Mary Shelley’s Frankenstein reveals the uncanny defamiliarization of the natural part of the general public. The creature, a making of Victor Frankenstein’s frenzy is utilized to affirm this. The monsters ghastly appearance is the reason of society’s loath towards it, thus it is addressed with appall and contempt. Despite the fact that the creature has general aims, and of the societal population around him, he tries forming an understanding to the society’s standards. The beast is abandoned by those who don't have any acquaintance with him, by those he adores, and even by his own particular maker, Victor Frankenstein. Leaving the impression on how society estranges individuals in light of their specific qualities which normally doesn’t satisfy …show more content…
It is seen as fairly otherworldly. The monsters first experience with a human happens when he goes into a cottage having a place with an old man, De Lacy, the only person who accepted the creature for what he was. De Lacy took notice to the creatures heart wrenching story on being outcasted with no person to care for him. The old man proceeds to tend the upset creatures emotions by assuring him that he’s not the one in the wrong and that it would be a pleasure to be in any serviceable to a human creature. This was the most content filled point in the creatures life, since there was no feeling of rejection being projected in the company of old man, DeLacy. Unfortunately this connection between the two was cut short when family of DeLacy returned home only to find a monster so hideous. They pushed creature away and struck him violently with a stick until he was gone. Realization came to the creature, coming to a conclusion that he would forever be abandoned from humans. “I possessed no money, no friends...endowed with a figure hideously deformed and loathsome I cannot describe to you the agony that these reflections inflicted upon me.”
Skipping ahead of the monsters causes quite a bit of trouble and strangles a lot of people, and this is all caused by him not being provided with a connection with anyone. Now before he really starts his strangulation spree he spies on a family (the Delacy’s) that teaches him unknowingly how to speak, read, and of general human connection and relationships. This moment of distant watching and learning has left him wanting things even more, he then reveals himself the Father who is blind and he is kind to the monster when the children arrive they terrified and reject the monster. Throughout the tale of the monster is reminded of his indifference by others resulting in him stating: Humans thrive off of connection with other beings, this allows them to indeed grow and exceed happiness most of the time. Within our species and even outside, we are all searching for one thing; this is indeed a sense of purpose and pursuing happiness.
Previously portrayed through Frankenstein’s letters as the sole cause of both his and society’s despair, the monster’s use of the word “abortion” instead demonstrates Victor’s individual contribution towards his creature’s destructive path. Since the definition of abortion serves as the premediated act of terminating life, Frankenstein’s deliberate decision to desert his artificial creature exhibits society’s lack of sympathy for those with uncontrollable differences such as the monster’s physical deformities. Nevertheless, the textual irony of the monster’s frustrations eventually becomes apparent when the creature exclaims “Was there no injustice to this?”. Setting off a chain reaction of several more questions, Shelly’s text further mirrors the monster’s bafflement with the careless actions of Victor Frankenstein. That is, although Frankenstein gave his creation the “gift” of life, the monster has been perpetually denied every chance to live happily because of mankind’s relentless and inescapable hatred. More so, explained as the abandonment or failure of a process, Frankenstein’s ultimate refusal to love his own creation typifies how the creator’s ironic choices remain accountable for failing both the monster and
The creature who has been leading a solitary existence by observing the Delacey family, exclaims “The more I saw of them, the greater my desire to claim their protection and kindness; my heart yearned to be known and loved by these amiable creatures” (Shelley 112). Being isolated from most of society, the creature’s only contact with mankind is through observing the Delaceys. Unlike any base monster, the creature has “yearning” that originates in his heart. Because the creature relates with the Delaceys as “amiable creatures” his desire for companionship with them is brought forth, further distinguishing him as distinctly human. Miserable and lonely, the creature desires to also “claim their protection and kindness” which demonstrates how the creature desires even more than just mere companionship but also to be loved. Most importantly, the creature desires acceptance into their family as one of their own. Although he observed the family, the creature took a radical and somewhat desperate choice to abduct Victor’s younger brother: “If I could therefore seize him, and educate him as my companion and friend, I should not be so desolate”. (Shelley 121). Such extremes show to what lengths the creature was willing to go to gain companionship and acceptance. Without companionship, the creature cannot survive in happiness, but he yearns for it and cannot do without it. Once again, the human need for companionship comes to the forefront of the creature’s purpose and endeavors and he is not fulfilled without it. Far from being an emotionless, brutish monster, the creature need for a friend aligns it to mankind’s basic
In most novel and movies monsters are known to be evil, committing numerous crimes against humanity and are normally the ones that we don’t sympathize with. However, this novel carefully shows the reader that monsters can be good creatures, with a decent heart and act based on the actions of others. The novel shows how the monster should be pitied, rather than criticised. Mary Shelley's “Frankenstein” manages to create sympathy for the creature through speech, actions and mistreatment the creature suffers.
In Frankenstein, by Mary Shelley, the Creature executes extreme and irreversible acts due to his isolation from society. Although the Creature displays kindness, his isolation drives him to act inhumanely. The Creature, pushed away from his creator because he is an abomination, and indicates his isolation as the only one of his species. As the Creature gets more comfortable with the De Lacey ’s, he approaches the old man as his children are gone but before he can explain himself, the children come home and see the Creature, “Who can describe their horror and consternation on beholding me?
This paper will concentrate on the definition of human nature, the controversy of morality and science, the limits to scientific inquiry, and how this novel ties in with today’s world. Mary Shelley’s novel Frankenstein expresses human nature specifically through the character of the “Creature” and its development. The Creature has an opportunity to explore his surroundings, and in doing so he learns that human nature is to run away from something so catastrophic in looks. The Creature discovers that he must limit himself in what he does due to the response of humans because of his deformities. I feel that Mary Shelley tries to depict human nature as running away from the abnormal, which results in alienation of the “abnormal.”
Mary Shelley’s Frankenstein is ‘one of the pioneering works of modern science fiction’, and is also a frightening story that speaks to the ‘mysterious fears of our nature’. Mary Shelley mocks the idea of “playing God”, the idea that came from the Greek myth of Prometheus, of the Greek titan who stole Zeus’ gift of life. Both the story of Frankenstein and Prometheus reveal the dark side of human nature and the dangerous effects of creating artificial life. Frankenstein reveals the shocking reality of the consequences to prejudging someone. The creature’s first-person narration reveals to us his humanity, and his want to be accepted by others even though he is different. We are shown that this ‘monster’ is a ‘creature’ and more of a human than we think.
Peter Brooks' essay "What Is a Monster" tackles many complex ideas within Mary Shelley's Frankenstein, and the main concept that is the title of the essay itself. What is the definition of a monster, or to be monstrous? Is a monster the classic representation we know, green skin, neck bolts, grunting and groaning? A cartoon wishing to deliver sugary cereal? or someone we dislike so greatly their qualities invade our language and affect our interpretation of their image and physical being? Brooks' essay approaches this question by using Shelley's narrative structure to examine how language, not nature, is mainly accountable for creating the idea of the monstrous body.
He describes his period of observation as having “impressed [him] with feelings which, from what [he] had been, have made [him] what [he is]” (Shelley 119). There is a connection between the events that follow and his exposure to happiness, love, sympathy, and sadness of the DeLancy Family, the inhabitants of the cottage the creature choses to observe. The monster is absorbed in “emotions of gentleness and pleasure” (Shelley 142), but soon is met with great sorrow when his “protectors”- those he beheld, depart and break “the only link that held [him] to the world” (Shelley 140). He is lonelier and sadder than ever.
Tragedy shows no discrimination and often strikes down on those undeserving of such turmoil. In Mary Shelley’s Frankenstein, a creature more repulsive than one can imagine is brought to life by a young scientist. Although this creature is horrifying in sight, he is gentle by nature. Unfortunately, the softer side of the creature is repeatedly overlooked and the so called “monster” is driven to a breaking point. Even though the Creature committed many crimes, Mary Shelley’s Creature was the tragic hero of this story because of his efforts rescue the life of a young girl and helping destitute cottagers.
The definition of ‘monstrosity’ and what it means to be ‘monstrous’ can be understood to mean something that is visually unattractive, malformed and/or terrifying. However, monstrosity is not exclusively about something aesthetically ugly, it can also apply to what differs from what is considered ‘normality’. What is ‘normal’ versus what is ‘monstrous’ is closely linked when exploring ideas about the human condition. The representations of monstrosity in Frankenstein and in The Tempest reveal how what is monstrous and what is normal are often found side by side, challenging the idea that it is limited to outcasts who do not ‘fit-in’, and that deep down, a desire to be understood, accepted and included and to live life with meaning are central to the human condition and that monsters in society often reveal our deep seated fears and anxieties about our own existence.
Mary Shelley’s Frankenstein is a nineteenth century literary work that delves into the world of science and the plausible outcomes of morally insensitive technological research. Although the novel brings to the forefront several issues about knowledge and sublime nature, the novel mostly explores the psychological and physical journey of two complex characters. While each character exhibits several interesting traits that range from passive and contemplative to rash and impulsive, their most attractive quality is their monstrosity. Their monstrosities, however, differ in the way each of the character’s act and respond to their environment. Throughout Frankenstein, one assumes that Frankenstein’s creation is the true monster. While the creation’s actions are indeed monstrous, one must also realize that his creator, Victor Frankenstein is also a villain. His inconsiderate and selfish acts as well as his passion for science result in the death of his friend and family members and ultimately in his own demise.
In Mary Shelly’s Frankenstein, Victor Frankenstein secretly creates a monster without considering the consequences. After the creation of the monster and throughout Victor’s life he and the monster suffer constantly. Because Victor keeps his monster a secret from his family, friends and society, he is alone and miserable. The monster is also alone and miserable because he is shunned by society due to his grotesque appearance.
Shelly representation of the creature is of a very hideous, grotesque big figure that came from rotting corpses but somehow manages to make some reader feel pity for the monster. Shelly does a well job in expressing this by showing that although the creature was made unfairly and unethically that it learned to express himself and knew what he needed not to live a so called happy life but a life where he felt he had purpose or a friend to push on forward. “I demand a creature of another sex, but as hideous as myself; the gratification is small, but it is all that I can receive, and it shall content me. It is true, we shall be monsters, cut off from all the world; but on that account we shall be more attached to one another. Our lives will not be happy, but they will be harmless and free from the misery I now feel.”
Mary Shelley’s Frankenstein or; The Modern Prometheus, published in 1818, is a product of its time. Written in a world of social, political, scientific and economic upheaval it highlights human desire to uncover the scientific secrets of our universe, yet also confirms the importance of emotions and individual relationships that define us as human, in contrast to the monstrous. Here we question what is meant by the terms ‘human’ and ‘monstrous’ as defined by the novel. Yet to fully understand how Frankenstein defines these terms we must look to the etymology of them. The novel however, defines the terms through its main characters, through the themes of language, nature versus nurture, forbidden knowledge, and the doppelganger motif. Shelley also shows us, in Frankenstein, that although juxtaposing terms, the monstrous being everything human is not, they are also intertwined, in that you can not have one without the other. There is also an overwhelming desire to know the monstrous, if only temporarily and this calls into question the influence the monstrous has on the human definition.