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Key themes in Frankenstein
Key themes in Frankenstein
Analysis of Frankenstein by Mary Shelley
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Mary Shelley’s Frankenstein, a unique piece for its time and a forerunner in the science fiction/horror genre, is an extremely well-articulated literary masterpiece. Over time, Shelly’s work has become a quite well known and influential tale. The story, although drawing elements from other works, has a still apparent uniqueness that has made it a model for many of its ilk.
The distinctiveness of the story comes from a combination of both the plot and style of writing Shelly uses, along with the way the story is narrated. The characters and their accounts lay out an interesting and thrilling journey, and Shelly’s words bring those accounts to life. Being a writer from the Romantic era, Shelly has a beautifully animated diction rich with imagery.
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Each character has a distinct personality and purpose, and together they are what excite the intrigue and emotions of the reader. The story’s narrator is Robert Walton. He is an adventurous man who writes his account to his sister, Margaret Saville. He captained an expedition ship headed to the north pole, and rescued the main protagonist, Victor Frankenstein. Victor was a Swiss man who grew up in the town of Geneva. He was the son of Alphonse Frankenstein and Caroline Beaufort, brother of Ernest and William Frankenstein, and husband to Elizabeth Lavenza. He pursued philosophy and science, and discovered the secret of reanimation. The story is based around Victor and the torment and sorrow that comes from life he created. Victors creation, the antagonist, was a hideously grotesque being, standing at eight feet tall, constructed from the pieces of other humans. He sought companionship and affection from humans, specifically with a family of peasants. He hid within their abode, spying on them and learning from them. Aware of his appearance, he hid until he could communicate with them. The family consisted of an old blind man named De Lacey, a young man named Felix, and his sister Agatha. Eventually attempting to communicate with them, he speaks to De Lacey …show more content…
Although he tries to love and be loved, he is born into a world that hates him, and lives a life of sorrow and loneliness. His inner conflictions between deciding to be compassionate and giving into hatred leave him pleading with Victor, but to no avail. A few of the creature’s words stand out and exemplify the sorrow that consumes him. The creature, being very much influenced by Paradise Lost, says statements such as, “…I ought to be the thy Adam, but I am rather the fallen angel, whom thou drivest from joy for no misdeed.” (84), and “But it is even so; the fallen angel becomes a malignant devil. Yet even that enemy of God and man had friends and associates in his desolation; I am alone.” (185), and, “Satan had his companions, fellow-devils, to admire and encourage him; but I am solitary and abhorred.” (111). In the first statement, he references Adam, God’s first human creation, and Satan. He argues that, being his creation, he should be his beloved “Adam”, but instead, even without doing wrong, he is treated as a devil. In the second and third statements, he mentions how the devil is cast out and opposed by man and his creator, and how he still has companions in his isolation, yet the creature himself is absolutely and miserably alone. The use of these biblical comparisons dramatically emphasizes the grief the creature faces. In trying to explain himself,
Frankenstein is the story of an eccentric scientist whose masterful creation, a monster composed of sown together appendages of dead bodies, escapes and is now loose in the country. In Frankenstein, Mary Shelly’s diction enhances fear-provoking imagery in order to induce apprehension and suspense on the reader. Throughout this horrifying account, the reader is almost ‘told’ how to feel – generally a feeling of uneasiness or fright. The author’s diction makes the images throughout the story more vivid and dramatic, so dramatic that it can almost make you shudder.
Gilbert, Sandra M. and Susan Gubar. "Mary Shelley's Monstrous Eve." Reprinted in Mary Shelley's Frankenstein. Norton Critical Edition. 1979; New York: W. W. Norton, 1996. 225-240.
in Frankenstein: Contexts, nineteenth century responses, criticism. By Mary Shelley. Ed. J. Paul Hunter. Norton Critical Edition.
Mary Shelley’s novel Frankenstein is impressive, entertaining, and fascinating so is it no surprise there have been so many films and artworks influenced by her novel. Many of which have put their own spin to the horror novel, especially the character of the creature that remains one of the most recognized icons in horror fiction. However, there have been critics whom argue modern versions and variations have lost the horror and passion that is an essential to the creature. The start of the Creature is bound to one book. However, public impression of the Creature has changed severely since the publication of the original novel, leading to diverse styles and plot lines in its diverse film adaptations. People’s impression of the Creature have become so twisted and turned by time and decades of false film posters and article titles that most use the name “Frankenstein” to refer to the Creature itself, rather than the scientist who created him! It’s a shame! An understanding of literary history is a necessity to comprehend the truth of the Creature’s tragic history and how decades of film adaptations changed him into the hulking beast most people know him as today.
Like all works that have been taught in English classes, Frankenstein has been explicated and analyzed by students and teachers alike for much of the twentieth and all of the twenty-first century. Academia is correct for doing so because Frankenstein can appeal to the interests of students. Students, teachers and experts in the areas of medicine, psychology, and sociology can relevantly analyze Frankenstein in their respective fields. However, Peter Brooks explains in “Godlike Science/Unhallowed Arts: Language and Monstrosity in Frankenstein” that Shelly had presented the problem of “Monsterism” through her language. According to Brooks, Monsterism is explicitly and implicitly addressed in Shelly’s language. While this may be correct, Brooks does it in such a way that requires vast knowledge of subjects that many readers may not be knowledgeable in. After summarizing and analyzing the positive and negative qualities of Brooks’ work, I will explain how the connection of many different fields of study in literature creates a better work.
Shelley, Mary. Frankenstein: A Norton Critical Edition. Ed. J. Paul Hunter. New York: W. W.
Mary Shelley’s world renowned book, “Frankenstein”, is a narrative of how Victor Frankenstein, a brilliant chemist, succeeds in creating a living being. Although Frankenstein’s creation is benevolent to begin with, he soon turns murderous after being mistreated by humans. His anger turns towards Frankenstein, as he was the one who brought him into the world that shuns him. The Monster then spends the rest of the story trying to make his creator’s life as miserable as his own. This novel is an excellent example of the Gothic Romantic style of literature, as it features some core Gothic Romantic elements such as remote and desolate settings, a metonymy of gloom and horror, and women in distress.
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.
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.
Here the creature tells Frankenstien that he is the fallen angel. This means that he believes that Frankenstien could have done a better job raising him. The creature indicated that he was born good and virtuous, but lonliness and misery due to the alenation he receives from mankind, have made him feel like a monster. Society sees him as a monster and makes him feel like one, so now he will begin to act like one. The creature then begines to tell Frankenstien the tale of what he has done and hoh he has managed to survive the past few years.
Mary Shelley’s use of a frame story in her novel “Frankenstein” generates the problem of reliable narration as many narrations do. However unlike most novels, this story is told through three different narrations allowing much room for bias and a slight change in the tale. The title character, Victor Frankenstein, is not trust worthy due to his deep personal loathing for his monster or another narrator. This narrator cannot be taken as an accurate depiction due to its lack of empathetic behavior and constant vying for pity but also acts in a manner that is gruesome. The last narrator proves to be most reliable because he has the least amount to do with the actual story other than to pass along Victor’s story and to carry on what happens when one is tainted by science and the pursuit of too much knowledge.
In the words of actor Fred Gwynne who played the role of Herman Munster in the hit TV show from the sixties, The Munsters, “The lesson I want you to learn is… it doesn't matter what you look like, you can be tall, short or fat or thin or ugly or handsome like your Father, or you can be black or yellow or white, it doesn’t matter. What does matter is the size of your heart and the strength of your character” (Eddie’s Nickname). For anyone who has ever read Mary Shelly’s Frankenstein, this is a vastly different view of life than the one of Victor Frankenstein's Monster. The CBS television show, The Munsters, is just one modern example of media based off of Shelly’s novel. Wikipedia.com lists hundreds of examples of songs, tv shows, radio programs, movies, novels, plays, comic books, and even children's toys that have all been influenced by Shelly’s novel.
Described as having wings, “like a bat’s” that he agitates “so that three winds made their way out from him” (Inferno 34.51) creates an image of the massive nature of Satan’s size and the power of his wings. If Satan were to escape, it would be detrimental to the world that lies far above him. This image of Satan provides an understanding of his evil as something that cannot escape and therefore kept the farthest away from good.
Walter Scott’s critique in the 1818, Blackwood's Edinburgh Magazine Review of Frankenstein, is that Frankenstein is a novel of romantic fiction depicting a peculiar nature that narrates the real laws of nature and family values. This review explains that Mary Shelley manages the style of composition, and gives her characters an indirect importance to the reader as the laws of nature takes course in the novel. In addition, Walter Scott appreciates the numerous theme...
Frankenstein is a story of a creation of a monster, however readers might realize that there is not only one, but more in the story. The story unfolds these “monsters” when Mary Shelley, the author of Frankenstein, alludes to two references in her story, a poem and a book. The former is “The Rime of The Ancient Mariner” by Samuel Coleridge and the latter is “Paradise Lost” by John Milton. Shelley mimics two important concepts from both Coleridge’s and Milton’s book to provide readers a bigger understanding of Frankenstein.