Throughout the novel, Frankenstein by Mary Shelley, an abundance of amorousness was put on display for the reader to mentally grasp onto. Victor, the main character, demonstrated most of the affection overall, but it was not a normal emotion- it was more of an obsession or infatuation. He was captivated by the love of his life, Elizabeth Lavenza, who was also his adopted sister or whom he would call his ‘cousin’. He was likewise fascinated with his juvenility companion, Henry Clerval, who became his caretaker for a portion of the novel and assisted with Victor’s assiduous tasks. As well as Henry and Elizabeth, Victor was preoccupied and possessed by what he had produced, a destructive monster. All of the most important people in Frankenstein’s …show more content…
life were eventually killed, and after lusting after them for so long, it was difficult to surrender and withdraw.
This sentiment and compulsion is apparent in everyday life, which possibly leads to the regularly developing downfalls in society today. Victor Frankenstein’s hidden passion and obsession besieging his vehement of loved ones lead to his own collapse and demise.
An affection that stood out clearly was the passion Victor has for Elizabeth. The connection between Victor and Elizabeth began when both characters were extremely young and it is eminently probable that this ardor was caused by Victor’s parents adopting Elizabeth into their family. The deep passion in Victor for Elizabeth only grew larger and more substantial. Even though he may not have realized that he would marry her, Victor was determined to continue this adoration as long as he could. In the beginning of the novel, Shelley introduced Elizabeth by Victor describing her with a “…calmer and more concentrated disposition…” and that Victor was “…capable of a more intense application…” (Shelley, 18) which conveys the amicable feelings that Victor had. Nothing but love ever came from his mouth when
…show more content…
referring to Elizabeth and such ardent words were used in terms of her. Passion for Elizabeth overcame Victor’s mind and potentially evoked his collapse. Victor solicited to be the best he could possibly be to impress and preserve her affection. Though this may have seemed like any ordinary relationship, there was nothing average about this affair of consanguinity. Whenever Victor was encompassed by Elizabeth, he always mentioned, in vivid detail, either her physical appearance or her emotions. He was excessively concerned for her state of being and for her safety as well. Victor was obsessed with protecting Elizabeth at all costs that at times he was putting himself in the face of danger, giving him a tunnel vision towards Elizabeth and a blindness to his death. Keeping Elizabeth intact was a goal for Victor, which also revealed the same interpretations of making sure of her security. Being associated since childhood, Victor considered it his role of performance to put forth the effort to safeguard Elizabeth, in her heart and visceral aspects. He was amaurotic to what accelerated the process of his dwindling life span. In addition to Elizabeth, Victor was also attached to Henry since young minority, but was a best friend instead of a suitor. Henry compared to Elizabeth in this way and in addition to the way that Victor had the deep passion and connection with him, which also lead to the hint of annihilation. Henry, being somewhat of an assistant or apprentice, was a character who associated closely with Victor’s life, therefore they would be inundated by each other a majority of the time. Badalamenti states it as him being a “long-time friend” (Badalamenti, 430) who not only was a friend, but who was also involved in assisting with Victor’s experiments. Victor depended on Henry to aid in everything he did, especially manage Victor’s private life. As Victor’s sickness occurred, he fully set confidence upon Henry to care for him, communicate with his family and overall be ubiquitous. Without this cooperation, Victor would have been adrift and obsolete. Even though he heavily relied on Henry, it does not mean he did not praise him for doing so. Victor felt as though he was obliged to acknowledge him. Not only was Henry just thanked, Victor’s appreciation was never-ending. He had an epiphany that Henry performed so much to satisfy him and there was no doubt in his mind that Henry deserved the entirety. Reiteratively, these colleagues had been acquainted since adolescence. Shelley mentions “Even where the affections are not strongly moved by any superior excellence, the companions of our childhood always possess a certain power over our minds…” (Shelley, 157) which described their relationship of respect and fondness shared and expressed Victor’s love for Henry for as long as he’d known him. Being able to grow up inseparable, it was even more arduous to break those liaison ties. Henry and Victor were surrounded by each other for at least six long years; being around each other for that elongated period of time, they were able to connect with one another. After Henry died, Victor was miserable and had no idea to what to do and how to manage himself—his best friend and the person he depended on most just died. Someone of great importance whom he was passionate for was taken from him so suddenly. His heart was extremely broken, but he had to continue to focus on more urgent things in life. Henry’s death affected Victor’s whole perspective which could have also lead to Victor’s extermination. Not only was Henry the only person or subject Victor became attached to, he was also engrossed by the monster he had created.
By leaving for college, Victor had no other choice to create this monster and affiliate with him. Botting articulates that “Victor, ‘the seed’ and symbol of his parents’ love, is left wanting the unity... His creative project, furthermore, stays within the bounds prescribed by the familial metaphor.” (Botting, 161) proving that the affection shown by his family sparked the compulsion Victor pursued towards the monster. He imitated the actions expressed towards him and passed them unto the monster. After becoming so friendly, love turned to hate and acrimony overcame Victor, again directing regarding his death. Victor lusted after a certain phenomenon and had specific ambitions for his invention. He was eager for the monster to be cherished and acknowledged just like anyone else would want to be cared for. Victor was also motivated to know more about science and absorb more knowledge. Gatto expounds that “What drove the title character, Victor Frankenstein, was a desire and craving for knowledge for the unknown… The story of Frankenstein revolves around the thirst to have more…” (Gatto) which elucidates Victor’s covet for the capacity of observation. He always wanted to learn more about science to better not only himself, but to benefit the monster as well. Frankenstein was always willing to learn and if he could he would never cease. Shelley
mentions that Victor’s father wasn’t the most intelligent person ever, but that would not have stopped Victor from becoming too intellectually involved. Frankenstein had taken multiple steps to achieve these profusion of discoveries. He was very dedicated to his activities for the completion of this proposal. Badalamenti recognized that “Victor is a gifted, but self-centered person, preoccupied by his own interests… He is lost in his studies, research and project to create life.” (Badalamenti, 430) showing how dedicated and devoted Victor was to the completion of his fortuitous concoction. He was so overly focused that he was blind to the destruction he was causing himself. It was a difficult journey, but he attained what was needed. Victor pursued many laborious days and nights for the production and advantage of this horrific creature who eventually massacred the Frankenstein family. Still, Victor was concerned for the wellbeing of this beast who assassinated all of his loved ones. That concept in itself is abhorrent to know, yet the fascination was still apparent. Misery was hidden deep inside Victor cause by death of ones he loved. This heartache caused even more deterioration in his life. As closure, Victor Frankenstein’s devotion to Elizabeth, Henry, and his creation lead him to his own bereavement. He became so absorbed and distracted by these three characters that he was eventually lost and taken advantage of by the monster because of this mindlessness. From the beginning of the novel, these fascinations foreshadow Victor’s demise. He was constantly interested in not only Elizabeth’s current emotional and physical situations, but likewise for Henry’s. After becoming intimately close with these two large-scale characters, it was difficult to let go of such influential people. Victor was most upset because their death was caused by another obsession of his. The thought of his beloved being killed by another one of his preoccupations was the denouement of Victor’s life. These obsessions and passions lead to the destruction of personal, emotional, and occupational life.
As a tragic hero, Victor’s tragedies begin with his overly obsessive thirst for knowledge. Throughout his life, Victor has always been looking for new things to learn in the areas of science and philosophy. He goes so far with his knowledge that he ends up creating a living creature. Victor has extremely high expectations for his creation but is highly disappointed with the outcome. He says, “I had desired it with an ardour that far exceeded moderation; but now that I had finished, the beauty of the dream vanished, and breathless horror and disgust filled my heart” (Shelley 35). Frankenstein neglects the creature because of his horrifying looks, which spark the beginning of numerous conflicts and tragedies. At this point, the creature becomes a monster because of Victor’s neglect and irresponsibility. The monster is forced to learn to survive on his own, without anyone or anything to guide him along the way. Plus, the monster’s ugly looks cause society to turn against him, ad...
In Elizabeth’s letter to Victor in Volume 3, Chapter 5, she makes it clear that she really feels a genuine love for Victor, but feels that he does not return that love. She confesses to Victor that: "I love you and that in my airy dreams of futurity you have been my constant friend and companion" (130). She is the only character in the novel who actually states that she loves another person. For all of the other characters there is only affection and friendship. In this letter, Elizabeth becomes the only person to transcend the bounds of familial affection. The theme of familial affection is an important one throughout Frankenstein, for apart from the master/slave dynamic, it is the relationship that most of the characters are involved in. This affection rarely transcends the boundary into love, however, that passion is reserved for science and the pursuit of knowledge. The only times Victor Frankenstein speaks...
“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.
All the events and misfortunes encountered in Frankenstein have been linked to one another as a chain of actions and reactions. Of course, the first action and link in the chain is started by Victor Frankenstein. Victor’s life starts with great potential. He comes from a decently wealthy family whose lack of love towards each other never existed. He is given everything he needs for a great future, and his academics seem to be convalescing.
After Frankenstein discovered the source of human life, he became wholly absorbed in his experimental creation of a human being. Victor's unlimited ambition, his desire to succeed in his efforts to create life, led him to find devastation and misery. "...now that I have finished, the beauty of the dream had vanished..." (Shelley 51). Victor's ambition blinded him to see the real dangers of his project. This is because ambition is like a madness, which blinds one self to see the dangers of his actions. The monster after realizing what a horror he was demanded that victor create him a partner. "I now also began to collect the materials necessary for my new creation, and this was like torture..." (Shelley 169). Victor's raw ambition, his search for glory, has left him. His eyes have been opened to see his horrible actions, and what have and could become of his creations. As a result, Victor has realized that he is creating a monster, which could lead to the downfall of mankind. His choice is simple, save his own life or save man.
The Human Need for Love Exposed in Frankenstein Written in 1817 by Mary Shelley, Frankenstein is a novel about the "modern Prometheus", the Roman Titian who stole fire from the gods and gave it to man. The story takes place in several European countries during the late 1700's. It is the recollection of Victor Frankenstein, a ship captain, about his life. Victor is a student of science and medicine who discovers a way to reanimate dead flesh. In a desire to create the perfect race he constructs a man more powerful than any normal human, but the creation is so deformed and hideous that Victor shuns it.
In the novel Frankenstein, the author, Mary Shelley writes about a scientist named Victor Frankenstein who brings to life a human- like creature. Viewing this book through a psychoanalytic lens uncovers the many layers that make up this text and the characters. The psychoanalytic theory deals with a person’s underlying desire, most famously, the oedipal complex. The oedipal complex is the belief that all people possess the desire to partake in affectionate relations with a parent of the opposite sex. In Frankenstein, Shelley uses Victors conscious and subconscious to suggest that Victor possesses the oedipal complex, and that he feels intense guilt for the monster that he has brought to 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...
Mary Shelley, with her brilliant tale of mankind's obsession with two opposing forces: creation and science, continues to draw readers with Frankenstein's many meanings and effect on society. Frankenstein has had a major influence across literature and pop culture and was one of the major contributors to a completely new genre of horror. Frankenstein is most famous for being arguably considered the first fully-realized science fiction novel. In Frankenstein, some of the main concepts behind the literary movement of Romanticism can be found. Mary Shelley was a colleague of many Romantic poets such as her husband Percy Shelley, and their friends William Wordsworth and Samuel Coleridge, even though the themes within Frankenstein are darker than their brighter subjects and poems. Still, she was very influenced by Romantics and the Romantic Period, and readers can find many examples of Romanticism in this book. Some people actually argue that Frankenstein “initiates a rethinking of romantic rhetoric”1, or is a more cultured novel than the writings of other Romantics. Shelley questions and interacts with the classic Romantic tropes, causing this rethink of a novel that goes deeper into societal history than it appears. For example, the introduction of Gothic ideas to Frankenstein challenges the typical stereotyped assumptions of Romanticism, giving new meaning and context to the novel. Mary Shelley challenges Romanticism by highlighting certain aspects of the movement while questioning and interacting with the Romantic movement through her writing.
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...
In Frankenstein, Mary Shelley highlights on the experiences her characters undergo through the internal war of passion and responsibility. Victor Frankenstein lets his eagerness of knowledge and creating life get so out of hand that he fails to realize what the outcome of such a creature would affect humankind. Mary Shelley’s novel, Frankenstein, highlights on how Frankenstein’s passion of knowledge is what ultimately causes the decline of his health and the death of him and his loved ones.
He is separated from his father Alphonse Frankenstein, his wife Elizabeth Lavenza and his long-time friend Henry Clerval. Victor Frankenstein’s obsession with trying to kill his Monster lead’s to the death of his father, leaving him an orphan. With the murder of Victor’s wife Elizabeth, his father Alphonse Frankenstein was so traumatized that, “the spring of existence suddenly gave way” (206) and he died in Victor’s hands which caused him to return back into a state of insanity. A Moral and Intellectual theorist would believe every time Victor experiences trauma he enters a state of insanity which then prevents others from interacting with him. This is just like how his father tried to help him but instead he died not truly knowing who his son is. Furthermore, Victor’s relationship with Elizabeth Lanvenza has become romantic but his desire to kill the Monster ends their relationship. Elizabeth wrote a letter to Victor while he was in Ireland for him to go back to Geneva and for his hand in marriage in which he replies with a letter telling her not to worry and he will marry her but he has a, “secret” that will, “chill [her] frame with horror” that he must tell her after their wedding (196). With him not telling her the whole truth about his creation of the Monster, he has become more distant from her physically and mentally creating a lack of trust in their relationship;
“Dr. Victor Frankenstein feels uncontrollably compelled to create animation in the lifeless body” (Storment) this obsession with the creation of life alienated him from his loved ones. His impending marriage to Elizabeth was one aspect of his life that he sacrificed. In chapter 22, Elizabeth writes to him “Tell me, dearest Victor. Answer me, I conjure you by our mutual happiness, with simple truth-- Do you not love another?” Elizabeth’s concern
This becomes a direct resistance to the laws of the oedipal system - and sends both the monster and the creator to their tragic endings. Not only does Frankenstein deny the rights of procreation to his creature - but he also manages to avoid this area in his own life. Frankenstein - since the beginning - seems to be a man intent on usurping the natural position of the maternal. This falls exactly into Freudian beliefs on family romance. These rules of the sex-gender system also prevail within Frankenstein's own life. There is an odd "absence of courtship in Victor's story" (Rieder 7). Although within the tale of the monster - and his experiences with the French family and his own desires for female companionship - this is vastly different. In the case of Frankenstein - and the monster - it seems that one must become a member of the family before being considered for sexual partnership. Frankenstein's own mother was taken in by Mr. Frankenstein, and became a daughter-figure before marrying Alphonse. According to Frankenstein, his father had been "like a protecting spirit to [Caroline], who committed herself to his care" (Shelley 18). These Oedipal undertones again manifest themselves within the relationship between Elizabeth and Victor - one that almost is able to transcend the sister/brother relationship. There is no doubt within the relationship between Victor and Elizabeth that Shelley's story "overrides the prohibition against incest" (Rieder
Many relationships in Frankenstein display a character’s qualities and personality throughout the book. After Victor Frankenstein creates a monster that he disowns, the creature returns to Victor in hopes of Victor creating a partner for him. As the creature pleads with Victor to create a female companion for him, Victor informs the creature that he will never sustain a loving relationship like that of he and Elizabeth, but will rather cause a “joint wickedness that might desolate the world.” (Shelley 128) Though Victor considers it, he becomes very reluctant to create a female companion for the monster. However, the relationships between Victor and Elizabeth compare in many ways to the relationship the monster wants with his own female companion.