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The Consequences of Interfering with Life’s Natural Order
In both Frankenstein, a novel by Mary Shelley, and the poem “The Rime of the Ancient Mariner” by Samuel Taylor Coleridge, the main characters try and play the role of God. This is seen in Frankenstein when the main character, Victor Frankenstein, creates a monster when he re-instills life into a corpse, as well as in “The Rime of the Ancient Mariner” when the Mariner shoots the albatross that has been flying alongside them at sea. Shelley and Coleridge use gothic elements in these works to convey how these attempts at controlling the supernatural only lead to chaotic situations full of tragedy, and cause the characters overwhelming feelings of shame and guilt. Thus both the book and poem demonstrate a common theme that interfering with the natural order of life leads to tragedy and consequently isolation.
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The death of William marks the start of all tragedies yet to come, and is only the beginning of the torture the monster ensues on Frankenstein, as the monster then proceeds to murder Elizabeth and Frankenstein’s father. Overcome with grief and guilt, Frankenstein swears to “pursue the demon who caused this misery, until he or I shall perish in mortal conflict” (Shelley 193). Ironically, the demon he speaks of is the very thing he had originally considered his life’s work. Tragedy following an attempt to disrupt the natural order of life appears in “The Rime of the Ancient Mariner” as well, after the Mariner kills the albatross, who represents God. Because of this action, “Instead of the cross, the Albatross/Upon [his] neck was hung” (Coleridge 141-142). The Albatross prevents the Mariner from praying, leaving him cast away at
Victor Frankenstein may be the leading character in Mary Shelley's Frankenstein, but a hero he is not. He is self-centered and loveless, and there is nothing heroic about him. There is a scene in Chapter twenty-four where Captain Walton is confronted by his crew to turn southwards and return home should the ice break apart and allow them the way. Frankenstein rouses himself and finds the strength to argue to the Captain that they should continue northwards, or suffer returning home "with the stigma of disgrace marked on your brows." He quite obviously has alterior motives and if he were not the eloquent, manipulative creature he so egotistically accuses his creature of being, he might not have moved the Captain and the men so much that they are blind to the true source of his passion. Unfortunately for Frankenstein, the crew, (however "moved") stand firm in their position. Yet the things he says in his motivational speech are prime examples of the extent to which Frankenstein is blind to his own faults and yet will jump at the chance to harangue others. He is so self-centered that his lack of interaction and love for others after his experiment has been completed, would barely qualify him as a person, if the difference between being human and being a person lies in the ability to have relationships with others.
Many times throughout history, one person has tried to prove themselves better than God or nature. Nature, however, always prevails in the end. The Romantics of the eighteenth and nineteenth centuries believed that nature was a glorious and powerful force that was one with God, and emphasized this point in their works. Two such romantics were the couple Percy and Mary Shelley, who through their works Ozymandias and Frankenstein, showed the disastrous consequences defying nature could have. Both authors had experienced loss; the loss of some of their children and later Mary’s loss of Percy in a boating accident. These experiences showed them how powerful nature was, and how pointless it was to defy it. Both Mary and Percy’s belief in this showed through in their writing. So, despite how different Frankenstein and Ozymandias seem at first, both works reveal a common lesson: One should never believe themselves to be above nature, and if one does it will never end well.
Dr. Victor Frankenstein and the Creature seem different from each other throughout the whole story, however, they actually share many similarities when the story is looked at deeper. Both the Creature and Frankenstein share a connection with nature, a desire for more knowledge, a need for family, and experiences in isolation.
Mary Shelley and James Whale address the advantages of communication throughout Frankenstein using differing approaches. The characterization of the creature in Shelley and Whale’s pieces demonstrates the principal effect of incompetent verbal expression through his inability to form relationships. In Whale’s 1931 film Frankenstein, he removes the humanistic qualities of the creature by enabling his speech, highlighting the complexity of the character Shelley provides. Without vocal recognition, deciphering the creature’s intentions results in a misinterpretation of violence, resulting in conclusions being made based off of his actions rather than what he attempts to communicate verbally. Providing verbal abilities in Shelley’s text shows
"So much has been done, exclaimed the soul of Frankenstein — more, far more, will I achieve; treading in the steps already marked, I will pioneer a new way, explore unknown powers, and unfold to the world the deepest mysteries of creation." (Shelley 34) This quote from the book helps give proof to why Mary Shelley subtitled Frankenstein with the Modern Prometheus. Victor can be compared to the Greek Titan Prometheus in uncanny ways that can point to nothing but the fact that he is the a modern version of the Greek Titan.
Mary Shelley 's Frankenstein, written in 1818, raises more questions that it could possibly address. It is the haunting tale of how a brilliant young scientist allowed his ambition to consume him, until the creature he created consumed his entire life. It is a story of ambition, murder and consequence. A story that this novel alludes to is Rime of the Ancient Mariner by Samuel Taylor Coleridge, although not in a manner one might expect. This poem follows an ancient mariner on an expedition across the sea when he slaughters an innocent being, an albatross and brings on a curse that affects him and his crewmen tragically. The tale ends with the ancient mariner repeating his tale to a wedding guest, who emerges a “sadder and wiser man” (Coleridge). These two stories seem dissimilar, but they share a prevalent theme, as shown when Mary Shelley alludes to this poem in Frankenstein throughout the novel. The allusion to Rime of the Ancient Mariner helps develop the theme of imprisonment by
The first allusion occurs in the letters. Robert Walton writes to his sister Margaret to not worry because he “shall kill no albatross; therefore do not be alarmed for my safety or if I should come back to you as worn and woeful as the ‘Ancient Mariner” (Shelley 15). The Mariner he refers to, killed an albatross while on a voyage to the south pole, bringing back luck and death to his crew. Only after realizing all God’s creatures are beautiful and need respect does good luck finally follow him. Walton’s allusion informs Margaret he will literally kill no albatross as well as be careful and kind to all creatures. He follows suit with his promise by nursing a stranger and respecting the wishes of his crew members to return south when the ice breaks up. In the same fashion, several allusions in the plot occur between the two stories. Like the Mariner towards the albatross, Victor Frankenstein believes his creation to be a hideous monster. He then rejects his creation and later tries to kill him. In this situation, Frankenstein plays the role of God, because he created life, and the Creature represents the albatross, the life Frankenstein created. By rejecting his creation, Frankenstein disrespects it, similar to when the Mariner kills the albatross, foretelling of bad luck which plagues him thereafter. Frankenstein does not learn to respect and love his creation like God loves all his creatures and as his duty as a creator obligates him to. Thus, the Creature torments his creator for ignoring his obligations and needs. Shelley incorporates parallels to The Rime of the Ancient Mariner to foreshadow Walton’s kindness and subsequent safe travels as well as Frankenstein’s
Frankenstein is a romantic project that fraught with the overwhelming sexual tensions and terror of death, looking through the lusty gaze, the death is to be found. The inherent sexual tensions in Frankenstein eventually lead us to be “borne away by the waves, and lost in the darkness and distance.”(189)
Mary Shelley’s 1931 edition of her gothic novel Frankenstein is often regarded as a transgressive text within Gothic fiction, however many traditionally Gothic elements and themes are retained throughout the text. This includes the incorporation of violence, radical challenges to social order or transgression and the overarching theme of morality, accompanied by a concluding ‘moral teaching’ or lesson. This moral teaching can be interpreted as reflecting Shelley’s own experiences and life in a post French Revolution society, the scientific endeavours
English novelist Mary Shelley’s Frankenstein and English poet Samuel Coleridge’s The Rime of the Ancient Mariner share very closely tied themes respectively in their own literary worlds. Through both novel and poem, in the eyes of each Victor Frankenstein and the Mariner three themes recur within. Knowledge, Frankenstein is addicted to knowledge in younger pursuits. The Mariner is cursed on the spread of knowledge of his obliterate tale of desolation through the wedding guest. Desolation, Frankenstein constantly torn by guilt wears himself to illness and disconnection from surrounding life. The Mariner in his lonely pursuit with his dead shipmates, left to be skewered by the torment of loneliness. Nature plays a crucial role in both stories, while traveling European countryside, the Mariner has a predilection towards nature through ideas of the Albatross, the ocean, water snakes, all leading to the appreciation of nature.
Mary Shelley’s gothic book Frankenstein shows allusions and shares comparisons with Rime Of The Ancient Mariner by Samuel Coleridge. Some of these can be found in the first 16 pages of the novel, in Robert Walton’s letters. Whilst stuck in the ice on page nine, Robert sees a figure on a sled, and writes, “a being which had the shape of a man, but apparently of gigantic stature, sat in the sledge and guided the dogs...We were, as we believed, many hundred miles from any land” (Shelley 9). The man in the sledge comes as an omen to Robert and his crew. Far from civilization, the person that is seen by them is a sign of the future. Similarly, in Rime of The Ancient Mariner, an omen presents itself to them, “At length did cross an Albatross: Through
Solitude can quickly turn into desolation when separated from society. The loneliness spawns other feelings of despair and a lack of will to live. In Mary Shelley’s Frankenstein and Samuel Taylor Coleridge’s “The Rime of the Ancient Mariner”, the setting and lamentations of Frankenstein’s monster and the ancient mariner reveal the woeful results of isolation.
Frankenstein, written in 1823 by Mary Shelley, and On the Origin of Species, written in 1859 by Charles Darwin, both have similar characteristics but different responses to them. Frankenstein is a novel that has many Gothic elements and is characteristic of the Romantic period in which it was written. It tells the story of a young, slightly insane scientist named Victor Frankenstein, who creates a monster in an unorthodox science experiment and goes through many trials due to this. The monster ends up murdering everyone that is important to him because he desires attention from Victor, which can not be obtained while there are other people that Victor cares about. Victor Frankenstein never really had any peace in his life and it appeared
Billy looked up from examining the ground and froze in horror. The scene before him was enough to make his heart leap into his throat. Terry was standing in the water on the far side of the marsh, and was pointing at a long, broad animal swimming toward him.
The character of the Mariner can seen similar to that of Victor Frankenstein, specifically when he is planning to create the creature without taking in consideration the possible negative outcomes. Frankenstein is seen determined to finish his project, and disregards the fact that his creation may break the rules of nature. To Frankenstein, “life and death appeared to [him as] ideal bounds, which [he] should first break through, and pour a torrent of light into our dark world.” Frankenstein believing it is his responsibility to “pour a torrent of light into our dark word”, gives the impression that he thinks of himself as a godly figure, rather than a human who makes mistakes. His “godly” idea of science being more powerful than nature is