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Frankenstein the human and the monstrous
How the monster develops throughout frankenstein
Frankenstein the human and the monstrous
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Frankenstein, Dialectical Journal- Chapter 4- The End A theme that was very prevalent in these final chapters was, Creator and Creation, furthermore how the monster and Frankenstein are more alike than they like to think. Both characters had been wronged by the other and made it their missions to destroy each other, losing parts of themselves along the way. “You, who call Frankenstein your friend, seem to have a knowledge of my crimes and his misfortunes.
All humans find themselves obsessively determined to succeed in gaining something, whether it be knowledge, a promotion, or someone’s love, only to find out that what they thought they were going to get is not what they actually wanted at all. In her novel Frankenstein, Mary Shelley describes this phenomena occurring within Victor Frankenstein’s internal narrative. He is obsessed and determined to discover the secret of life, and once he does he realizes its effects on not only his life, but others’ as well. Throughout the passage found on pages 30-31, Mary Shelley reveals the attitudes of curiosity, wonder, and determination through descriptive characterization of Victor Frankenstein and his thoughts, effectively bringing her own attitudes to fruition through language, symbols, and sentence structure.
In the protection of his image of self, which is a direct result of a god complex, Victor Frankenstein rationalizes his arguably terrible choices to combat the guilt that stems from his involvement with William and Justine’s
Mary Shelley’s Frankenstein contains valuable lessons about the role love plays in providing one with life, liberty and happiness. Shelley portrays Victor and the Creature as products of very different environments who nonetheless end up with similar mindsets in which revenge is thought of as a pact and love is a basic necessity. Victor’s early years are spent with boundless amounts of love, whereas the Creature is spurned from the beginning of his existence. However, at the end of the novel, both Victor and the Creature are driven by a relentless need to take vengeance upon the other. These factors are used to define the characteristics of Victor and the Creature and shape their psychological makeup.
Mary Shelley's Frankenstein is a classic novel that explores the consequences of cruelty, both towards oneself and others. Through the course of the story, the theme of cruelty functions as a crucial motivator and major social and political factor, driving the plot and the development of the characters. This essay will analyze how cruelty functions in the work as a whole, the impact it has on the characters, and what it reveals about the perpetrator/victim relationship. One of the most striking examples of cruelty in the novel is the treatment of the creature by his creator, Victor Frankenstein.
A timeless human goal has always been to set visionary goals to advance the coming generations. Although many results can be successful, a great number of them can turn out deadly. In the novel, Frankenstein, Mary Shelley illustrates the result of a man’s visionary motive of creating life, which consequents into the birth of the deadly creature. The creatures understanding of justice is based on eliminating anyone or anything preventing him from reaching his goal; accordingly, his actions to attempt revenge upon Victor only led to his downfall throughout the novel. The creature’s understanding of justice and it’s revenge against Victor is the driving force of the story because it builds up the anticipation the reader has for the final confrontation.
The Creature in Frankenstein Mary Shelly’s “Frankenstein” is an inspirational work of horror and science fiction; it is the narrative of an unorthodox act of creation, of a monster which torments his miserable creator. The author puts forth ideas, and reinforces it through the development of the plot, that mankind is capable of both good and evil. Shelly demonstrates the ‘humanity’ of the creature; his actions and his inclination are like those of mankind. Indeed, even the negative aspect of his character, demonstrated through his quest for revenge, has a parallel in the actions of his human creator. In Mary Shelley’s “Frankenstein” the creature is represented as being vicious and murderous but he is not inherently evil or malicious.
Over the past century, Frankenstein has been analyzed and interpreted in seemingly infinite different forms of literature, film, and television shows. Once solely recognized as the story about a brilliant scientist who creates a creature in whom he regrets making after the creature turns out ugly, Frankenstein now represents an internationally recognized and commercialized pop culture symbol for Halloween decorations and costumes. When analyzing and appreciating the true literary essence behind Mary Shelley’s original Frankenstein, one of the most important comparisons to consider remains the underlying influences behind the Creature’s immoral actions and whether or not the blame for these actions belong to Victor or the Creature. When exploring the dichotomy of the Creature versus Victor Frankenstein, one of the biggest and most widely debated questions remains whether Victor should be blamed for the Creature’s destructive actions or if the Creature should be considered guilty for his actions based off of his own free will. Many consider Victor Frankenstein the villain of the story due to his repetitive decisions to abandon and avoid his own “mistake,” the irresponsible choice of creating the monster in the first place, and his obvious negligence of the Creature’s feelings.
The moment Victor Frankenstein successfully infuses life into his creation he is overcome with horror and disgust. Without further examination he is certain to have created a monster, not a human being (Shelley 35-36). However, despite his grotesque appearance, Frankenstein’s creature was not born malicious. During the first stages of his existence, unbeknownst to Frankenstein himself, his acts are motivated by innocence and virtue, which even earns him the title “good spirit” (79). Frankenstein did not create a monster.
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,by Mary Shelley, the mysterious and unnatural origins of the character of Frankenstein’s monster are an important element. The Monster, having been created unethically and haphazardly, is at odds throughout the novel, resulting in his alienation from society and prolonged feelings of anger, desertion, and loneliness. Shaping his character, his relationships with other characters, and the meaning of the work as a whole, the Monster’s origins are what define him. The Monster faces rejection and violence every time he attempts to make contact with the new, foreign world he has been thrust into.
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
Frankenstein by Mary Shelley is a gothic novel that tells the story of scientist, Victor Frankenstein, and his obsession with creating human life. This leads him to creating a gruesome monster made of body-parts stolen from grave yards, whom upon discovering his hideousness, the monster seeks revenge against his creator, causing Victor to regret the creation of his monster for the rest of his life. Shelley uses the literary elements of personification, imagery, and similes to give a vivid sense and visualization of Victor Frankenstein’s thoughts and feelings as well as to allow us to delve deeper into the monster’s actions and emotions. Throughout the novel, Shelley uses personification of various forces and objects to reflect the effect in Victor’s actions.
ENG-3U0 November 20 2015 Frankenstein: The Pursuit of Knowledge Throughout the course of their individual journeys, Victor Frankenstein’s extreme passion for gaining knowledge about creating life, Robert Walton’s curiosity to discover land beyond the North Pole and the monster’s eagerness to obtain knowledge about humans was the principal cause of each of their suffering. As such, In Mary Shelley’s Frankenstein, the pursuit of knowledge is a dangerous path which leads to suffering. Victor Frankenstein develops a keen interest in discovering knowledge about living beings which ultimately results in his personal suffering as well as others suffering. To begin with, Victor embarks on an assignment through combining body parts and following various
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.
