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Paradise lost as an epic poem by john milton
Analysis Shelley's Frankenstein
Mary shelley's frankenstein character analysis and development
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Recommended: Paradise lost as an epic poem by john milton
“Did I request thee, Maker, from my clay to mold me man? Did I solicit thee from darkness to promote me?” said Adam in Paradise Lost (Milton 10.743-745). This quote, used as an epigraph on the cover page of Frankenstein, provided the reader with a premise of the acclaimed novel. In writing Frankenstein, Mary Shelley took much inspiration from John Milton’s Paradise Lost by constantly redefining and questioning the true meaning of good and evil just as Milton did with God, Satan, and Adam by the use of her characters: Dr. Frankenstein and the creature. Essentially, what is the purpose of life and is fate already decided? Dr. Frankenstein’s monster appeared hideous and horrifying from the beginning, so was the creature destined to become evil? …show more content…
They were the first of their kind, explored new surroundings, abandoned by their creator, and longed for a mate. The creature, in his discovery of Paradise Lost, understood that he was the first of his kind like Adam but was not blessed with the fortune to be cared for by his creator or have a community. He knew that he was “wretched, helpless, and alone” (Shelley 90). Thus, in his misery, he demanded to have partner of his own to have an Eve to soothe his sorrows (Shelley 91). The monster held high expectations for his master because of his discovery of Paradise Lost. If the creature had not found the book, he might have not been inspired to seek a mate from his master. Since he did not ask to be created, Dr. Frankenstein owed him a mate, so he did not have to explore the world alone. Without this mate, the monster sought out companionship from the De Lacey family, but he miserably …show more content…
The creature in confusion of his purpose of existence, finally decides “evil thenceforth became my good” (Shelley 159). This is when the final transition from good to evil is began. According to The Bedford Glossary of Critical and Literary Terms, British Romantic Era writers, for example Mary Shelley and John Milton, “embraced primitivism which postulates that people are good by nature but corrupted by civilization” (Bedford Glossary 448). This implies that the creature was created evil due to observance of the De Lacey family and discovery of Paradise Lost. The monster continued to share his insight, and Shelley directly referenced to Paradise Lost when the creature expresses, "I cannot believe that I am he whose thought were once filled with sublime and transcendent visions of the beauty and the majesty of goodness. 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 quite alone" (Shelley
First, Before the monster is created Victor says that he hopes this creation would bless him as his creator, and that the creature would be excellent nature and would be beautiful. After the creature is created Shelley creates sympathy for him by Victor’s description of him in a unique yet horrific way, “he’s ‘gigantic,” “deformed,” “yellow skin scarcely covered the work of muscles and arteries beneath” this makes the creature abhorrent to typical humans. When thinking of the descriptions together, Shelley has created a vivid, unnatural image of the monster in the mind’s eyes. The language Shelley uses is powerful and emotive “shall I create another like yourself, whose joints wickedness
Mary Shelley’s idea of friendship is very important throughout the novel because it is the goal of Walton throughout the beginning, as well as the monster Frankenstein created throughout his narration period. In chapters fourteen through sixteen the creature learns that he is the only man of his kind, the only monster created on this Earth and he himself is much like Satan and Adam. He stumbled across three novels in which he reads and interprets differently. Paradise Lost having the most impact on the creature made him realize that he is utterly alone, and wretched. Adam was created from God, and was protected, whereas the creature who was created by Victor, was the complete opposite. He was dragged into this earth. The creature states, “But
In Frankenstein, Shelley is able to create the antithesis of nature from various aspects of nature itself, creating a monster that is born of death and of decay yet enveloped in Rousseau's ideology. "It was on a dreary night of November, that I beheld the accomplishments of my toils. With an anxiety that almost amounted to agony, . . . I saw the dull yellow eye of the creature open; it breath hard, and a convulsive motion agitated its limbs" (page 56). What was created that night was a creature of vast intellect, raised and educated in the harshest of conditions: Nature. Out of the decay that is nature's ambivalent end emerged a creature that was the antithesis of all that is natural. Mary Shelley had carefully chosen her genre, the Gothic novel was the only ground to act out the play between reason and the dark regions of horror. The stage was set for the creature to assume Rousseau's entire educational philosophy that stated: "We are born weak, we need strength; helpless, we need aid; foolish, we need reason. All that we lack at birth, all that we need when we come to man's estate, is the gift of nature. This education comes to us from nature, from men, or from things . . . God makes all things good; man meddles with them and they become evil"(page 143). This allows society to view the creature with supernatural awe, repulsed at nature's most dreadful characters, decay and death, even when they form life.
The creature’s moral ambiguity characteristic was a vile ingredient to the construction of this novel Frankenstein because it made the reader 's sympathies with him even after the audience knows he had committed murder because the readers had seen the truth this creature had to face. That he had tried everything within his power to peacefully live with them, to interact, communicate, and befriend them “these thoughts exhilarated me and led me to apply with fresh ardour to the acquiring the art of language”, that even though he was seen as a monster because of the looks he was created with, something he had no control over, he still had hope to be seen as equals, ”My organs were indeed harsh, but supple; and although my voice was very unlike the soft music of their tones, yet I pronounced such words as I understood with tolerable ease. It was as the ass and the lap-dog; yet surely the gentle ass whose intentions were affectionate, although his manners were rude, deserved better treatment than blows and execration;” this hope of his was utterly crushed, and can only set him up for utter disappointment(12.18). Because in the end he only received hates, scorns, violence, and prejudice from his good will. So in the end of the story, Mary Shelley’s forces the readers to see within the creature’s heart and for
“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.
Throughout most of her novel, Frankenstein, Mary Shelley establishes a them stating no one can be born evil but the life a person lives turns them evil. The creature becomes a monster everyone believes him to be after continuous rejection and abuse. This is the reason why readers become more sympathetic towards Frankenstein's creation than any other character in the novel.
Mary Shelley’s “Frankenstein” is more than just a regular novel. It is a book that conveys a deep philosophical message. The novel moved me to my very soul. It turned out to be a book not about an encounter against a monster but a misfortune of a scientist, who reached the goal of his work and life and realized that breathless horror and disgust filled his heart but all of these is on the surface. The inmost philosophical thought is covered and hidden, but is very profound. The author tries to say that life is a gift. After this gift is given no one can take it away and it transforms the accountability of the creator. The novel makes the reader anxious with the question: “Is a human being able to take obligation to provide life?”
In the novel Frankenstein, Mary Shelley intertwines an intricate web of allusions through her characters' insatiable desires for knowledge. Both the actions of Frankenstein, as well as his creature allude to John Milton?s epic poem Paradise Lost. The legendary Fall of Adam and Eve introduced the knowledge of good and evil into a previously immaculate world. In one split second sin was birthed, and the perfection of the earth was swept away, leaving anguish and iniquity in its ramification. The troubles of Victor Frankenstein began with his quest for knowledge, and, end where both pieces end: death.
Mary Shelley’s Frankenstein originated as a ghost story told among her close friends. "It was a dreary night of November that I beheld the accomplishment of my toils" (Shelley 34) is the first line Shelley conceived when she began composing her famous novel. In this sentence, the "accomplishment" to which Victor Frankenstein refers is the creation, which receives animation on this "dreary night." By calling the creation his "accomplishment," Victor unintentionally names the creation. However, by the end of this "dreary night," Victor names the creation no less than six times, each time getting progressively more derogatory, and more insulting. This evolution of Victor’s attitude about the creation occurs during the time immediately following the creation. In these few hours, Victor’s imagination creates an increasingly grotesque image of the creation. This developed condemnation that Victor imposes onto the creation is similar to all of the creation’s other encounters with human beings. This repeated rejection causes the creation to realize that "All men hate the wretched; how then must I be hated, who am miserable beyond all living things" (Shelley 65). Eventually, therefore, the creation accepts its role as a monster based solely on the reactions it receives from other human beings. However, these spiteful reactions are inspired by irrational fears that result from the human nature of the characters to form preconceptions about the creation based on their prior experiences.
...all human kind sinned against me?" (Shelley 160) The creature also believes that society treated him poorly and he blames all of his mistakes on society. Though what happens in the book is a fantasy, Mary Shelley’s message applies to the real world. For example, if a child is abused by his parents, he might have a harder time connecting to people. People who are abused are more likely to abuse their own children. The creature is never treated well by any humans so it is hard for him to treat them well back. John Locke and Jean Jacque Rousseau explain that if humans are treated well than there is a higher chance that they will turn out to be good, and if treated poorly then there is a chance for evil. (Gale Reference Library) Mary Shelley wants people to give people who might seem evil a chance because the people around them changed them to make them who they are.
Mary Shelley’s novel Frankenstein centers around a creator who rejects his own creation. The plot thickens as Victor Frankenstein turns his back on his creation out of fear and regret. The monster is cast out alone to figure out the world and as a result of a life with no love, he turns evil. Shelley seems to urge the reader to try a relate with this monster and avoid just seeing him as an evil being beyond repentance. There is no doubt that the monster is in fact evil; however, the monster’s evilness stems from rejection from his creator.
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
The wise Uncle Ben once told Peter Parker, “remember, with great power. Comes great responsibility.” There is no greater power than that acquired by the infamous Victor Frankenstein in Mary Shelley’s Frankenstein when he discovers the secret to creating life. Shelley’s Frankenstein is a tale of creation that depicts acts of human conception and discovery. The Oxford English Dictionary defines creation as “the action or process of bringing something into existence from nothing by divine or natural agency; the fact of being so created.” It defies the natural order of things and creates a world of its own. The multiple acts of creation and discovery bring upon a certain set of responsibilities and implications as depicted by David Collings who analyzes the responsibilities that come as a result of these acts in his essay “The Monster and the Maternal Thing: Mary Shelley’s Critique of Ideology”. The main act of creation is evident through Victor Frankenstein’s creation of the Being which is depicted most prominently in the novel. However, there are multiple other acts of creation and discovery that may not be apparent at first sight. One of the most important being, Victor’s discovery of the knowledge required to create life. Apart from initially creating the Being, Victor also plays a critical role in the Being’s evolution into a raging and vengeful creature. Perhaps above all other acts of creation and discovery is Victor’s personal creation of himself into a monster. As stated by Collings most of these acts of creation on Victor’s part are subconsciously brought upon because of their lack of a maternal figure but also in part because of his desire for fame and glory. However, he is blinded by his motives and forgets that with his...
The characters all in some way made a mistake and learn from them. They were all able to make these mistakes because of free will. The texts demonstrate how powerful free will is and how the characters have a difficult time trying to live with the freedom. The constant battle between being good and evil. For every action that occurs, there is always a consequence of it that the characters learn from. When Adam and Eve consume the fruit from the tree of Knowledge, their punishment is being exiled from Paradise. Humanity now must prove their worthiness to be welcome to Paradise when they die. They have no choice, except to use their free will to perform righteous deeds to others and not commit any evil actions to please God. The monster strongly believes that his purpose in life is to ruin Frankenstein’s life by killing the ones close to him just for him to feel the loneliness and helplessness the monster has live through. However, Frankenstein eventually dies, and the monster is satisfied with the news, yet has no other reason for living and decides to end his
of Heaven with a third of the angels into the abysses of Hell. Satan then has only one