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English poet Thomas Gray has once said, “Ignorance is bliss”. In other words, the less we know the fewer worries we have and therefore our life seems more enjoyable. Knowledge is our thoughts, ideas and information in which we depend on in order to maintain stability in life. Although ignorance can create certain disadvantages for us, knowledge is most dangerous because it allows us to search for answers while in the end, leaves us with the consequences of knowing too much. In Mary Shelly’s Frankenstein, the author uses the literary element of conflict to show how both Victor Frankenstein and the creature seek for knowledge and while they gain information, it comes back to haunt them leading them to their own downfall.
In Frankenstein, Victor Frankenstein’s quest for knowledge begins right from the beginning. He decides to leave his family and home in order to complete his studies in the field of science. We can see how parched Victor is to gain knowledge because he sacrifices his time with his family to pursue his dream. We later realize that his dream is to do the impossible and create a “being” without being God or a woman. His ego springs from his strong knowledge in science which allows Victor to exclude himself from society and attempt the unthinkable. This leads to many problems for Victor, who did in fact create a creature but is disappointed with the results. Victor wants to use his knowledge to create a perfect “being” that can see him as a creator much like people see God. But to his disbelief, the creature’s physical appearance was anything but perfect. Victor says “A mummy again endued with animation could not be so hideous as this wretch” (49). This shows that Victor clearly was not satisfied with the outcome ...
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...g ignorant and innocent to a knowledgeable murderer. In the story, the creature wanted to learn and fit into society, but that society just would not accept him. He also realizes that he should have a partner and demands it. Victor does not grant him another creation and therefore the creature takes the life of his wife. This shows that after he gains enough awareness that he is not going to be accepted by his creator or society, his actions causes mayhem. The killing of William demonstrates how once the creature understands that the boy is related to Victor, he must die. Now we can agree that the less the creature knows about his physical appearance and the little knowledge he has of what his necessities should be the safer society can be.
Works Cited
Shelley, Mary. Frankenstein: A Norton Critical Edition. ed. J. Paul Hunter. New York: W. W. Norton, 1996
Shelley, Mary. Frankenstein or the Modern Prometheus. Edited with an Introduction and notes by Maurice Hindle. Penguin books, 1992
Works Cited Shelley, Mary. Frankenstein. 1818. Ed. J. Paul Hunter. Norton Critical Edition. New York: Norton, 1996.
As a tragic hero, Victor’s tragedies begin with his overly obsessive thirst for knowledge. Throughout his life, Victor has always been looking for new things to learn in the areas of science and philosophy. He goes so far with his knowledge that he ends up creating a living creature. Victor has extremely high expectations for his creation but is highly disappointed with the outcome. He says, “I had desired it with an ardour that far exceeded moderation; but now that I had finished, the beauty of the dream vanished, and breathless horror and disgust filled my heart” (Shelley 35). Frankenstein neglects the creature because of his horrifying looks, which spark the beginning of numerous conflicts and tragedies. At this point, the creature becomes a monster because of Victor’s neglect and irresponsibility. The monster is forced to learn to survive on his own, without anyone or anything to guide him along the way. Plus, the monster’s ugly looks cause society to turn against him, ad...
Shelley, Mary. Frankenstein: the original 1818 text. 2nd ed. Ed. D.L. Macdonald and Kathleen Scherf. Peterborough: Broadview, 1999.
Shelley, Mary. Frankenstein: A Norton Critical Edition. Ed. J. Paul Hunter. New York: W. W.
Shelley, Mary. Frankenstein. Ed. D.L. Macdonald and Kathleen Scherf. Orchard Park, NY: Broadview Press, 1999.
Works Cited Shelley, Mary. Frankenstein: A Norton Critical Edition. ed. J. Paul Hunter. New York: W. W. Norton, 1996.
Shelley, Mary. Frankenstein or the Modern Prometheus. Edited with an Introduction and notes by Maurice Hindle. Penguin books, 1992
Shelley, Mary. Frankenstein or the Modern Prometheus. The 1818 Text. New York: Oxford UP, 1998.
He toils endlessly in alchemy, spending years alone, tinkering. However, once the Creature is brought to life, Frankenstein is no longer proud of his creation. In fact, he’s appalled by what he’s made and as a result, Frankenstein lives in a perpetual state of unease as the Creature kills those that he loves and terrorizes him. Victor has realized the consequences of playing god. There is irony in Frankenstein’s development, as realized in Victor’s desire to destroy his creation. Frankenstein had spent so much effort to be above human, but his efforts caused him immediate regret and a lifetime of suffering. Victor, if he had known the consequences of what he’s done, would have likely not been driven by his desire to become better than
Mary Shelley brings about both the positive and negative aspects of knowledge through her characters in Frankenstein. The use of knowledge usually has many benefits, but here Shelley illustrates how seeking knowledge beyond its limits takes away from the natural pleasures of known knowledge. She suggests that knowledge without mortality and uncontrolled passions will lead to destruction. Victor and his monster experience this destruction following their desires and losing self control. Walton, on the other hand, becomes of aware of the consequences and is able to turn back before it’s too late. Shelley also suggests that without enjoying the natural pleasures of life, pursuing knowledge is limited, but how can knowledge be limited if it is infinite?
Shelley, Mary. Frankenstein: A Norton Critical Edition. ed. 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. 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.
Shelley, Mary. Frankenstein or the Modern Prometheus. Edited with an Introduction and notes by Maurice Hindle. Penguin books, 1992
...Frankenstein and the creature. The situations that each character experience are lessons about how seeking prohibited intelligence comes with extreme consequences. Frankenstein is a Gothic novel which means it involves the supernatural; however, because it contains religious qualities it is more appealing to the common people’s idea of knowledge. Mary Shelley achieves her goal of informing the audience that man should not seek or possess the level of knowledge that God acquires. One should learn from the situations present in the novel because life comes with an enormous amount of knowledge; going after the unknown is an act of rebellion against God.