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The Relationship between Human and Nature
The Relationship between Human and Nature
The Relationship between Human and Nature
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Monsters come in many forms, shapes, and sizes. Some of these creatures are grotesque and unearthly, while others appear no different than innocent next door neighbors. What defines a monster can turn drastically from the purely physical to exclusively psychological. There are many ways to create physical monsters; from stitching together stolen body parts to unleashing a curse, and many ways to abuse and neglect someone until they have reached a mental breaking point. Regardless of circumstances, there seems to be one universally understood truth, cruelty creates monsters. While it may not always be an outside force creating such unfortunate situations for these to-be monsters, wickedness and callousness can always be found surrounding these creatures.
Monsters created through mad science and infection may not necessarily be an evil and angry creature from their conception, but the underlying intentions of their creators can cause them to turn in personality. When making these abominations, the creator usually intends for the creature to carry out their nefarious plots. To match their intentions, the makers of monsters give their projects an appearance that ranges from uncomfortable to look at to nightmarish. Although, there may be times when the inventors intend for their creation to be a beautiful and wonderful being, false life is rarely an embraceable thing (Frankenstein). When viewed by the public, monsters are feared, hunted, and rejected. Through the, possibly unintentional, cruelty of these civilians, the monsters can become scared, angry and begin to lash out. Through lashing out these creatures become a living terror, either exactly what their creators had hoped for or their own waking nightmare.
A human who acts mons...
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...reject those emotions and return to their “rational” socially acceptable selves.
While monsters represent humankind’s darker aspects, there is also representation for the lighter side of humanity. This lightness is often portrayed through other mythical creatures. Such creatures as unicorns, fairies, and centaurs are meant to symbolize that there is something greater than the darkness of the world. While monsters are meant to characterize the negative and lesser side of humankind, these other mythical and fantastical creatures are meant to symbolize the aspirations of humanity. Stories of such fantastical creatures are filled with emotions rewarded and whole-heartedly accepted society. Tales of the kindness, beauty, and god-likeness of these mythical beings are made to humble humans and inspire them to rise above their cruelty, and to become greater than themselves.
In society, there have always been different roles in defining the boundaries between right and wrong; Monsters take a big part of that role. In Jeffrey Cohen’s “Monster Culture,” Cohen explains seven theses which provide a clearer explanation of how monsters take a part in establishing these boundaries. The oldest Anglo-Saxon story written- “Beowulf”- provides three different monsters which all connect to Cohen’s seven theses. In the older version, however, the monsters do not relate to humans in any way, except that they are enemies. The modern version of Beowulf portrays Grendel’s mother to still be evil but also have relations with the humans in the story.
Ever thought of where monsters come from? Do they just appear in our world, or are they procreated by fellow monsters, maybe, created by humans and their desires. During the renaissance and romantic era, a belief roamed around consisting of the idea that any child not resembling their original procreators was considered deformed, therefore also considered a “monster.” Many factors were considered to affect a child’s resemblance to their progenitors, such as women imagination, and desires, absolutely crossing of the role of paternity in the creation process. Although she succeeds in providing many good examples of women’s imagination being a primal factor in procreation, Marie-Helene Huet, in her essay, “ Introduction To Monstrous Imagination,”
times we have been fascinated with all sorts of tales about monsters and intrigued by myths and
Jeffery Cohen's first thesis states “the monster's body is a cultural body”. Monsters give meaning to culture. A monsters characteristics come from a culture's most deep-seated fears and fantasies. Monsters are metaphors and pure representative allegories. What a society chooses to make monstrous says a lot about that society’s people. Monsters help us express and find our darkest places, deepest fears, or creepiest thoughts. Monsters that scare us,vampires, zombies, witches, help us cope with what we dread most in life. Fear of the monstrous has brought communities and cultures together. Society is made up of different beliefs, ideas, and cultural actions. Within society there are always outcasts, people that do not fit into the norm or do not follow the status quo. Those people that do not fit in become monsters that are feared almost unanimously by the people who stick to the status quo.
Throughout history we see monsters taking many different shapes and sizes. Whether it be a ghoul in the midst of a cold nightly stroll or a mass genocide, monsters are lurking everywhere and our perception of what monsters truly are, is enhancing their growth as a force with which to be reckoned. Fear of the unknown is seen throughout time, but as humans progress we are finding that things we once were afraid of we are less frightening than they once were. Monsters can evoke fear in their targeted victims rather than physically harm their victims. For instance, every year a new horror film is released with the next scary beast, but why do we call something a monster even if we know it is not real? Even certain people and creatures are classified as monsters, but are they really monsters, or do their actions speak of monstrous doings? In his article and book chapter Monsters and the Moral Imagination and chapter 5 of On Monsters, Stephen Asma suggests that monstrosity, as we know it, is on the rise as humans progress, and how we perceive monsters can often define monstrosities in itself, providing evidence as to why monster cultures are on the rise, and showing how human progress has evolved our perception of how we think on the topic that is monsters.
A monster can be characterized by an extreme deviation from the normal standards of society including an internal or external wickedness. In the case of Mary Shelley’s Creature, his appearance overwhelms those who lay eyes upon him. A mere glance can send a villager running for the hills. It was not until the Creature caught a glance of his own reflection that he understood why villagers were so afraid of him. The realization of his ghastly appearance began the monster’s journey into hopelessness. In Peter Brooks’ article he writes, “Self recognition as the ‘filthy type’ completes the mirror stage of the Monsters development.” (Brooks 377). Seeing oneself as ugly and slovenly can cast shadows on even the most compassionate of hearts.
Monsters, in myths and legends, are ugly beasts with vicious tendencies and overbearing powers who bring suffering and agony to those who cross their paths, regardless of intention. However, the same cannot be said for Mary Shelley's monster, the Creation. Victor Frankenstein's lab experiment emphasizes the danger of not taking responsibility for one's own actions and knowledge, by being an instrument of Victor's suffering.
After his creation, Frankenstein’s monster is left in isolation, cursed to endure people’s hatred towards him. This revulsion met by onlookers is merely based on the creature’s hideous looks. The monster is not actually a monster at all. He displays more humanity than many other characters in Frankenstein. The ultimate irony is that the prejudicial belief is what caused the reanimated human to become a monster. In the nature versus nurture debate, proponents of the nature theory believe that a person is unchanging and that one’s experiences do not affect that person’s behavior. If this were true, the monster would not change as a result of his interactions with humans. It is undeniable that the creature does immoral things, but when Frankenstein’s monster saves a little girl from drowning, Mary Shelley takes a clear stance that the creature was naturally noble but became monstrous as a result of interactions with humans.
In any classic story about heroes and villains, the monsters involved are often characterized as the evil ones and, consequently, receive no justice under the law. Throughout the epic story Beowulf, the hero of the story encounters three monsters that are threats to society: Grendel, Grendel’s mother, and the dragon. The monsters in Beowulf are quickly targeted and destroyed because of the harm they cause to society. However, upon further examination of the monsters and the motives for their actions, the reader can view the monsters not as the cutthroat villains they may initially appear to be, but perhaps as victims of society. In today’s society, murderers and robbers are also portrayed as “monsters” because of the atrocious crimes
Left on his own to strike out in the world the monster soon experienced the prejudices of those he came meet. Prejudices based upon his frightful, or unusual, appearance and his inability to communicate initially. I quickly had empathy for the abandoned creature, despite the descriptions of his gruesome appearance, and felt mixed emotions about his actions towards others in the story. Were the violent actions of the monster towards others spawned from their violent rejection of ...
The definition of ‘monstrosity’ and what it means to be ‘monstrous’ can be understood to mean something that is visually unattractive, malformed and/or terrifying. However, monstrosity is not exclusively about something aesthetically ugly, it can also apply to what differs from what is considered ‘normality’. What is ‘normal’ versus what is ‘monstrous’ is closely linked when exploring ideas about the human condition. The representations of monstrosity in Frankenstein and in The Tempest reveal how what is monstrous and what is normal are often found side by side, challenging the idea that it is limited to outcasts who do not ‘fit-in’, and that deep down, a desire to be understood, accepted and included and to live life with meaning are central to the human condition and that monsters in society often reveal our deep seated fears and anxieties about our own existence.
Gilmore, David D. "Why Study Monsters?" Gilmore, David D. Monsters: Evil Beings, Mythical Beasts, and All Manner of Imaginary Terrors. Philadelphia: University of Pennsylvania Press, 2003. 210.
Monsters can come in various physical forms, but all monsters share the same evil mentality. A Monster is a being that harms and puts fear within people. Mary Shelley’s Frankenstein is a prime example of how appearance does not determine whether a creature is a monster or not. In the story, Victor Frankenstein tries to change nature by creating a super human being. The being appears to be a monster. Victor becomes so obsessed with his creation and then rejects it. Victor is the real monster because of his desire for power, lack of respect for nature, and his stubbornness.
We live in a world where creatures have abilities that can blow our minds, however we are ignorant of this. We live in a world where a constant power struggle is occurring between these secret species, a struggle that most human beings have no inclination of. We live in a world where people who know the truth are sworn to secrecy, and those proclaim this truth are considered crazy and locked away; to be sane is to be ignorant. Well, that is what I would love to be true. In actuality, I am fascinated with the topic of monsters; I love them all: lycanthropes, Frankenstein’s monster, witches, fae, necromancers, zombies, demons, mummies, and my favorite: vampires. This fetish has been manifested in the movies I view, the televisions shows I watch, and the books I read. When my obsession with reading is crossed with my obsession with monsters the result is a bookshelf containing more vampire novels than most people would consider healthy. I have discovered that every vampire novel varies vastly; no two books are ever alike. For example, the Twilight Series, the Anita Blake Series and the Vampire Chronicles Series have different legends and lore, different relationships between vampires and society, and different genres, theme, and purpose; this array of novels display most clearly the range of audience for vampire genre can cater.
Frankenstein shows that what looks like a monster in appearance my not be and what looks normal on appearance may be a monster. While a scary ugly creature may look like a monster a true monster is formed from within and is scene through actions. Along with this knowledge is power and power has the ability to make monsters. The pursuit to know more is a never ending road that leads to lies, secretes, and monstrosity. “How much happier that man is who believes his native town to be the world, than he who aspires to become greater than his nature will allow,” while knowledge is boundless and beautiful an excess of anything can create a monster.