Mary Shelley’s Frankenstein originated as a ghost story told among her close friends. "It was a dreary night of November that I beheld the accomplishment of my toils" (Shelley 34) is the first line Shelley conceived when she began composing her famous novel. In this sentence, the "accomplishment" to which Victor Frankenstein refers is the creation, which receives animation on this "dreary night." By calling the creation his "accomplishment," Victor unintentionally names the creation. However, by the end of this "dreary night," Victor names the creation no less than six times, each time getting progressively more derogatory, and more insulting. This evolution of Victor’s attitude about the creation occurs during the time immediately following the creation. In these few hours, Victor’s imagination creates an increasingly grotesque image of the creation. This developed condemnation that Victor imposes onto the creation is similar to all of the creation’s other encounters with human beings. This repeated rejection causes the creation to realize that "All men hate the wretched; how then must I be hated, who am miserable beyond all living things" (Shelley 65). Eventually, therefore, the creation accepts its role as a monster based solely on the reactions it receives from other human beings. However, these spiteful reactions are inspired by irrational fears that result from the human nature of the characters to form preconceptions about the creation based on their prior experiences. The fantastical response William Frankenstein creates after seeing the creation shows how humans, when faced with the sublime, form preconceptions from their limited knowledge to "name the unnamable." The creation approaches William, assuming he would be i... ... middle of paper ... ...od; misery made me a fiend. Make me happy and I shall again be virtuous" (Shelley 66). In the novel, Victor has two chances to provide this happiness for the creation. In both cases, all the creation desires was a companion, be it Victor or a new creation. And, in both cases, Victor is influenced by his initial reaction of disgust at the sight of his original creation. This reaction originates from a preconception, a fear caused by the human nature to prejudge based on past experience. This prejudice is indeed the source of the pain and torment in Mary Shelley’s Frankenstein. If a "monster" exists in the novel, it is this aspect of human nature. Works Cited Shelley, Mary. Frankenstein. Ed. J. Paul Hunter. New York: W. W. Norton & Co, 1996. Frankenstein; or the Modern Prometheus. Ed. Stuart Curran. U of Penn.
In Frankenstein, everyone treats Victor’s creation like a monster including Frankenstein himself. This leads to the creation accepting that title and going on a murder spree. His creation says “When I reflected on his crimes and malice, my hatred and revenge burst all bounds of moderation” (69). Victor’s creation shows that
After Frankenstein discovered the source of human life, he became wholly absorbed in his experimental creation of a human being. Victor's unlimited ambition, his desire to succeed in his efforts to create life, led him to find devastation and misery. "...now that I have finished, the beauty of the dream had vanished..." (Shelley 51). Victor's ambition blinded him to see the real dangers of his project. This is because ambition is like a madness, which blinds one self to see the dangers of his actions. The monster after realizing what a horror he was demanded that victor create him a partner. "I now also began to collect the materials necessary for my new creation, and this was like torture..." (Shelley 169). Victor's raw ambition, his search for glory, has left him. His eyes have been opened to see his horrible actions, and what have and could become of his creations. As a result, Victor has realized that he is creating a monster, which could lead to the downfall of mankind. His choice is simple, save his own life or save man.
In Mary Shelley’s Frankenstein we are introduced early in the story to one of the main characters Victor Frankenstein and subsequently to his creation referred to as the monster. The monster comes to life after being constructed by Victor using body parts from corpses. As gruesome as this sounds initially we are soon caught up in the tale of the living monster. Victor the creator becomes immediately remorseful of his decision to bring the monstrous creation to life and abandons the borne creature. Victor describes his emotions and physical description of his creation as follows:
Creativity is the product of exposure to other’s ideas. As abstract reasoning develops, creativity is sought after. Interpretation of ideas becomes dependent on an individual’s thought process. As time goes on, we learn how to transform the ideas from its original form. In grade school, when given an assignment to write a story about a bus, children may say, “I rode on a bus.” As we develop, it can and is expected to become different – experiences vary. Stories become the intellectual property of the writer, but the idea did
In Mary Shelley’s novel Frankenstein, a man named Victor Frankenstein discovers how to effectively create life and reincarnate the dead. Victor successfully puts together the Creature out of body parts he had found in a nearby graveyard.Horrified by what he created, he runs away from the Creature as soon as the Creature came to life, and the monster runs away to form his own experiences. The Creature then goes on to murder many people and whilst having to observe other people to form his own ideals and sense of morality. The Creature’s demented sense of morality affected how he treated other people, and the Creature began to acquire a very violent lifestyle, and a relentless lust for revenge against his creator, Victor. The Creature began to harm and even kill those that Victor holds dear, and Victor attempts to hunt him down in search of his own revenge.
Those who admired Richard said of him: “A very powerful man, of great courage and spirit. He fought great battles and showed a burning passion for war. The king was indeed a man of wisdom, experience, courage, and energy… excitable, brave, and clever.” (The Third Crusade). Even those who did not approve of his tactics agreed of his bravery: “Richard was not a good king. He cared only for his soldiers. But he was very brave.” (The Third Crusade). It is clear that Richard was a fierce warrior, and was very good to his men. Although he displayed chivalry, his temper often times got the best of him. When the Crusaders took the city of Acre, Leopold, Duke of Austria, set up his banner on the walls. Richard didn’t think it ought to be there, so he became furious and threw it down into the ditch, asking the duke how he dare take the honors of a king (King Richard the Lionheart). His controlling behavior is also what caused King Philip and his soldiers to leave. When Richard realized that his army was far too small and weak to defeat Saladin’s, he was very upset. He knew it was his own fault for not displaying the attitude that he should have, and so he came to the top of a hill where Jerusalem could be seen, and would not look at the city. Instead, he turned away and cried out, “They who are not worthy to win it are not worthy to behold it.” (King Richard the
... Unquiet Mind, p.72). Such unique ideas and associations provide significant evidence for aid in all types of creativity.
Hildegard E. Peplau is renown in the nursing profession and other health disciplines and his name is synonymous with interpersonal relationship in nursing. Her conceptualization and description of the process of the nurse-patient interaction is one of her major contributions. Hildegard was born September 1, 1909 in Reading to immigrant parents of German decent. She was raised in a paternalistic family and a paternalistic society. She entered the nursing profession in Pottstown Pennsylvania, where she earned the diploma in nursing. Nursing education during her era was characterized with autonomous, nursing-controlled nightingale era and schools were controlled by hospitals. Women in nursing were seen as the source of cheap or free labor. She worked in the operating room supervision as a fresh graduate, and later moved to New York, where she specialized in surgical nursing. Later, she joined the Vermont College where she headed the nursing staff and earned her baccalaureate degree in psychology. Peplau journey to become a fundamental theorist in nursing is based on her experiential learning (Grayce, 1998). Peplau describes her journey into four transforming experiences. The first is the eleven (1932-1943) years; she served as a summer camp nurse at the New York university summer camp for women physical education major. During these years, she interacted with talented academicians from leading colleges and universities such Vassar and Wiliam. During these years, she interacted with a group of illustrious women who accommodated her as a professional. The second step of her professional growth occurred when she was a nurse and a student at Bennington College. The colle...
Stuart, G. W. (2009). Principles and Practice of Psychiatric Nursing (9th ed. pp 561). St. Louis, MO: Elsevier Mosby.
Although humans have the tendency to set idealistic goals to better future generations, often the results can prove disastrous, even deadly. The tale of Frankenstein, by Mary Shelley, focuses on the outcome of one man's idealistic motives and desires of dabbling with nature, which result in the creation of horrific creature. Victor Frankenstein was not doomed to failure from his initial desire to overstep the natural bounds of human knowledge. Rather, it was his poor parenting of his progeny that lead to his creation's thirst for the vindication of his unjust life. In his idealism, Victor is blinded, and so the creation accuses him for delivering him into a world where he could not ever be entirely received by the people who inhabit it. Not only failing to foresee his faulty idealism, nearing the end of the tale, he embarks upon a final journey, consciously choosing to pursue his creation in vengeance, while admitting he himself that it may result in his own doom. The creation of an unloved being and the quest for the elixir of life holds Victor Frankenstein more accountable for his own death than the creation himself.
Mary Shelley's Frankenstein explores the downfall of certain human characteristics, set to the backdrop of creation, destruction, and preservation. The subtitle denoted by Shelly herself supports this idea, by relating the fact that the title can be viewed as either Frankenstein or The Modern Prometheus. One scholar, Marilyn Butler, also maintains this by noting, "It can be a late version of the Faust Myth"(302). Shelly uses the story of the main character, Victor Frankenstein, to produce the concept of a dooming human characteristic of which Frankenstein states, "I have . . . been blasted in these hopes"(Shelley, 152). The reader finds, as a result of his thirst for knowledge and infatuation with science, Victor creates a living being by whom he has "suffered great and unparalleled misfortunes"(Shelley, 17). Eventually, Victor realizes this self-destructive trait, but he is not able to save himself stating, "I have lost everything, and cannot begin life anew"(Shelley, 16). Although everything in his life that is dear has been lost, Victor is able to convince one in his same position--Robert Walton--to not "lead [his crew] unwillingly to danger"(Shelley, 151). While addressing the concept of characteristic and self-discovery, it is possible to realize that the monster also possesses the characteristics held by both Victor and Walton; except in his learning, the monster is driven to continue to cause destruction. Most important about the thirst for knowledge is that, as a form of human characteristic or downfall, it leads to large, critical pieces of self-discovery. In obtaining these critical pieces, Frankenstein finds satisfaction in j...
Your idea only has to be original in its adaptation to the problem you are working on” (Thomas Alva Edison, as quoted in Seaward 297). As time has gone on Americans have become less creative. Left-brain ways of thinking, such as being logical, rational, and analytical, are not only more dominant, but also more rewarded in school and work environments. We went from being a productive society, making most of our household items ourselves, to a consumer society where most of our household items are bought. “People now take a passive role in the creative process, letting other people do the important creative problem solving” (Seaward 298). According to Seaward, creativity can help turn a chaotic situation into one that is more calm and harmonized, and even has the ability to make change pleasant and more pleasurable. Creativity is a significant part of mental wellbeing. There are two stages associated with the creative process: primary creativity (the origin of ideas) and secondary creativity (the plan to bring the ideas thought of in primary creativity to life). There are four phases of creative thinking: the explorer, the artist, the judge, and the warrior. The first two phases are a part of the primary creativity stage, whereas the last two are a part of the secondary creativity stage. There are also many “roadblocks” to the creative process, but these roadblocks
What is creativity? Torrance's definition is often cited: sensitivity to problems, deficiencies, and gaps in information; making guesses, formulating hypotheses; evaluating and testing; and communicating results (McCracken 1998). Creativity is a complex of traits, skills, and capacities, including the ability to work autonomously, curiosity, unconventional thinking, openness to experience, and tolerance of ambiguity (Adams-Price 1998; Albert 1996). Highly creative adults exhibit deep knowledge of and a strong bond with their subject matter, as well as intrinsic motivation (Amabile 1996; Keegan 1996).
The standards of psychiatric and mental health nursing were first developed in 1995 to create a document that would describe the expectations of a mental health nurse. The standards put forth behaviours expected of professional nurses by incorporating vital information and new trends in the field, and linking these to expected outcomes (CFMHN, 2006). The teaching-coaching function standard is of great importance to the mental health field as it promotes nurses to understand the client's individual needs, supports learning related to those needs, and promotes self-reliance in aiding clients and families to acquire greater ease in living with their mental illness and the accompanying effects (Lawlor, n.d.). Such teaching provides the nurses with a chance to make a difference ...
Myers, R. & Ray, M. (1986). Creativity in business. New Jersey: Doubleday & Company, Inc.