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The Role Of Safie In Mary Shelley's Frankenstein

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becomes totally unlike her female compatriots and as totally unfitted to "harem" life and its "puerile amusements." (Lew 281). the arrival of the exotic Safie changes the physical and emotional milieu of the cottage as her presence inspires happiness and her wealth provides material comfort". The novel seems to suggest that this relationship between the European Man and the Oriental Woman can be stable, happy, and Fruitful. Yet one wonders about easily Felix accepts a parasitic relationship, living off Safie´s stolen wealth (Lew 279)
Safie does not visit the De Lacey family empty handed "taking with her some jewels that belonged to her, and a small sum of money, she quitted Italy “(Shelley 131). She receives an outstanding welcome from the cottagers "Agatha, the ever-gentle Agatha, kissed the hands of the lovely stranger" (Shelley 122) Agatha kisses the hand of the stranger as a sign of respect and recognition. Nevertheless, Frankenstein deliberately symbolizes Felix as the Western Man who is has an excessive desire in the Oriental presence and material wealth and Safie as the Oriental Woman who provides comfort in her presence and material wealth to the Western …show more content…

Frankenstein contributes to the sexualization and fetishization of the Orient women. In fact, the monster, gives an explicit characterization of Safie who throws her “thick black veil” (Shelley 121) as she sees Felix approaching and displays her body to the cottagers and to the observing creature. The creature is fascinated by the physical appearance of the Arabian who does not resemble the cottagers. The creature´s depiction of the Arabian is a typical image the West held towards the Oriental women. “and I beheld a countenance of angelic beauty and expression. Her hair of a shining raven black and curiously braided; her

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A dynamic character is somebody that changes his or her personality or attitude. Victor’s creature from Mary Shelley’s novel fits the definition of a dynamic character because he changes his attitude during the novel. The creature in the beginning of the novel starts being a good “person.” He did a lot of kind things for human beings like helping Felix’s family.

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The Dangers Of Responsibility Responsibility is the state or fact of having a duty to deal with something or of having control over someone. Responsibility is something that every human needs. A lack of responsibility can be harmful to the person and the people around them and a plethora of responsibility can change a person 's life. In the novel Frankenstein by Mary Shelley, Shelley’s portrayal of Victor as selfish suggests that not taking responsibility can lead to pain, death, and the suffering of others as the reader sees in the novel which relates to today 's society of powerful countries not taking responsibility for the weapons that they create, and the damage that is revealed as a result.

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One character, Justine, is very passive and used as a device to make Victor feel guilty for creating The Creature; as her major contribution to the plot was The Creature framing her for her brothers death and shortly after, being sentenced to death. Another female character, Safie, is used to teach The Creature how to speak: “My days were spent in close attention…and I may boast that I improved more rapidly than the Arabian…I could imitate almost every word that was spoken… I also learned the science of letters” (Shelley 106). Even the most prominent female character in the book, Frankenstein's lover and wife, Elizabeth, is killed by The Creature on their wedding night, in order to again make Victor regret creating The Creature, and eventually die of his unhappiness. Mary Shelley's depiction of women might be her indicating the roles of women at the time as inferior, a similar thesis brought about by Mary Wollstonecraft in A Vindication on the Rights of Women.

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Moments, when characters have a sudden change in attitude, can be found often throughout Frankenstein, but it is prominent during Walton’s last letter to his sister as he tells of meeting the monster. The monster mentions his past concerning Victor Frankenstein and that his feelings were “forever ardent and craving; still [it] desired love and fellowship, and [it] was spurned…” (Shelley 211). While the monster recognizes his desire for love, he then contradicts that desire by stating that “[Frankenstein’s] abhorrence cannot equal that with which [it regarded itself]” (Shelley 212). The monster’s growing internal conflict through the novel between his desire to be accepted and his knowledge of being different is what causes him to be a dynamic character.

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Change is the one thing that nothing is immune to. This is clearly shown throughout Mary Shelley’s, Frankenstein. The novel tells of a scientist, Victor, who just wanted to make something with his life. Victor spends many years of his life in college where he figures out he has the ability to give life to an inanimate object and sets off on a path of creation. A few years later, Victor completes his task and gives life to his grand creation.

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By denying both main characters the sensation of domestic affection, or any other kind of social belonging, Mary Shelley highlights the importance thereof. The resulting isolation became the driving force behind both Frankenstein and his creation’s abominable actions which, in turn, shows that trying to avoid isolation and seeking the feeling of social belonging is the primary message of Mary Shelley’s Frankenstein and of

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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.”

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Beauty and ugliness is often used to justify the reaction of others in the novel, Frankenstein; in which the relation between external appearance and internal desires are shown to be related. The theme of how appearance affects judgement is often demonstrated through the characters response to the monster’s physical being. Shelley depicts this situation through Dr. Victor Frankenstein, the Delacey family, and through the monster himself. The use of appearance to determine judgement is shown to be a negative habit. By automatically associating ugliness with evil, and beauty with innocence, society unintentionally develops a negative being in those considered ugly, while at the same creating an illusion of innocence over beautiful individuals.

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When writing any piece of fiction, an author 's choice of narrative voice has a huge impact on how readers experience the story. From the slightly less personal yet versatile third-person to the narrow, limited view of first-person, the narrative voice literally provides the voice of literature. It affects which characters the reader really connects with, the opinions that influence them, the knowledge they have, and numerous other aspects. While most authors stick with only one tense, Mary Shelley challenged that standard in Frankenstein. In Frankenstein, Shelley changes her narrative voice numerous times in order to fully develop all aspects of the story through Walton 's letters, Frankenstein 's story, the Monster 's story, and also the

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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

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Mary Shelley’s Frankenstein Critical Analysis About the author Naomi Hetherington is a member of the University of Sheffield, the department of lifelong learning. She is an early researcher in sexuality, religious culture, the 19th-century literature, and gender. She holds a BA in Theology and religious studies, an MA and a Ph.D. in Victorian Literature. She currently teaches four-year pathway literature degree at Sheffield University for students who have already attained foundation degrees. Among the books, she has written the critique of Frankenstein.

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