I awoke, frightened and alone, with a monster standing beside my bed. Although my body was paralyzed with fear, my mind was awake, trying to figure out how this hideous creature could have found me. As I gazed into the hypnotizing, dark eyes of this giant, the room altered, and I found myself, once again, in the basement of my father’s house. Surrounded with medical equipment, a rush of adrenaline pulsed through my tired body, forcing it awake. The monster walked slowly through the room, dragging his long, boney finger along the table. I remembered this basement very well, as I spent a great deal of time occupying it; however, there was something different, something was missing, something had changed. I couldn’t quite put my finger on it. Before I could spot the difference, an odd aroma began filling the air, making it somewhat difficult to breathe. Once again I found myself spinning, falling through a dark tunnel with no sense of direction or time, I closed my eyes tightly. Whenever the spinning sensation concluded, I opened my eyes. The aroma was stronger here, forcing tears out of my eyes and my dinner back up my throat. I knew exactly where I was… In recent discussions of Frankenstein, an issue has been whether the characters struggle with obedience to authority. Some argue that the characters react to circumstances at their own will, without receiving guidance from outside figures. Others, however, argue that the reactions of characters such as Victor and Frankenstein are direct results of obedience to authority. Although I admit that not every action that these characters carry out is a direct result of obedience and/or disobedience, I maintain my view that there are multiple instances in Frankenstein where characters were ... ... middle of paper ... ... conscience is “the voice present in every human being” that is “independent from external sanctions and rewards” – this is what the creature feels (Fromm 623). When humanistic conscience is analyzed in more detail, it becomes apparent that this form of conscience is based on the concept that as a human being, one equips an instinctive awareness that enables him/her to decipher between what is human, and in return, what is inhuman (Fromm 623). In addition, one who possesses a humanistic conscience is also able to distinguish between good and evil, conductive and destructive, etc. (Fromm 623). Due to the creature possessing a humanistic conscience, he is able to realize that he is not human and also destructive of life—this results in the creature’s hatred for Victor to increase, which later results in him obeying his own personal authority and carrying out revenge.
The result of society’s resentment, Shelly’s cynical text unmasks the fact that Frankenstein’s creation was not produced as innately monstrous but instead learned to become a monster over time. Once again utilizing the literary element of irony, the monster’s exclamation “Nay, these are virtuous and immaculate being!”, demonstrates the monster’s resentment towards not only humans but also himself. Realizing biological inferiority to be the cause of his misfortune, the monster’s frustrations underline the novel’s central paradox of the natural versus the artificial. That is, because human beings exist within the natural order of society and therefore control the law, characters such as Victor, Felix, and even Walton’s carelessness remain protected. Meanwhile, Frankenstein’s creation, an artificial production, exists as mankind’s ostracized enemy regardless of the being’s emotional or intellectual superiority. Beyond envy, the monster’s monologue additionally reflects a sense of desperation. Utilizing the repetition of the word “injustice,” Shelly’s literary choice solidifies the perpetual denial of societies crimes against Frankenstein’s monster. Concluding his speech with the word “injustice”, Frankenstein’s monster testimony signifies the unavoidable truth the being’s presence never caused
in Frankenstein: Contexts, nineteenth century responses, criticism. By Mary Shelley. Ed. J. Paul Hunter. Norton Critical Edition.
Victor Frankenstein creates a creature that he considers to be treacherous. Since the creature was created it obtains no knowledge of what it is or what is happening. Victor abandons the creature and the creature becomes filled with hate as it is constantly rejected by humans. The creature uses nature to survive. The creature also self teaches himself and becomes aware that he is a monster. He then swears to get revenge on Victor for leaving him alone. He gets his revenge by killing Victor's family. Victor then swears to get revenge on the creature, and decides that the best way to do so is by bringing the creature as far away from human civilization as possible. Thesis?!
Would a mother be responsible for his adult son’s misdeeds? In Mary Shelley 's book, “Frankenstein” Victor creates a creature who then kills numerous amount of people. Some may speculate that Victor is responsible for the murders, but the creature is the one to blame. Victor Frankenstein is not responsible for the actions of the Creature. The Creature has 100 percent control over his actions and has logical decision making. The one who does the crime, should also be the one who takes the responsibility of the crime.
Mary Shelley’s Frankenstein opens with Robert Walton’s ship surrounded in ice, and Robert Walton watching, along with his crew, as a huge, malformed "traveller" on a dog sled vanished across the ice. The next morning, the fog lifted and the ice separated and they found a man, that was almost frozen lying on a slab of floating ice. By giving him hot soup and rubbing his body with brandy, the crew restored him to his health. A few days later he was able to speak and the stranger, Victor Frankenstein, seemed distressed to learn that a sled had been sighted prior to his rescue from the ice. Then he began to tell his story.
In a series of letters, Robert Walton, the captain of a ship bound for the North Pole,
Every artist draws inspiration from somewhere, and the inspiration shows in their work. When looking deeper into the life of Mary Shelley, it is easy to say that the inspiration she drew to create her novel Frankenstein, came from her own personal experiences. Frankenstein is riddled parallels to Marry Shelley’s own life. It was not just by mere coincidences either, Mary Shelley makes various references to family members (specifically by name), places she visited, and situations she faced, herself, all of these experiences are documented in her novel Frankenstein.
In Mary Shelley’s novel, Frankenstein, values of society are clearly expressed. In this particular society and culture, a great value is placed on ideologies of individuals and their contribution to society. In order to highlight these values, Shelley utilizes the character of Victor Frankenstein. Frankenstein is the main character of the novel, and with his alienation, he plays a significant role that reveals the surrounding society’s assumptions and moral values of individualism and use in society. This is done through Victor’s actions of self-inflicted isolation.
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.
Locked in a perpetual struggle for dominance, both struggle to gain internal peace. Victor Frankenstein feels obligated to destroy his creation for the good of society, and the Monster wishes to come to terms with his abandonment – both are unable to find happiness. Here there is a contrast of power: Frankenstein’s intellectual power contrary to the Monster’s physical power (this is however, not to say the Monster lacked intellectual power, only that Frankenstein possesses greater fear of the physical aspects of the Monster). The first instance of this battle for power can be seen when the Monster demands of Frankenstein to “create a female…with whom [he] can live in the interchange of those sympathies necessary for [his] being.” (p174) – here Frankenstein is in control. He is the only one that has the knowledge to create another being like the Monster, and thus, when the Monster asks this favour of Frankenstein he places his happiness in the hands of another. The Monster is dependent on the actions of another. However, there is a power reversal when Frankenstein denies the monster his ‘female’ (p174). Frankenstein dashes the Monster’s last hope at happiness, so the Monster threatens the life of his loved ones. Here, Frankenstein is at the mercy of his creation. For though “[Frankenstein is the] creator… [the Monster is his master” (p205) – here the Monster establishes his dominance over Frankenstein by outwardly stating his power over his creator. This power struggle is most effectively culminated in the chase around the globe. Yet it must be seen that neither Frankenstein and his Monster are in control. The Monster leaves clues for Frankenstein, demonstrating his need for Frankenstein to follow him, for without Frankenstein the Monster has no purpose in life. On the other hand, Frankenstein is following his creation all over the world, through desert, sea, and cold. Thus, it is clear that as a
Mary Shelley’s Frankenstein is a nineteenth century literary work that delves into the world of science and the plausible outcomes of morally insensitive technological research. Although the novel brings to the forefront several issues about knowledge and sublime nature, the novel mostly explores the psychological and physical journey of two complex characters. While each character exhibits several interesting traits that range from passive and contemplative to rash and impulsive, their most attractive quality is their monstrosity. Their monstrosities, however, differ in the way each of the character’s act and respond to their environment. 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.
Although “Frankenstein” is the story of Victor and his monster, Walton is the most reliable narrator throughout the novel. However, like most narrator’s, even his retelling of Victor’s story is skewed by prejudice and favoritism of the scientist’s point of view. Yet this could be attributed to the only view points he ever gets to truly hear are from Victor himself and not the monster that he only gets to meet after he comes to mourn his fallen master.
Most affiliate knowledge with freedom and empowerment, the more knowledge you have the more empowered you are. However, according to Mary Shelly, knowledge does not empower one but enslaves them. Some might then go on to inquire how one, if they become enslaved by knowledge can one escape its rule. The answer to this question according to Mary Shelley is death. Death is where knowledge is no longer present. When one inquires about knowledge it usually revolves around the world in which they live or those that inhabit the world in which they live. When questions are asked about the world in which they do not live, the after life, there are no answers to be found or proofs to be shown, nor will there ever be since knowledge does not extend past the world in which we live. In Mary Shelley’s novel, Frankenstein, Mary makes the point that knowledge enslaves others and the only way one can escape knowledge is through death. Mary not only uses her two main characters, Victor Frankenstein and the monster, as representations in order to support this claim but, she also uses herself to support it. Mary has embodied herself in her characters and has also underlying reflected her own life through her book, thus allowing her to support this claim through her own personal life.
Victor Frankenstein, the monster’s creator, is the victim of his own pride. An ego unchecked is a dangerous thing. But in truth, it really just shows Victor’s humanity. He is privileged, educated, talented, loved, adored, but he is not perfect. His flaw is his own ego and pride. Without doubt, this is the result of a childhood where he was overindulged. Overindulged to the extent he was given a little girl “Elizabeth” as a “present”, whom he considered from childhood “mine only” (Shelley 21). Little wonder the twenty year old Victor would think he could create, control and command life. But Victor as with any indulged child did not take the time to learn much from his parents about parenting and fath...
In Frankenstein, Shelley creates two very complex characters. They embody the moral dilemmas that arise from the corruption and disturbance of the natural order of the world. When Victor Frankenstein is attending school, he becomes infatuated with creating a living being and starts stealing body parts from morgues around the university. After many months of hard work, he finishes one stormy night bringing his creation to life. However, “now that [Victor] had finished, the beauty of the dream vanished, and breathless horror and disgust filled [his] heart” (Chambers). Right after Victor realizes what he has done, he falls into deep depression and must be nursed back to health by his friend. Victor spends the rest of the story facing consequences and moral problems from creating unnatural life. When he realizes that the ‘monster’ has killed his brother, even though no one believes him, he feels responsible for his brother’s murder because he was responsible for the existence of the ‘monster’. Also feeling responsible, Victor...