Comparison Of Frankenstein And The Picture Of Dorian Gray

Frankenstein and The Picture of Dorian Gray Research Paper

Imagine this: your eyes spring open at three in the morning. You sit up anxiously and look around the dark room, inhaling and exhaling as if you just ran for your life, the skin of your forehead and the soles of your hands damp with cool sweat, and eyes darting form the shadows in the corners of the room, at the silhouette of the lamp by the window, briefly at your door, after a nightmare so horrible that you know you will be unable to sleep peacefully through the resto of the night. This is the effect that an encounter with a monster could have on a person. A monster is a man who is a primarily-benighted individual, and an extremely manipulable individual, that lacks a loving parental

Both writers utilize juxtaposition of the initial benevolence that both the creation and Dorian embody against their eventual depravity. A monstrous individual often has a visually-striking appearance, which affects other characters strongly. In the nineteenth century, more specifically The Gothic period, during which Wilde wrote The Picture of Dorian Gray and Mary Shelley also wrote Frankenstein, the idea of monstrosity became a popular topic among film and literature, and the basis for the modern horror genre began. Today, depictions of “monsters” vary from furry creatures with physical

Those who know how truly monstrous the monsters are and how severe they are, as Shelley suggests when she writes, “To him, man was a being with myriad lives and myriad sensations, a complex multiform creature that bore within itself strange legacies of thought and passion, and whose very flesh was tainted with the monstrous maladies of the dead” (Wilde 137). A monster ultimately becomes dangerous as a result of his anger towards his creator for causing him the pain of living life in such a foul-looking body, and in Dorian’s case, he blames Basil for painting the infamous portrait of him that captures his beauty, and undergoes some mystical transformation that allows him to actively witness how Henry has corrupted him. Dorian ends up killing Basil and the creation ends up killing Victor, indirectly, thus applying that "This killing of the “owner” can be seen as an attempt to resolve the issue of resemblance to the Father. His death liberates the creature from the burden of monstrosity, but it is a temporary and unsatisfactory resolution in a poetic universe so strongly underpinned with religious longing” (Russsell 10). The major component of a monstrous person is this idea of intimidating others. Also, the sheer