Frankenstein And Evil In Macbeth

---ADD NEC’S NOTES --- According to A.C. Bradley, “There is not a syllable in Macbeth to imply that [the witches] are anything but women,” if one were to take a psychological perspective of Macbeth’s behavior, as if he is a patient on Freud’s psychoanalytic couch , one can conclude that Macbeth wasn’t in control of his own mind and, therefore his actions, ---ADD NEC’S NOTES ---

Furthermore, assuming that Macbeth being a tragic hero, caused his own doom, as well as the braeakdown of his psyche leading to it, one can state that his tragic flaw was, indeed, his unchecked ambition and suppressed desire, similarly to Victor Frankenstein, as well as his inflated sense of self-worth, his narcissistic behavior, and his impulsive actions, he asserts:

It becomes essential to Victor’s psyche, urging him to run away from it, as he has been running away from his inner desires his entire life. Victor becomes physically ill multiple times, frequently because of the overwhelming guilt, before giving life to the creature, “My limbs now tremble and my eyes swim with the remembrance; […] I seemed to have lost all soul or sensation but for this one pursuit,” and afterwards, “For this I had deprived myself of rest and health […] but now that I had finished, the beauty of the dream vanished, and breathless horror and disgust filled my heart.” Consequently, he implodes and falls ill, proving his inability to accept responsibility, and flees. Thus is presented another element of Gothic and Romantic literature, that of the power of nature on the characters. Victor, and the monster, both seek solace through nature. Although pathetic fallacy is shown rather sparsely, more vivid examples of nature making an impact on the characters are presented when Victor tries to find consolation after the murder of his brother, William, and when Justine is accused and executed for murder, unfairly, “These sublime and magnificent scenes afforded me the greatest consolation that I was capable of receiving.” Similarly, when the monster takes over the role of the narrator, he mentions

In Frankenstein, Victor transgresses beyond social and human boundaries, overstepping the boundaries of man’s place in the world. Transgression is the violation of a particular societal, moral or natural law; Victor’s transgression of tampering with nature and creating a monster, while catering to his own narcissistic ambition, and his passion, can translate to it being his hamartia, in terms of a tragedy. Following the tragic cycle, after Victor has indulged in hubris by creating the monster, his purification, or lack thereof, leads to his catharsis, which, in this case, is his downfall and his death, being released of his conscience and of responsibility, “the only joy that he can now know will be when he composes his shattered spirit to peace and death.” Through this Peripeteia, of Victor trying to reverse his intended actions, Shelley places critique on human ambition, and quietly shares her opinion of man’s place in the world. Furthermore, the subtitle ‘The Modern Prometheus’, adds to the element of the tragic cycle, referring to the tragic mythological figure who displeased the gods and gave fire to man, resulting in his torture, similar to Frankenstein’s psychological torture throughout the novel after committing a sin in the eyes of society – the crime of creating life. Yet, Shelley places