Mary Shelley's novel Frankenstein was in need of illustration for its new edition and Theodore Von Holst was a qualified candidate for the job (“Image of the Month: Theodore Von Holst, 'Frankenstein'”). The artist decided to draw an important scene from the novel, which is the awakening of Frankenstein’s creation. This depiction is of true importance as this moment was when everything changed for the creator and it was a crucial moment that determined the creature’s fate, whether Frankenstein wanted to care for it or not. The creature, who lacks a given name, is of human physique and if one had not read the book, they would be completely unaware that he was a creation and not born of human parents. Holst’s drawing evidently portrays the fear …show more content…
that Frankenstein felt once he realized what he had created. The creature, however, was visibly confused. Holst’s depiction of the most important scene in the novel exhibits the truth that Frankenstein’s creature was not given an opportunity to become good in nature through the two character’s facial expressions as well as their surroundings. To begin, Holst’s techniques were influenced by the Romantic Era (“Image of the Month: Theodore Von Holst, 'Frankenstein'”). This is evident by the melodramatic scenery and the two characters’ reactions. Victor Frankenstein’s face is overwhelmingly fearful, whereas the creature displays an exaggerating puzzled facial expression. This heightened emotion truly embodies the Romantic era. Further, the drawing was influenced by a Gothic theme which is apparent through to the structure of the window, as well as the mood of the drawing. In the drawing, there are large vaulted windows which are a true example of a gothic themed structure. This implication of both Romantic and Gothic themes creates an unpleasant and fearful atmosphere, thus highlighting the creature’s emotions and further demonstrating the cruelty of humanity for not accepting Frankenstein’s creature and never giving it the chance to display goodness. Additionally, the drawing appears to foreshadow the death that will come in the hands of the creature due to the fact that there is a skeleton beneath the creature and skeletons usually refer to the death of an individual or a thing. Also, the room in the drawing is consumed by darkness where there is only a little bit of light visible, which portrays the fear and confusion felt by both characters. Beneath the frontispiece, a quote from the novel is found, which says: “‘I saw the dull, yellow eye of the creature open; it breathed hard, and a convulsive motion agitated its limbs … I rushed out of the room’ (M. Shelley, 56)” (Broschi). This quote clearly establishes that Frankenstein was fearful of what he had created, way before it had ever done anything to harm him. This is yet another example of prime hatred of humanity toward anything that is unlike its kind since the creature had not acted in an alarming matter, yet Frankenstein already feared and hated it. Additionally, by calling the creature “it”, this shows that Frankenstein was devaluing the creature, and even though we can see that his appearance is relatively human-like, he was not treated as such. The use of this word implements the theme of “the other” which further demonstrates the lack of opportunity for the creature to acquire genuine goodness as he was never shown kindness. Humans are never referred to as “it” and even though the creature was created to be human and acquire human skills and personality characteristics, he was never shown any real support or enforcement to reach his full potential. Holst’s drawing showed understanding of physiological theories which were influenced by Fuseli, the creator of “Nightmare” (Broschi). Even though all his body parts were anatomically correct, his head does not appear connected to his body, rather dislocated and is even unpleasant to look at which displays how the world perceived him: an ugly thing that does not need care because of its appearance. In the drawing, there are bones, a book and scientific equipment all around the main characters. The skull, book which is tossed on the floor and scientific equipment also add to the scene of awakening in that they make it more realistic and helps the reader understand the emotions of both Frankenstein, who is terrified of what he had just created, and of the creature, who has just been born and is as a newborn baby, unable to determine what is happening around him. Holst worked with Fuseli, the creator of “The Nightmare”, as he was his mentor.
Fuseli’s painting, as well as Holst’s, have similarities and differences in their themes as well as their meaning. Both creatures in both art pieces are depicted as hideous, each in their different way, yet hideous nonetheless. The creature from “The Nightmare” is scary as he is known for his terrible acts of torturing people in their sleep. However, the creature from the frontispiece to Frankenstein is hated even before he commits any crimes against humans, due to the simple fact that he does not have the appearance of a normal person.They both provide an uncomforting sensation to the audience by having a dramatic gesture on both the woman sleeping and Frankenstein. For instance, in the drawing, Frankenstein had a look of panic and is walking out the door where his legs appear to be running away and he is at loss of control. In the painting, the woman’s arms are draped backward, so as to assume that she is sleeping and at a loss of control as well as the creature stands over her. Due to the positioning of the creature in Fuseli’s painting, one can assume that it is unnatural and dangerous, whereas, in Holst’s drawing, the creature is laying on the floor, completely defenseless. Additionally, the colors of both pieces are dark, even though Holst’s drawing is in black and white and Fuseli’s painting is in color, they both portray a feeling of morbidity and darkness. The monster from “The Nightmare” is named “the Mare” which refers to a creature who tortures people while they are sleeping. The creature from the drawing, however, is not given a name which shows complete neglect from Frankenstein. Even this creature that stands on sleeping women and has such a dangerous reputation is granted a name and an identity and is known for his cruel actions, however, the creature from Frankenstein was not given a name, even though he was of human
appearance. Furthermore, Holst’s piece can be compared to Branagh’s movie depiction of Frankenstein, “Mary Shelley’s Frankenstein”. To start off, in the movie, Victor Frankenstein is terrified of his creation and tries to leave once he realized what he has done (Branagh). This emotion is also apparent in Holst’s drawing. A difference between the two, however, is the appearance of the monster. In Holst’s depiction, the creature is practically human, with muscles and a face similar to that or a normal human. In Branagh’s depiction, the monster’s skin is yellowed and the stitching is more visible, he does not have much hair on his head and truly looks terrifying (Branagh). The movie depiction somewhat changes the creature’s features and makes him look harmful which might explain people’s reactions once they encounter him. Due to these changes, it is even more obvious that the creature has no chance of learning any real good as anyone who encountered it showed it nothing but hatred. Theodore Von Holst drew the frontispiece to Frankenstein which was the first official depiction the creature’s appearance which made him look both human, and not (Boschi). The creature was not given a chance to become a normal individual simply because he did not resemble a simple individual and was judged even by his creator. Confusion is a human emotion. This confusion is very recognizable upon the creature’s face which should conclude that since he can experience human emotions, he should be treated as one of us and nothing less. We, as humans, have been designed to neglect and mistreat anyone or anything that lacks “normal” features. Society has defined its norms from the beginning of time and has neglected anyone or anything that did not fit its standards. Unfortunately, Frankenstein’s creature suffered due to this.
Frankenstein, by Mary Shelley, a very gory story, can also be seen a romantic piece within having characteristics, such as celebration of the individual, importance of imagination, strong emotions, and an awe of nature. Within the piece there is many references to how one comments on the accomplishments and achievements of another or themselves, also known as the celebration of an individual. An example of how Frankenstein uses the celebrations of individual is when Frankenstein, himself, talks about his achievements of how fast his experiments turned out. He talks about his success, by staying, “ As I applied so closely, it may be easily conceived that my progress was rapid ” (chapter four). By saying, “applied” it shows that he is saying
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.
Frankenstein, speaking of himself as a young man in his father’s home, points out that he is unlike Elizabeth, who would rather follow “the aerial creations of the poets”. Instead he pursues knowledge of the “world” though investigation. As the novel progresses, it becomes clear that the meaning of the word “world” is for Frankenstein, very much biased or limited. He thirsts for knowledge of the tangible world and if he perceives an idea to be as yet unrealised in the material world, he then attempts to work on the idea in order to give it, as it were, a worldly existence. Hence, he creates the creature that he rejects because its worldly form did not reflect the glory and magnificence of his original idea. Thrown, unaided and ignorant, into the world, the creature begins his own journey into the discovery of the strange and hidden meanings encoded in human language and society. In this essay, I will discuss how the creature can be regarded as a foil to Frankenstein through an examination of the schooling, formal and informal, that both of them go through. In some ways, the creature’s gain in knowledge can be seen to parallel Frankenstein’s, such as, when the creature begins to learn from books. Yet, in other ways, their experiences differ greatly, and one of the factors that contribute to these differences is a structured and systematic method of learning, based on philosophical tenets, that is available to Frankenstein but not to the creature.
In Mary Shelley’s novel, Frankenstein, she addresses the challenges that arise in both the creation and life of a dead creature that has been brought back to life in hideous forms. The
In her novel Frankenstein, Mary Shelley and the film Edward Scissorhands by Tim Burton their creations have a desire to be loved. Which leads them on a journey of acceptance for themselves and others. Everyone has felt the need to find why they are here on earth; we all search for answers we are no different from them.
Edward’s hands and the creature’s monstrous figure are frightening sights. The creature’s cottage “friends” fainted, ran away, and attacked it when he tried to gain their friendship after months of observing their lives. The creature recalls the encounter by saying, “who can describe the horror and consternation on beholding me?” (Frankenstein, 135) The incident left the creature enraged because it has felt neglected upon every human
The Creature was born capable of thing such as love and sympathy though he lost these capabilities as a result of how he was treated. The creature’s heart was ‘fashioned to be susceptible of love and sympathy’ but wrenched with misery to ‘vice and hatred’. On a cold night in November, Victor Frankenstein brought his creation to life. This creation has thin black lips, inhuman eyes, and
Illustration from the frontispiece of the 1831 edition of Shelley’s Frankenstein novel by Theodor von Holst
Frankenstein’s creature, the concept way ahead of its time but a terrifying thought to its first audiences.
James Whale's Frankenstein is a VERY loose adaptation of Mary Shelley's 1818 novel. The spirit of the film is preserved in its most basic sense, but the vast majority of the story has been entirely left out, which is unfortunate. The monster, for example, who possesses tremendous intellect in the novel and who goes on an epic quest seeking acceptance into the world in which he was created, has been reduced to little more than a lumbering klutz whose communication is limited to unearthly shrieks and grunts. Boris Karloff was understandably branded with the performance after the film was released, because it was undeniably a spectacular performance, but the monster's character was severely diminished from the novel.
Frankenstein has become a symbol in contemporary society. Upon hearing the name, one might imagine a tall, muscular green man with short black hair, a flat head, and two bolts pierced on both sides of his neck. Although that is the Frankenstein present now, the modern Frankenstein is only an adaptation of Mary Shelley’s original creature. Shelley’s Frankenstein, 1818, is a gothic novel in which she tells the tale of a man creating life. This creation of Victor Frankenstein’s monster eventually hurt the people he held dear. Following the popularity of the book, James Whale directed Frankenstein, in 1931, which started the movement of Frankenstein’s contemporary image. While in comparison to the novel’s questionable identity of the monster, Whale’s adaptation addresses the creation as the true monster. Whale is able to accomplish his reanimated version of the original creation through a series of drastically different aspects involving both personality and appearance in his cinematic production. Whale’s monster lacks the human appeal of Shelley’s creation through his motivation of his transgressions, lack of speech and physical appearance.
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.
Since its publication in 1818, Mary Shelley's Frankenstein has grown to become a name associated with horror and science fiction. To fully understand the importance and origin of this novel, we must look at both the tragedies of Mary Shelley's background and her own origins. Only then can we begin to examine what the icon "Frankenstein" has become in today's society.
As time goes on, many things tend to change, and then they begin to inherit completely different images. Over the years, the character, created by Dr. Victor Frankenstein in Mary Shelley’s famous novel, has changed dramatically. The monster, regularly called “Frankenstein,” has been featured in numerous films, such as Frankenweenie and Edward Scissorhands. Although, the characters in today’s pop culture and the monster in the well-known 1800’s novel have similarities, they are actually very different. The many similarities and differences range from the character’s physical traits and psychological traits, the character’s persona, and the character’s place in the Gothic style.
Ruth Foley’s book Creature Feature is a collection of poems that act as letters to characters and groups of people from the plot of Frankenstein. Creature Feature features the use of imagery in many cases throughout the book’s poems. The imagery in the poems are often used to convey scenes of terror and chaos as that is what the book’s focus is. While the imagery may appear to accomplish nothing but the description of the scene, it in fact has a much deeper and more significant purpose than just description. This essay fill focus on uses of imagery from “Dear Monster”. “Dear Monster” is written as a letter to the monster in Frankenstein. The imagery in Creature Feature attempts