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critical review of frankenstein
frankenstein as a novel
literary analysis of Frankenstein
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Viewing Frankenstein’s Monster as a Human
The literary critic Harold Bloom, in his Afterward in the Signet Edition of Frankenstein states that, “The monster is at once more intellectual and more emotional than his creator.” Bloom continues to say that the creature is more human, more lovable, and more to be pitied than Doctor Frankenstein (292). Throughout the novel Frankenstein, the monster portrays more human qualities than his creator Dr. Frankenstein. Dr. Frankenstein appears less human than his creation because he rejects his own creation and he fails to plan for the results of his experiment. As the monster wanders through the novel searching for companionship and acceptance, Dr. Frankenstein refuses to provide the support expected of a parent or creator. While the monster appears human in his attempts to socialize with his peers, Dr. Frankenstein represents the monstrosity that occurs when humans tamper with life.
The monster portrays more humanistic qualities than his creator as he portrays his compassion, intelligence and feelings throughout the novel. Instead of wreaking havoc on his neighbors, ambushing them for food and shelter, the monster decides to live in secrecy in the De Laceys’ shadow to observe their ways. The monster demonstrates compassion as he refrains from stealing the De Lacey’s food when he realizes that the family suffers from poverty. In this sense, he sacrifices an easy dinner to scavenge for himself. He also expresses intellectual thought in his strategy to advance his knowledge of the English language by observing Felix’s lessons to his Arabian lover, Safie. The monster recalls to Dr. Frankenstein that, “… I found, by the frequent recurrence of some sound which the stranger repeated after them, th...
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...luding intelligence, compassion, and emotions. The monster attempts to make friends with his peer humans, despite his continuous rejection. His efforts show that even the monster experiences vulnerability and desire for companionship. The monster proves his intelligence as he devises a plan to learn the English language by observing his neighbors. Meanwhile, Doctor Frankenstein lacks the human quality of intelligence as he fails to foresee the effects of taking creation of life into his own hands. The doctor also lacks compassion when he abandons his creation, the equivalent of a parent leaving his child. Frankenstein flees from his monster because he actually fears the monster as much as the rest of society due to its frightening stature. Doctor Frankenstein and his creation exemplify the qualities people should exude to consider themselves members of the human race.
The gothic novel Frankenstein by Mary Shelley highlights the idea that the real monsters of the world are humans and society, and that most traits that most humans despise are actually within all of us. Frankenstein shows that any human can be so corrupt as to be a “monster”, and that beings society considers repulsive and evil can be human at heart. Shelley exposes human faults such as hubris and irresponsibility through the main character of the novel Victor Frankenstein, who creates a living being and refuses to care for it, sending it into the unwelcoming hands of society. Victors irresponsible actions lead to many deaths and events. As the novel progresses, Dr. Victor Frankenstein and the Monster he creates become more and more similar
“I now hasten to the more moving part of my story. I shall relate events that impressed me with feelings which, from what I was, have made me what I am” (Shelley 92). Frankenstein’s Creature presents these lines as it transitions from a being that merely observes its surroundings to something that gains knowledge from the occurrences around it. The Creature learns about humanity from “the perfect forms of [his] cottagers” (90). Mary Shelley’s Frankenstein offers compelling insights into the everlasting nature versus nurture argument. Her husband, Percy Bysshe Shelley wrote, “Treat a person ill, and he will become wicked.” Shelley believes that the nurture of someone, or something, in the Creature’s case, forms them into who they become and what actions they take. While this is true for Frankenstein’s Creature, the same cannot be said about Victor Frankenstein.
In the novel Frankenstein, the monster was singled out because of his monstrous looks. The reason he had such looks was because of the unnatural manner of his creation. The monster was created with a mix of stolen body parts and chemicals. One look at the monster would make anyone want to get out of his path. Once the monster came to life he was abandoned by his creator without any direction. He was left to fend for himself and deal with the prejudices that people had without getting to know his situation. The monster also didn't know how to react to the reactions from people which made him start to commit crimes. The monster said, "I, the miserable and the abandoned, am an abortion, to be spurned at, and kicked, and trampled on" (Shelley 19). This eruption of angry self-pity as the monster questions the injustice of how he has been treated compellingly captures his inner life, giving Walton and the reader a glimpse into the suffering that has motivated his crimes. While the monster was wandering the town he encountered a family, and he learned how to speak ...
The fact that Frankenstein’s creation turns on him and murders innocent people is never overlooked; it has been the subject of virtually every popularization of the novel. What is not often acknowledged is the fact that Frankenstein himself embodies some of the worst traits of humankind. He is self-centered, with little real love for those who care about him; he is prejudiced, inflexible and cannot forgive, even in death. While some of these traits could be forgivable, to own and flaunt them all should be enough to remind a careful reader that there are two "monsters" in Frankenstein.
In order to properly determine whether or not characters or parties in multiple works are “Human”, it is first necessary to attempt to define what it is to be “Human”. Humanity, or being human can be interpreted as many things, such as possessing empathy, like in Do Androids Dream of Electric Sheep, or a characteristic found in the genes, as Oryx and Crake implies. Mary Shelley’s Frankenstein suggests a more absolute definition, one where any deviation from the natural process of birth creates a being that is referred to as “monster” and “devil” - “human” is out of the question.(Shelley, 68) I argue, however, that humanity is best characterized by not what traits it has, but what traits it does not. Humanity, as a whole, is not immortal, it is not omnipotent or omniscient, and it cannot create life - certainly not sentience. Humanity could be described as a struggle toward obtaining these traits, in other words, being human separates us from animals in that we struggle to be greater than we are, whereas animals are content to simply survive. What happens when a human crosses this threshold, completes its struggle? Frankenstein, Do Androids Dream of Electric Sheep, and Oryx and Crake all deal with this concept, and come to the same conclusion. When the struggle leads a human to create another with humanity by means other than reproduction, the creator and creature cannot coexist.
There are obvious similarities between Victor and his creation; each is abandoned, isolated, and both start out with
...most readers tend to sympathize with Frankenstein because of the way in which he is mentally and physically harmed by his creation. However, one must also realize that while Frankenstein is a victim in the novel, he also exhibits features that make him a monster. These monstrous qualities, however, stem from his passion for science and his desire to create life. Not only does the reader criticize and pity Frankenstein, but the reader also empathizes with Frankenstein’s creation. He was unjustly shunned by society because of his physical appearance. On the other hand, the reader realizes that like Frankenstein, the creation can not be sympathized with entirely. He too exhibits traits that make him appear villainous. It is the duality of these two characters that make Frankenstein and his creation two of the most appealing characters of the nineteenth century.
Frankenstein by Mary Shelley portrays an individual in a unique situation trying to overcome daily interactions while being faced with inconceivable misfortunes. Created by Victor Frankenstein, who set out on a journey to bring life to scrapped pieces of waste, he was then abandoned and left to fend for himself in a world he was abruptly brought into. After being abandoned by his creator for his less than appealing looks, this then sparked his inevitable desire for revenge. Eventually leading to the destruction of those associated with his creator. Knowing that he will never fit in, the monster began to act out in hopes of getting back at his creator for what he did. His vulnerability due to missing guidance and parental figures in his beginning stages of life contributed to his behavior. The books and article Family Crisis and Children’s Therapy Groups written by Gianetti, Audoin, and Uzé, Victim Of Romance: The Life And Death Of Fanny Godwin by Maurice Hindle, and Social Behavior and Personality by Lubomir Lamy, Jacques Fishcher-Lokou, and Nicolas Gueguen support why the monster acts the way he does. The monster’s behavior stems from Victor’s actions at the beginning of his life and therefore is not to blame. The creature in Frankenstein is deserving of sympathy even though he committed those murders because the lack of parental guidance, lack of family, and lack of someone to love led him to that. All in all his actions were not malicious, but only retaliation for what he had been put through.
Victor Frankenstein is originally a happy character that loves to learn and read a large variety of books. He was a fiery individual who sought to understand all knowledge; regardless of how practical the information was. Evidence of this is when his father tells him not to worry about fictional writers like Cornelius Agrippa. Yet, Frankenstein states, “But here were books, and here were men who had penetrated deeper and knew more. I took their word for all that they averred, and I became their disciple” (21). Frankenstein embodies the movement in science to understand everything, and that is not necessarily a good thing (Storment 2). Frankenstein only understands that this train of thought is bad when he reaches the pinnacle of knowledge and produces the creature. The fruits of Frankenstein’s labor end up costing him the lives of his friends and family, as well as his own sanity. The feeling of guilt thrives in Frankenstein because he knows his work was the direct cause of the chaos in his life. In Frankenstein’s case, his goal of total enlightenment led to his pitiful demise. Frankenstein’s creature was not originally a monster. He is born with good intentions and is a gentle- although atrocious looking- being until he learns of the sins of the human race. The ultimate factor in the creature’s progression from harmless to
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.
Mary Shelley’s Frankenstein is a dramatic example of the ever-changing philosophies regarding creation, science, and the age-old question of a divine being’s presence in the world. When Shelley published the novel in 1818, the Age of Enlightenment was in full swing and left antiquated ideas of religion in exchange for newfound ideas based on science and logic. One of these philosophies of the modern era was humanism; humanism is the idea that human matters are of more importance than those of a divine being. In Mary Shelley’s Frankenstein, this new idea of secular humanism is brought into full effect with the monster being left almost entirely on his own to form beliefs and ideas, however, there are still curious traces of religious influence within the
At first, The Monster is very kind and sympathetic. He has a good heart, as shown when he collected firewood for the family on the brink of poverty. Like every other human creation, he was not born a murderer. All the Monster wanted was to be accepted and loved by Victor Frankenstein and the other humans but instead he was judged by his appearance and considered to be dangerous. The Monster says, “like Adam, I was created apparently united by no link to any other being in existence…many times I considered Satan as the fitter emblem of my condition; for often, like him, when I viewed the bliss of my protectors, the bitter gall of envy rose within me” (page 105). This line is an important part of the novel because the Monster lets it be known how like Adam he was created into this world completely abandoned and like Satan he is angry with those people who have found contentment and satisfaction in their lives. The rejection and unwelcome feeling he is faced with, is the main reason the Monster becomes a killer. Watching another family show love towards each other made the Monster realize how alienated he truly was. He did not know how to deal with his pain and emotions so he murders as
Victor Frankenstein proves his ability of holding ultimate knowledge by creating life, but as a whole, the society shows a greater impact over others. The Creature 's physical strength plays a vital role in the novel as well. Through the Creature’s many murders, he showed his strength and mental drive to accomplish the things he wanted. The desire for power plays a vital role within the novel, pushing the characters to act out in either a positive or negative manner. Victor Frankenstein, the Creature, and the society all show a different type of influence over others within the novel, creating different desires of
Mary Shelley’s gothic novel Frankenstein is a novel narrated by Robert Walton about Victor Frankenstein and the Monster that he creates. Frankenstein grew up surrounding himself with what he loved most, science. He attended Ingolstadt University where he studied chemistry and natural philosophy, but being involved in academics was not enough for him. Frankenstein wanted to discover things, but did not think about the potential outcomes that could come with this decision. Frankenstein was astonished by the human frame and all living creatures, so he built the Monster out of various human and animal parts (Shelley, 52). At the time Frankenstein thought this creation was a great discovery, but as time went on the Monster turned out to be terrifying to anyone he came in contact with. So, taking his anger out on Frankenstein, the Monster causes chaos in a lot of people’s lives and the continuing battle goes on between the Monster and Frankenstein. Throughout this novel, it is hard to perceive who is pursuing whom as well as who ends up worse off until the book comes to a close.
At the moment of his birth, the creature is entirely innocent; he affectionately reaches out to Frankenstein, which is interpreted as a hostile movement, only to have the latter violently abandon him. Despite his appalling appearance, his “wrinkled” grin is as guiltless as a newly-born child which, in a sense, is precisely what he is to Frankenstein (61). With the rejection of his monster based solely on a personal appearance that epitomizes everything Frankenstein fears in his life, the reader begins to recognize the profoundly unethical character of Frankenstein's experiment and of Frankenstein himself.