that the characters face to gain power over themselves and others. The two main characters, Victor Frankenstein and The Creature, show the most struggle for power throughout the story, both internally and over each other. They look to gain power of knowledge, power of themselves and power over one another. This struggle for power creates a constantly shifting dynamic amongst characters.

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Such passion is seen in Victor’s ‘noble intent’ to design a being that could contribute to society, but he had overextended himself, falling under the spell of playing ‘God,’ further digging his grave as he is blinded by glory. His creation – aptly called monstrous being due to its stature, appearance, and strength – proved to be more of a pure and intellectually disposed ‘child’ that moves throughout the novel as a mere oddity, given the short end of the stick in relation to a lack of familial figures within his life, especially that of parents. Clearly, Victor Frankenstein had sealed his fate: by playing God he was losing his humanity, ultimately becoming the manifestation of Mary Shelley’s hidden desires, deteriorating into The Lucifer Principle by which the author Howard Bloom notes social groups, not individuals, as the primary “unit of selection” in human psychological

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Both “Frankenstein” and “The Tempest” have had an insurmountable influence on the way literatures developed. This is largely due to the similar compelling theme of the oppressor and the oppressed, a theme which is widely represented in novels today. The themes and the character relationships are extremely similar to one another. This is conveyed through the relationships between Dr. Frankenstein and his creature, as well as the relationship between Prospero and Caliban.

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The Tempest can be seen as a play about reconciliation, forgiveness, and mercy. However, while it is clear that the theme of forgiveness is at the heart of the drama, it is unclear to what extent mercy is given. An examination of Caliban and Ariel and their representations of Prospero’s struggle illustrates that there is little, if any, true forgiveness and reconciliation in The Tempest. Prospero’s actions from the beginning of the play seem to contradict his ultimate aim to forgive those of have wronged him. Prospero seizes the opportunity for revenge with the help of his magic and good fortune.

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Unlike Shakespeare’s other main characters, he is much more enigmatic. In they play Prospero is portrayed as the rogue who seeks revenge on his brother Antonio for his treachery. In this Shakespearean comedy it becomes clear that Prospero is the heart of power on the island. Evidently Prospero has been wronged by his brother’s usurping which he could not control and now uses his magic as a tool for controlling the events that occur on island throughout the play. The theme of power in this play is hugely significant as it clear that the violence interrogated in this play is in relation to power and the abuse of that power by the protagonist.

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