45: Air from the area surrounding Ingolstadt gives Victor strength. 45: Calm environment inspires delight in Victor. 48-49: The calm mountains in Lausanne helped restore Victor after his brother died. 62: Victor thinks submersion in water can end his distress. 64: The mountains near the Arve help decrease Victor’s fear.
In Frankenstein, victor’s irrational decision to depart Geneva sees his “spirits and hopes rise” even as he leaves a distraught family, establishing his egocentric ideals and moral fallacy. Meanwhile, shelley depicts the creature as similar to humans through its manner and desire to learn, however, due to his grotesque appearance emphasised through colour imagery ‘yellow skin… and straight black lips’, he is excluded by society and labelled a ‘demoniacal corpse’. This provokes questioning of human morality, and whether the creature is classified as a human. Alluding to Milton’s Paradise Lost, the creature states, ‘I ought to be thy Adam, but I am rather the fallen angel’. As an eloquent rhetorician, he employs literary devices such as oxymoron and parallelisms.
This is evident in the text when Frankenstein cannot accept the creature’s appearance. As the creature looks and acts differently than the natural human, he becomes
From the very beginning of Frankenstein's creature’s existence, the creature expresses a resolute plea for Victor, his “father”, his “creator”, to accept parental responsibility for him. He questions his creator, “To whom could I apply with more fitness than to him who had given me life?” (Shelley ) The creature’s appeal is the most natural of appeals- for a father to accept his obligation to provide and care for his child. In doing so, the creature offers a paradigm of humanity, indicating each person’s innate set of duties and responsibilities present in their very being.
“And what was I? Of my creation and creator I was absolutely ignorant, but I knew that I possessed no money, no friends, no kind of property. I was not even of the same nature as man,” said the Creature, a mere by-product of Victor Frankenstein’s bona fide interest in the realm of human anatomy. The quote above depicts the plight of the Creature and how he gradually developed his unique, somewhat rich, personality through his encounters in the “real world”, laden with momentous literary pieces. All in all, in the novel Frankenstein,
However , sadly, like infants, the Creature must finish development to understand the world and his place in it. In the Symbolic stage, he discovers his authoritative figurehead¬¬— Frankenstein. Upon learning to read, The Creature, takes the papers he finds in his creator’s dress pocket. The papers explain to him his origin and that he is “a monster so hideous that even you [Frankenstein] turned from me in disgust” (Shelley 88).
To begin with in Frankenstein, the creature feels a great sense of hate and despicable reaction from both his creator and the outside. While some focus on Victor and his feelings, the creature knows no one cares to see all the pain that was bestowed upon the creature. The creature mentions, “I was, besides, endowed with a figure hideously deformed and loathsome; I was not even of the same nature as man.”(111). As the creature lives alone in the world, he feels more and more resentful towards Victor for giving him life. To add onto this, the creature states “When I looked around, I saw and heard of none like me.
Throughout Frankenstein, the creature exhibits human-like emotions and actions, thereby justifying his classification as a human. Gris Grimly portrays Victor's creature as a human by giving him the ability to show, feel, and use emotions like
Victor Frankenstein is a young, curious science student who is intrigued by the meaning of life and whether life can be recreated scientifically. He creates a grotesque looking yet extremely emotionally human-like creature in an unorthodox experiment. However, after the creature is brought to life, Victor is ashamed of his creation and refuses to establish any sort of relationship with the creature who desires human interaction. The creature repeatedly states, “Listen to my tale…do hear me…listen to me…” to Victor in hopes of creating some sort of relationship (Shelley 69). Victor is stuck in a clinical gaze when dealing with the creature.
In the novel Frankenstein written by Mary Shelley, Dr. Victor Frankenstein wanted to try to renew life in a corpse, to “bestow animation upon lifeless matter”. so he created a “monster” using dead body parts from criminals. The creature's personality changes throughout the course of the novel. To start off when the creature was first created, he was almost like an infant. The creature was overwhelmed not knowing how to function.
Although Frankenstein’s creature is different from others he contains the qualities of a human being and
Frankenstein and the Nature of Consciousness The question of what true nature may underlie humanity has sparked discussion amongst philosophers and thinkers across millennia. The human experience—the sensation of consciousness, memory, and forethought, the perception of qualia like color and taste, and our species’ remarkable language and tool-making abilities—is an enigma that has proved near-impossible to untangle, as we are constantly ensconced in it. With the advent of objectivity, the release from our inherently subjective perceptions, we might be able to chart the path between inert matter and a fully realized human being. However, trapped in our minds and bodies as we are, we remain lost in the labyrinth.
Claridge demonstrates that “In reality, however, his parents had regarded him as a plaything, a bauble (p. 33); and so Frankenstein views his creation as an object of his pleasure, until the "newborn" forces his way into his parent's consciousness” (Claridge). The actions of Frankenstein’s parents toward their son have deeply influenced on him. As the result, he does the same actions to his creature, so that he has never thought that the creature as an innocent life, but as an ugly monster. Furthermore, Laura P. Claridge notes the realization from the Creature: “He quickly becomes aware that there is no place for him, that he has been forbidden all that society holds dear: wealth and connections. If his own creator withholds from him human contact, he can expect nothing more from the rest of his world” (Claridge).
249} To achieve this, humanity has to be integrated via the visualisation of Frankenstein, as with Branagh’s version, or by a sympathetic performance that directly contradicts the creature’s horrifying exterior, as with Karloff’s rendition. The same applies to the horrifying nature of the creature’s appearance however, and so a fine balance needs to be struck between terror and implied benevolence, a feat that no filmic adaptation has managed to achieve. Yet despite this inherent need to visualise Frankenstein on screen, many critics view the act as an innate betrayal of Shelley’s text, referring to the idea that the uncanny ‘is what one calls everything that should have stayed secret, hidden, latent, but has come to the fore’ \footcite{Sigmund Freud, 'The Uncanny', 1919}. The naysayers to this visualisation have well-argued points, such as the idea that ‘the physical representation on the stage or in the film...discourages such ambivalences’ \footcite{Albert J. Lavalley, 'The Endurance of Frankenstein', pp.
Here, Frankenstein describes his creature and his own reaction to what he has accomplished. Again, before the subject of description has spoken a single word, Victor makes a judgment upon it. He describes the monster’s features with negativity, speaking of his “watery eyes,” “yellow skin,” and “shriveled complexion.” He claims “horror and disgust” consumed his heart at the realization of what he had done, and he says that the creature was “ugly” before it had been completed but, once finished and given life, was “a thing such as even Dante could not have
