The Most Monstrous Being In Mary Shelley's Novel, Frankenstein
Introduction
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Mary Shelly was born in 1797 and died in 1851; she was the second wife
of Percy Bysshe Shelley, the famous English poet. Her novel
"Frankenstein" was written when she was only 19 years of age and she
wrote it as a response to a challenge that Lord Byron set her.
Frankenstein is considered by some to be a modern Prometheus, an
ancient Greek myth about the creation of man.
Section 1
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Frankenstein wanted to be able to create life and defeat death:
Frankenstein -"I might in the process of time…renew life where death
had apparently devoted the body to corruption."
Frankenstein dreams of a world where death is not an object and he
hopes that one day death would only mean having to be brought back to
life. At this point Frankenstein does not seem at all monstrous.
Although in the beginning Frankenstein's intentions are good but, the
way he goes about realising his dream is not:
Frankenstein - "I dabbled among the unhallowed damps of the grave."
Mary Shelly uses the word "dabbled" to describe the way Frankenstein
looks for body parts in graves. These could have been from people who
had families or other loved ones, but Frankenstein treats them as
pieces of meat, materials for his experiment, and this makes the
reader disgusted at Frankenstein. This is the first sign that
Frankenstein is immoral. Despite this, might be forgiven as his
judgement is affected by his desire to create rather than destroy
life. Although this could shock a modern reader, it does not compare
to the reaction of a Victorian audie...
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...ross two points when she
wrote the novel. The first and more obvious is that when she was
writing Frankenstein, there were radical scientific developments going
on at the time. Scientists were starting to think that they could
bring dead organisms back to life. Mary Shelly thought this was wrong
as more people were starting to believe in science rather than go. I
think Mary Shelly's tale of woe is a warning to people. This is what
can happen when you rebel against god. The second point is that like
her mother, Mary is a feminist. When the novel was written, men would
have made all the vital decisions at the time; Mary didn't agree with
this. In Frankenstein it is men (Frankenstein and the monster) who
make all the vital decisions and consequently it is, bar
Frankenstein's friend Clerval, all women and children who die.
this are, "I am by birth Genevese and my family is one of the most
Mary Shelley's book, Frankenstein, deals with the major dilemma of the creation of man. Rousseau deals with the topic of abandonment in Emile, which stemmed the thoughts of creation for Shelley in 1816 upon reading Rousseau's opinions. Rousseau blames the problems that children inhibit solely upon the parents shoulders (Mellor). Mary Shelley is able to relate to this statement on a personal level due to the parenting (or lack of) within her life. This in turn leads to a broader question concerning Shelley's Frankenstein; is the monster really the sole person to blame for his murderous actions? According to Rousseau's theory, the monster is not the sole problem. Victor Frankenstein is his creator or "father" figure thus giving him the responsibility of his monster.
Imagine an eight-foot-tall, misshapen human child. You might complain that this is contradictory - but do it anyway. Imagine some sort of humanoid being with the mind of a human child in an eight-foot body, green with a nail in its head if you want. This is what Frankenstein's creature is. Frankenstein's creature is mentally a child, and we see its evolution through traditional child development in the course of its narrative. But the creature is the only member of its species, and therefore its narrative can be taken to represent the history of an entire species - the creature's first experiences can be viewed as an amalgam of creation myths.
In the novel, Frankenstein, by Mary Shelley, the Creature's only need is for a female companion, which he asks Victor Frankenstein his maker to create. Shelley shows the argument between the creature and Frankenstein. The creature says: "I demand a creature of another sex, but as hideous as myself " (Shelley 139). Shelley shows what the creature wants from Frankenstein and what his needs are. Shelley gives us an idea of the sympathy that Frankenstein might feel for the creature even though he neglects him. The creature confronts Victor demanding his attention and expressing his needs. I feel a lot of sympathy for the creature based on him being able to forgive Victor for abandoning him and being able to communicate with him.
Throughout Mary Shelley’s classic novel Frankenstein, Victor Frankenstein pursues, with a passion lacking in other aspects of his life, his individual quest for knowledge and glory. He accepts the friendships and affections given him without reciprocating. The "creature," on the other hand, seems willing to return affections, bringing wood and clearing snow for the DeLaceys and desiring the love of others, but is unable to form human attachments. Neither the creature nor Victor fully understands the complex relationships between people and the expectations and responsibilities that accompany any relationship. The two "monsters" in this book, Victor Frankenstein and his creation, are the only characters without strong family ties; the creature because Frankenstein runs from him, and Victor because he runs from his family.
The creature was created with the intention of goodness and purity but because of this, he wasn’t equipped to deal with the rejection of his creator. After Victor Frankenstein’s death, Robert Walton walks in to see the creature standing over his friend’s lifeless body.
and in this essay I will explore who the monster is in the novel. The
The creature in Mary Shelly’s novel Frankenstein is portrayed as a monster. Consider the presentation of the creature in the novel and the origin of the monstrous behaviour conveyed in the novel. Frankenstein’s monster is by instinct good but through watching the behaviour of humans he learns from their violent rejection of him, what it is to be human. He learns about the emotions of hate, anger, revenge and does not see the advantages of happiness and love. The message of Shelly’s novel is that through upbringing and socialisation, humans become monstrous and full of prejudice toward others different to themselves.
Humans find it far too easy to make judgments based upon the outward appearance, deeming one individual to be of lesser value than the other because of society’s standards. However, when the true character of a person is brought to light, any previous assessment becomes highly questionable. In the novel Frankenstein, Mary Shelley leads readers to inquire as to who the real monster is through the conveyance of both Victor and the creature’s differing perception of women.
Mary Shelley’s Frankenstein, or the Modern Prometheus, explores the monstrous and destructive affects of obsession, guilt, fate, and man’s attempt to control nature. Victor Frankenstein, the novel’s protagonist and antihero, attempts to transcend the barriers of scientific knowledge and application in creating a life. His determination in bringing to life a dead body consequently renders him ill, both mentally and physically. His endeavors alone consume all his time and effort until he becomes fixated on his success. The reason for his success is perhaps to be considered the greatest scientist ever known, but in his obsessive toil, he loses sight of the ethical motivation of science. His production would ultimately grieve him throughout his life, and the consequences of his undertaking would prove disastrous and deadly. Frankenstein illustrates the creation of a monster both literally and figuratively, and sheds light on the dangers of man’s desire to play God.
This philosophical analysis focuses on the main character of Mary Shelley’s Frankenstein, the Monster, and how his crime of killing a young boy and framing an innocent bystander is explained through the arguments made by Mengzi concerning evil natures. This parallel will be made by showing the progression of the Monster from good to evil nature and how his motivation to ruin his creator’s life tainted his fundamental heart. I will first briefly address the action as portrayed in Frankenstein and then discuss how Mengzi’s ideas explain the change in the Monster’s nature.
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.
When we are created into this world it’s not by the choice of our own. However, we are created most times out of love from our creator. Like a baby just newly born into this world needs to feel its mothers touch, scent, and security. The bonding makes you feel a connection to your maker of the world and without it a person may feel lost, abandoned, and unloved. From the beginning we hope to build our self-esteem through the love of our creator. Sadly, most people are not loved or accepted by their creator. This leads to a person lashing out in a number of ways that society views unconventional due to the lack of understanding that person suffers through abandonment alone. In the novel Frankenstein, Mary Shelley illustrates the theme of monstrosity
Explore the ways Mary Shelley presents the character of the monster in Frankenstein We are prepared for the arrival of the monster in many different ways, before he is created we know the monster is going to be a repulsive figure of a human being, but the reader is still intrigued into reading further, and because of Shelley's descriptive language we already feel disgust towards victors creation, and in doing so, we our-selves become just as callous as those people in the book that neglect Frankenstein's monster. Also because the monster was created by Victor using parts dug up from graves and morgues, and we associate graveyards with horror and death, there is immediately something sinister about the monster and to a point, Victor. The reader can already see the problems with creating artificial life in this way, and in the beginning of the novel, the reader is almost willing victor not to pursue his quest for knowledge, but victor is blinded by his own arrogance to stop and think carefully about what he is about to do. This is when Victor the man becomes separated from Frankenstein the scientist. "I saw how the fine form of man was degraded and wasted" Victor despises death, and his mind is occupied incessantly with it, and after the demise of his mother, victor cannot escape it, and subconsciously he dedicates his life towards combating the process.
In Frankenstein, Mary Shelley uses the motif of monstrosity to convey the theme that a person’s outward appearance is not what makes them a monster but rather their actions or inactions that classify true monstrosity. Despite the fact that the monster Victor Frankenstein creates is a literal example of monstrosity in the novel there are many parts that give meaning to monstrosity within character’s actions. Although Victor appears normal, since he is human his ambitions, secrets, selfishness, and inaction makes him a monster himself. Along with monstrous characters the pursuit of knowledge that is seen in Victor, his monster, and Walton in Frankenstein prove that knowledge can be a monstrosity. Mary Shelley’s Frankenstein is created using the life stories of different characters in the novel. The novel itself could be seen as a monster created similarly to Victor’s monster.