Nature and Nurture in Frankenstein and Rappaccini's Daughter
One of the most popular disputes in the history of philosophy regards whether nurture of a human being plays a more important role in the formation of its character than the genetic heritage that it bears. As a natural result, the dispute echoes in many literary works, not always directly, but sometimes taking the form of a pretext or a motif in a larger context. Such examples are "Frankenstein" by Marry Shelley and "Rappaccini's Daughter", by Nathaniel Hawthorne. Their authors relate the evolution of at least two characters, the monster and Beatrice, throughout both writings, with the way those characters were nurtured. Both authors use innocence as a common starting
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Even if it has not been educated at all in that sense, the monster tries to help the poor family he neighbors as many times as he can, by bringing them chopped wood, cleaning the snow or performing other "offices" (Shelley 142) without requesting anything in exchange. When he realizes that he has been stealing food from such a poor family, he is overcome with feelings of regret, and abstains from taking their food. He carries out all these acts of kindness towards people that he doesn't really know even after he has been attacked by the "barbarous villagers"(Shelley 138) that he met before. He is aware about the "barbarity of man"(Shelley 135), yet he forgives mankind, giving the relationship with it another chance. As he listens to the story of his neighbor "cottagers", he is acquainted with more of humanity's evil side: "yet I looked upon crime as a distant evil"(Shelley 154), and even more of it when he learns to read. The monster discovers the journals of his creator, which contain detailed descriptions of the process of his own making. Realizing that his very creator turned from him in disgust, he feels bitter and abandoned, "solitary and detested"(Shelley 158). If until this moment only "benevolence and generosity"(Shelley 155) were known to him, these feelings turn into bitterness and rage against his creator. This moment becomes a significant turning point in the monster's existence. He learns several …show more content…
But the monster seems strongly anchored into his determination to give the relationship with mankind another chance. He admires the qualities of humans, but yet he wanders how is it possible that there are so many contradictory attributes gathered in a single human being: "Was man, indeed, at once so powerful, so virtuous, and magnificent, and yet so vicious and base ?"(Shelley 147). Two more unpleasant events shutter his belief in ever establishing a connection with mankind. When he attempts to make contact with the people who have unwillingly constituted his adopting family, he is rejected on basis of physical appearance. When he offers his unconditional help by saving a young girl from drowning, a villager, frightened by his appearance, shoots him. As a result, he decides to give up any hope for a possible reconciliation with the human race; all he wishes for from that moment on is another being like him, but of opposite sex, to keep him company somewhere far away from civilization. But the only person who could have made it come true, his creator, Victor Frankenstein, denies even this last wish. The sequence of events that he had to come through proves to be too much to take for the deserted creature. His kindness and innocence degrade, leaving room only for vengeance. His faith is much similar to the one of a child abandoned by his parents, and left out in the world to face the hardships of
David Galula and Roger Trinquier have common roots, they were French citizens and both lived in the 20th century when the study of counterinsurgency theory was coming into focus. Each of these men experienced bitter conflicts of war. Galula fought in North Africa, Italy, and France. In addition, Galula fought in irregular wars located in China, Greece, Indochina, and Algeria. Galula was a lieutenant colonel when he decided to author his now classic book. Whereas, Trinquier an officer in the colonial infantry defended the French concession in Shanghai and later in Indochina under the Japanese occupation where he was held prisoner of war in a Japanese internment camp. After Trinquier’s release from prison, he continued to serve in Indochina and additionally in Algeria. Both men wrote from first-hand experience and published their accounts in 1964 while the Cold War waged. Communism ideology vs. the free world theorists collided across the face of the globe in a race for domination. Counterinsurgency has been an American strategy since the 1960s ebbing and flowing in strategic signi...
According to Ancient History Encyclopedia, Hammurabi was the sixth king of Babylon of the First Babylonian Dynasty from 1792 B.C.E. to 1750 B.C.E. Located in present day Iraq, Hammurabi is recognized with uniting this area, Mesopotamia (Hammurabi). While in power he pursued many military battles. The main purpose of these battles was to gain control of the Tigris and Euphrates rivers. “This was essential as their agricultural productivity depended on it (Hammurabi)”.
“I now hasten to the more moving part of my story. I shall relate events that impressed me with feelings which, from what I was, have made me what I am” (Shelley 92). Frankenstein’s Creature presents these lines as it transitions from a being that merely observes its surroundings to something that gains knowledge from the occurrences around it. The Creature learns about humanity from “the perfect forms of [his] cottagers” (90). Mary Shelley’s Frankenstein offers compelling insights into the everlasting nature versus nurture argument. Her husband, Percy Bysshe Shelley wrote, “Treat a person ill, and he will become wicked.” Shelley believes that the nurture of someone, or something, in the Creature’s case, forms them into who they become and what actions they take. While this is true for Frankenstein’s Creature, the same cannot be said about Victor Frankenstein.
Mary Shelley’s Frankenstein describes a mad scientist by the name of Victor Frankenstein and the initially amiable creature assembled by him. Through questionable means of experimentation, this monster is constructed through the reattachment of several cadavers and a bolt of lightning. Upon achieving the magnificent feat of reanimation, Victor, rather than revelling in his creation, is appalled, abandoning the creature. The physical appearance of the monster terrorizes everyone he meets and is unfortunately shunned from the world. The newborn monster develops a nomadic lifestyle after being ostracized by nearly every community he travels to, but eventually finds refuge near a secluded cottage. While returning from a nearby forest, the creature
"Victor Frankenstein, does not live up to his role model. He lacks compassion for his creation" (Madigan 3)
TOPIC SENTENCE. Liz Addison and Charles Murray agree that traditional college is not necessary, yet Addison provides strong arguments proving that receiving an education through community college is the wisest decision. Addison shows how a community college has the power to create a person, gain new experience, and modify the college experience. CLOSING.
Huckleberry Finn is a piece of literature that will never be forgotten, even if somehow, someday, it gets banned from public high schools, but in the mean time people are very resolute in keeping this book around. There is no way America can forget such a great novel representing the American Dream the way that it does. This book will not go down without a fight. In conclusion, through all of the controversy, through all the ideas of it being too racist and not appropriate for high school classrooms, after many examples as to why this novel should not be taught in schools and a reason as to why every argument against is bogus and impractical, Huckleberry Finn should be taught in public high schools without question.
What is a monster, really? Is it really a Creature that has three eyes instead of two, with pus seeping out of every crevice in his face and an abnormally large form? Or is it someone with a mind so corrupt it rivals that of Satan? Mary Shelley’s Frankenstein is a story within a story that centers on the tale of a man with an immense thirst of knowledge and a fetish to imitate the Creator. Mary Shelley’s Frankenstein is a lot like the Greek mythological tale of the Greek God, Prometheus, and his brother, Epimetheus, who were assigned the task of creating man. The story captivates the theme of monstrosity. Mary Shelley wrote the novel in a form so the reader’s opinions never stray far from sympathy for the monster and apathy for Victor Frankenstein. The novel looks at “Monstrosity” and “Humanity” in a deeply analytical way.
There was no one left to provide the creature with companionship and was forced to isolate himself from society once again. When the family moved out of their cottage, the creature decided to go on his own adventure and seek out his creator. Upon doing so, the creature encountered a young girl who was about to drown near a lake. When the creature successfully saved the little girl, an older man confronted the creature and shot him in the shoulder. Because of what happened, the creature explained to Frankenstein that his, “...daily vows rose for revenge-a deep deadly revenge, such as would alone compensate for the outrages and anguish [he] had endured.” (Shelley 61). With this burning rage, the creature decided to take his revenge out on his creator, Frankenstein. One by one, Frankenstein’s relatives and closest friends were murdered by the creature, but his father’s death, was the final push. Frankenstein believed that he was the cause for all the murders and that he had to destroy what he created. He told Walton that, “...as [he] awakened to reason, at the same time awakened to revenge.” (Shelley 88). The only way to stop future deaths, was to hunt down the creature and kill him. Fueled with hatred, Frankenstein traveled for months in hopes of finding the creature. However, in his final days, Frankenstein was no longer able to continue his search, and passed away due to malnutrition. Upon discovering what had happened, the creature came out from hiding, and decided to explain his side of the story to Walton. Now that Frankenstein was dead, the creature decided to wander off and slowly die, isolated from the
A monster is usually viewed to be a supernatural creature that humans judge based on looks and not necessarily on personality. In the novel, Frankenstein written by Mary Shelley, the monster is a creature Victor creates but abandons immediately because he is horrified by his own creation. Due to the monster’s appearance, society does not give the creature a chance to show his true self. Therefore, the monster faces an external conflict because of Frankenstein’s and society's rejection, making it difficult for him to blend into his new life. Victor creates the monster because of his unusual compulsion of aspiring to be like God. However, Victor does not know how to treat or be responsible for his creature. Victor Frankenstein is the true monster
The Monster’s confusion about the world and his inability to understand why he cannot simply be accepted in society drives his actions. Dutoit elaborates on the not so apparent truth that The Monster goes to great lengths to assimilate by acquiring language, understanding mannerisms and participating in customs. The Monster grows fond of a family, at first he watches them carefully, paying close attention to the details of their life and even steals food, unaware of their poverty. Supporting evidence which allows for the conclusion that he is innately good and simply longing for domesticity is shown by The Monsters willingness to help the family with chores, in secret of course. Nevertheless, he is universally shunned by everyone he encounters, except for the old blind man who was willing to have a social connection with him, until his family returned home and in fear rebelled against The Monster. This constant exile only leads to a greater alienation from the social world he deeply longs to be a part of. Unfortunately, due to his outward appearance, his good intentions are ill received by the people he
The monster of the novel is often misattributed with the name, “Frankenstein.” However, Victor Frankenstein can ultimately be considered the true monster of this tale. His obsession would lead to the corruption of his soul and the creation of two monsters—one himself, and the other, the creature. In attempting to take on the role of God, nature would become a monster to Victor and destroy his life. These elements of monstrosity in Frankenstein drive the meaning of its story.
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.
After the Edict of Milan was established, towns went under a slow transformation. Although it continued to focus of urban life, many temples were slowly replaced by Christian buildings. The Emperor highly encouraged Christian art and architecture. Theodosius I, the last Roman Emperor, acknowledged Christianity as the state religion in 380. Art was no longer created secretly underground or hidden inside of churches; it could be displayed openly in front of the public. For the first time, several basilicas were built openly for Christian worship and inside those basilicas, paintings and mosaics of biblical stories were created to be viewed publicly. The Edict of Milan made the Roman Empire become a huge contributor to Christian art and architecture and it created an tremendous revolution in history.
The automobile industry is a pillar of global economy. Globally automotive contributes roughly 3 % of all GDP output. It historically has contributed 3.0 – 3.5 % to the overall GDP in the US. The share is even higher in the emerging markets, with the rates in china and India at 7 % and rising. China produces the highest number of automobiles followed by US and Japan (oica.net, 2015). The industry supports direct employment of 9 million people to build 60 million vehicles and parts that go into them (oica.net, 2015). Many other industries such as steel, iron, glass, aluminium, textiles etc. are associated with the automotive industry and resulting in more than 50 million jobs owed to the auto