There are many varied interpretations of Mary Shelley’s Frankenstein in the study of literature. In fact, most critics have, if not opposing, somewhat contrasted views on the novel. However, a popular perception of the novel seems to be one in which Shelley is said to be representing her own views through the voice of the monster created by Victor Frankenstein. But what exactly are Shelley’s views? So many have taken apart this novel, analyzing it beyond all bounds, and yet it still remains a puzzle to most, as to what message Shelley tries to give to the reader. Perhaps this quandary is the direct result of this over-analysis. What if we are looking too carefully? If we were to take a step back, we should see that Mary Shelley’s Frankenstein is nothing more than the not uncommon story of the average teenager.
This isn’t to say that the novel is not a work of art, rather, it is quite possibly the best prose ever written by an eighteen year-old. But the fact of the matter remains. Mary Shelley was eighteen going on nineteen when she wrote Frankenstein. Taking this into account, it becomes more apparent that Shelley was not commenting on social aspects of her time or the feminist movement that her mother helped create, rather, she was simply expressing her feelings as a teenager, as so many of us need to do. These feelings of isolation, separation, and being misunderstood, all of which are not uncommon to many teens, are in fact the same as those experienced by the monster in Frankenstein. In this way, the monster most likely is a representation of Mary Shelley.
Almost all of us can relate to a time in our lives when we were young, and misunderstood by our parents. Almost all of us have had an experience where we had done something wrong and during the process of being berated by our parents, tried to convince them that they were wrong, instead. This point is universal to all teenagers and apparently it was to Mary Shelley as well, when we observe the following passage:
Be calm! I entreat you to hear me, before you give vent to your hatred on my devoted head. Have I not suffered enough, that you seek to increase my misery? Life, although it may only be an accumulation of anguish, is dear to me, and I will defend it.
‘[The] characters and plot of Frankenstein reflect . . . Shelley’s conflicted feelings about the masculine circle which surrounded her.’
in Frankenstein: Contexts, nineteenth century responses, criticism. By Mary Shelley. Ed. J. Paul Hunter. Norton Critical Edition.
Redemption is gaining honor and self-forgiveness through a selfless act that reflects off of one’s regretful actions of their past. In the novel, The Kite Runner, Amir is the main character who goes through many life struggles and mistakes, then finds himself on a road to redemption. Amir and Hassan were best friends throughout their childhood and Hassan was the honorable, trusting best friend, the one to always take a stand for what he believed was right. Amir’s lack of courage caused him to stay silent in the worst of times, letting Hassan get tortured for the things he did not deserve. The themes of sacrifice, honor and redemption are carried out in many ways throughout this novel being shown through the actions of Hassan, Baba, and Amir.
This means that his mother died and he lived. Baba shows little affection to Amir as a result of him killing his mother at birth. Amir attempts to attain redemption for taking away his fathers widow. He has to redeem himself to Baba everyday by praising him because he gets a small amount of love and care. “Because the truth of it was, I always felt like Baba hated me a little. And why not after all I had killed his beloved wife. The least I could have done was to have had the decency to have turned out a little more like him”-Amir P19. The quote explains how Amir feels the hatred that Baba might feel because he took his wife which is more important than him. He has to redeem himself by proving that his birth was not a waste of effort. Amir always wants to be with Baba because he desperately needs the affection that only a father can give. Because of his mother’s death he always has to prove his worthiness to baba. “I think I have saratan I said.Cancer.Baba lifted his head from the pages flapping in the breeze. Told me that I could get the soda myself, all I had to do was look in the trunk of the car.”-Amir-P14.This quote is an example of how much he feels he needs to redeem himself for killing his mother because he has to make up he has a life threating disease just to get his fathers affection and still does not receive the care and love that a father should give. Amir also attempts to
However there are some characters that become better people and change becoming a better, stronger, more loyal individual in the end. The individual that demonstrates this development within this novel is Amir himself. All of the guilt Amir holds with him as a child allow him to realize his duty to be loyal to his brother Hassan ion the end. An example of this is when Amir goes back to Kabul, Afghanistan to retrieve his nephew Sohrab. Amir says, “I remembered Wahid’s boys and… I realized something. I would not leave Afghanistan without finding Sohrab.’ tell me where he is,’ I said” (Hosseini 255). Here, Amir is at the orphanage waiting to find out where Taliban has taken his nephew. Amir remembers the three young starving sons of Wahid, a man whose home he had been in earlier, and realized that Afghanistan is not a safe place for Sohrab. Amir is finally aware of one thing, Hassan has always been there to protect Amir like a loyal friend and brother would and now Amir knows that it is his turn to return that loyalty to Hassan by protecting Hassan’s flesh and blood. A second example of Amir’s loyalty to Hassan near the ending of the book is during Amir’s confrontation with General Sahib and the dinner table after Sohrab is safe in America with him. Amir proclaims to General Sahib, “…That boy sleeping on the couch
“Allure, Authority, and Psychoanalysis” discusses the unconscious wishes, effects, conflicts, anxieties, and fantasies within “Frankenstein.” The absence of strong female characters in “Frankenstein” suggests the idea of Victor’s desire to create life without the female. This desire possibly stems from Victor’s attempt to compensate for the lack of a penis or, similarly, from the fear of female sexuality. Victor’s strong desire for maternal love is transferred to Elizabeth, the orphan taken into the Frankenstein family. This idea is then reincarnated in the form of a monster which leads to the conclusion that Mary Shelley felt like an abandoned child who is reflected in the rage of the monster.
Baba is first depicted as an unreachable man who was well respected in the community. Amir recalls his birthday party where he was “scanning over the invitation list a week before my birthday party and not recognizing at least three-quarters of the four hundred [. . .] Then I realized they weren’t really coming for me. It was my birthday, but I knew who the real star of the show was” (94). Amir did not know it at the time, but Baba had sins he was trying to absolve. Through his actions toward redemption, Baba touched the lives of many. Regardless of their social status, Baba would lend a he Amir recalls how Baba “always carried an extra handful of Afghani bills in his pocket just for them; I’d never seen him deny a peddler” (245). Baba would offer his wealth to every beggar he came across. Along with this, he also built an orphanage with his own money, planning, and time. Baba did everything in his power to redeem himself and eradicate himself of the guilt in his heart. Some say he was redeemed; others disagree. Rahim Khan tells Amir of Baba’s dilemma:
Works Cited for: Shelley, Mary. Frankenstein: A Norton Critical Edition. ed. a. a. a. a. a J. Paul Hunter. New York: W. W. Norton, 1996.
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. Throughout the novel, Shelley investigates the idea of monstrosity. She makes the point that a monster does not have to be genuinely evil in order to be considered monstrous.
...rough his actions to save Sohrab, Amir became the man his father had always wanted him to be. Although Baba never lived up to the persona he created for himself, Amir did, and that is why his attempts to achieve atonement were more successful than his father’s. While Baba was unable to seek more than personal redemption, Amir found atonement with himself, Hassan, and God. Amir also found the courage his father lacked to make the necessary sacrifices to achieve redemption. Amir’s ability to transform into a strong character was a result of what he learned from his father’s strengths and weaknesses. While Baba was unable to achieve true redemption, he was a true role model that provided his son, Amir, with the necessary skills to achieve atonement for both of them.
The idea for the novel of Mary Shelley’s Frankenstein came to her one night when she was staying in the company of what has been called ‘her male coterie’, including Lord Byron and her husband, Percy Shelley. Mary Shelley’s whole life seems to have been heavily influenced by men. She idolised her father, William Godwyn, and appears to have spent a good part of her life trying very hard to impress both him and her husband. There seems to have been a distinct lack of female influence, her mother, Mary Wollstonecraft, having died weeks after her birth, being replaced by a neglectful step-mother. These aspects of her life are perhaps evident in her novel. The characters and plot of Frankenstein were perhaps influenced by Shelley’s conflicting feelings about the predominately masculine circle which surrounded her, and perhaps the many masculine traits that we see in novel were based upon those of the male figures in Shelley’s own life. In this essay I will attempt to show some of these traits.
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.
Many critics have argued how much Mary Shelley’s personal life and background should be considered in the reading and interpretation of Frankenstein which contains many autobiographical references and experiences of her own. Analyzing the combination of a complex novel and biographical information readers find evidence that circumscribes her life produces a possible feeling and intentions that the author may have possessed. During the time period of writing Frankenstein, f...
In this essay I am going to answer ‘how and why does Mary Shelley make the reader sympathise with the character of the monster in her novel Frankenstein’.
Mary Shelley in her book Frankenstein addresses numerous themes relevant to the current trends in society during that period. However, the novel has received criticism from numerous authors. This paper discusses Walter Scott’s critical analysis of Mary Shelley’s Frankenstein in his Blackwood's Edinburgh Magazine Review of Frankenstein (1818).