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However, according to Laurence M. Porter, as soon as Frankenstein actually succeeds in his goal, he “at some moments rejects his creature with horror and at others recognizes it as a sort of double,” both terrified and enthralled by its unnatural implications. However, Frankenstein’s shortsighted response to The Creature cause his failure to predict The Creature’s wrath and his narcissism causes his failure to prevent it. To illustrate, he cannot work up the courage to admit his indirect responsibility for his brother’s murder, instead allowing innocent Justine to take the fall, showing how his narcissism further accelerates the disintegration of his family. Instead of concerning himself with
Frankenstein’s Monster is not categorized as evil by his malicious behavior and is sympathized with due to his creator abandoning him and the role of nature versus nurture taken place II. Monster’s Nature and alienation A. Monster originally had an inquisitive nature yet gentle nature a. Information on the German family was “each interesting and wonderful to one so utterly inexperienced as [he] was” (105) B. With the rejection and alienation from society, the only interactions the monster experiences, he becomes full of hatred a. Rejected by De Lacey family by his looks and labeled a monster b. Tries to save a child but is shot by child’s father C. Reader may feel sympathy towards the Monster’s actions because the readers know that his true nature was not evil and he was misjudged III.
"Hatred and fear blind us. We no longer see each other. We only see the faces of monsters, and that gives us the courage to destroy each other." by Thick Nhat Hanh. In Frankenstein by Mary Shelley is about a man taken over by the interest in science.
The result of his ambition, putting his wants and desires before others safety, results in him shutting himself out from the rest of the world so that he can satisfy himself. Those who are close to Frankenstein are the ones that end up getting hurt the most and Frankenstein is left with guilt. Frankenstein not only went too far in creating the monster, but he then went as far as leaving the monster to defend for himself in a world that was unknown to him. The monster’s confusion in the world foils and reflects Frankenstein’s poor judgement and selfishness. Frankenstein’s decision to create the monster and then leave him without any guidance, shows the worst part of Frankenstein’s desires and true colors.
In Mary Shelley’s 1817 novel, Frankenstein, we are introduced to iconic characters that will last throughout literary history. The story takes us through the thought process of Dr. Victor Frankenstein as he seeks the the secret to life and creates an intelligent, but rather horrifying monster. The story gives the reader an insight to the monster’s experience as he thrusts into human kind with no help from Victor, who is absolutely horrified by what he has invented. The doctor felt hopeless and abandoned the monster to fend for himself in the world. Throughout the novel, the reader may notice that Dr. Frankenstein has many similarities with the monster: such as signs of schizophrenia, depression, and anxiety.
Dichotomy is a very important characteristic in literature. Dichotomy is able to emphasize the contrast and add many deep layers to a story. In Emily Brontë’s Gothic Novel Wuthering Heights, Heathcliff’s embodies many contrasting philosophical components. Heathcliff personifies the role of a savage and a cultured gentleman. Heathcliff is also able to play the role of the victim and victimizer.
Mary Shelley uses Frankenstein's rationalizations to show how his ego seeks to protect itself. Shelley focuses on how Frankenstein's ego gives Frankenstein a warped sense of reality. This warped sense of reality is first seen when Frankenstein decides to go from having little scientific experience to creating life from nothing. His ego forces him to labor with rot and the dead to achieve a mythical status as first and lone creator of life, further blinding him to the horror of his creation. As the novel progresses, Shelley uses ego to once again rationalize Frankenstein's actions.
Victor Frankenstein, the protagonist in Frankenstein, and his creature have been subject to many different interpretations. Some of them including a psychoanalytic approach based on Sigmund Freud 's theory, others have compared them to other characters from mythological stories as, for example Oedipus. However, only a few have analyzed Victor as a narcissist. The DSM-5, the fifth edition of the Diagnostic and Statistical Manual of Mental Disorders, lists among others the following traits: exaggerated self-importance, embellished and overstated achievements, belief of superiority in regard to others and fixation of imagination of success and power, as symptoms of narcissism. In this paper, I will demonstrate how these symptoms apply to the depiction
Psychoanalysis of Frankenstein and His Creation When doing a literary analysis using the psychoanalytic type A criticism, the reader must solely look to the work itself and exclude externalities. One may interpret, “Dr. Frankenstein and the monster as embodying Sigmund Freud’s theory of id and ego” (Telgen). The theory is based upon the idea that a character’s personality can be divided into three parts. The id which is the basic desire for what each person wants. The superego which is the opposite of id, it houses our sense of guilt.
Sticks and strangling will break bones, but words will leave irreparable emotional scars. In Mary Wollstonecraft Shelley’s epistolary novel, Frankenstein, the estranged Victor Frankenstein deprives his re-animated ‘creature’ of a name. The cruel manner Victor treats his “Adam” (Shelley 119) by withholding a name pushes the Creature further away from the belonging he so desperately seeks (148). As atrocities occur at the ashen hands of the Creature, names like “monster”(118) and “wretched devil”(118) bombard him from those he would seek refuge with . Nameless, the Creature is dehumanized and consequences of a negative perception, internally and from society, persist.
Duality is shown in Mary Shelly’s Frankenstein, a gothic tale of a scientist whom looks to advance the life-giving qualities of mother nature. Through this novel, Shelley proves that good and evil in human nature is not always simple to define, and that everyone has both of these qualities within them. The duality of human nature is shown through the characters of Victor Frankenstein and his monster, who are both heroes in the novel while simultaneously displaying anti-hero qualities. Shelley forces the reader to sympathize with them both but also creates gruesome ideas of the two. Frankenstein’s creature places himself in a submissive position when he begs his creator to have mercy on him and asking the creator to “create a female for [him] with whom [he] can live in the interchange of those sympathies necessary for [his] being.”
In the novel Frankenstein, the monster created by Frankenstein shows some human qualities. Some qualities that make people human are reason, pain, anger, sadness, growth, and ultimately being made by God; the monster expresses the human qualities of pain, anger, sadness, and reason, but he does not have the quality of being made by God, and growth. One of the first qualities that the monster exhibits is reason. When the monster is sharing his story with Frankenstein, he explains how he discovered the rules of fire by saying, “ I quickly collected some branches; but they were wet, and would not burn.
The fictional horror novel of Mary Shelley’s Frankenstein is driven by the accentuation of humanity’s flaws. Even at the very mention of her work an archetypal monster fills one’s imagination, coupled with visions of a crazed scientist to boot. Opening her novel with Robert Walton, the conduit of the story, he also serves as a character to parallel the protagonist’s in many ways. As the ‘protagonist’ of the story, Victor Frankenstein, takes on the mantle of the deluded scientist, his nameless creation becomes the embodiment of a truly abandoned child – one left to fend for itself against the harsh reality posed by society. On the other hand, Walton also serves as a foil to Victor – he is not compulsive enough to risk what would be almost
In Mary Shelley’s novel, Frankenstein, Frankenstein’s Monster experiences a sense of self-actualization after coming to terms with his “monster” identity. In chapter 13, after Frankenstein’s Monster learns about human history and social norms, he conducted a self-analysis of his current self. He stated, “I possessed no money, no friends, no kind of property. I was, besides, endued with a figure hideously deformed and loathsome”. Moreover, when he “looked around, he saw and heard of none like [himself].
In 1818 Mary Shelley wrote Frankenstein, a novel that follows Victor Frankenstein, an ambitious man on his journey to defy the natural sciences. In Volume I of the novel, Victor discusses his childhood, mentioning how wonderful and amazing it was because of how his family sheltered him from the bad in the world. “The innocent and helpless creature bestowed on them by heaven, whom to bring up to good, and whose future lot it was in their hands to direct to happiness or misery, according as they fulfilled their duties towards me” (35). When Victor brings up his childhood, he suggests that parents play a strong in how their kids turn out, either "to happiness or misery" (35). In particular the main character was sheltered as a child to achieve this “happiness” leading to Victor never developing a coping mechanism to the evil in the world.
