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Frankenstein's critique of human nature
Frankenstein critical analysis
An essay on victor Frankenstein
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It’s human nature to reproduce, to create more life, and grow the population. But it is also human nature to not know creations limits whether it be a monster or a family. Mary Shelley’s struggles to create her own unified, idealized family are reflected by her character Victor, in her novel Frankenstein, through Victor’s obsession to create life, and his personal struggle with the outcomes of his creation. The first step of both Victor and Mary’s pain are their own obsessions.
Obsessions control every fiber of one's being, to the point where a person becomes intoxicated with what they were obsessed with. In this particular case the readers sees Mary Shelley’s obsession to create a family through her character Victors own obsession of creating life, “Every night I was oppressed
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by a slow fever, and I became nervous to a most painful degree; the fall of a leaf startled me, and I shunned my fellow creatures as if I had been guilty of a crime. Sometimes I grew alarmed at the wreck I perceived that I had become; the energy of my purpose alone sustained me: my labours would soon end, and I believed that exercise and amusement would then drive away incipient disease; and I promised myself both of these when my creation should be complete” (Shelley 597-600).
Mary Shelley always had an excessive need to create a family unit, which was derived from her childhood broken home. Her obsession turned unhealthy when she began to try to start a family by any means necessary even if that meant destroying one. Mary entered into a relationship with Percy Shelley, a married man and the fact that Percy was married rattled around in her brain and drove her insane. This bit of insanity was poured into her novel Frankenstein and seen through Victor’s decision to put off the joys of creation such as amusement, exercise, and glory, and to do so in secrecy. So that he would just have the result. Just as Mary Shelley put off the joys of a pure relationship by entering in a relationship with a married man in secrecy, just to have the result a child, and a family. But as soon as Mary Shelley got what she wanted, a husband to create a family with, she fled and Victor did the same, “Unable to endure the aspect of the being I had
created, I rushed out of the room and continued a long time traversing my bed-chamber, unable to compose my mind to sleep” (Shelley 612-613). After Percy left his wife to marry Mary Shelley, they ran off together leaving Percy’s pregnant wife behind, because they knew that there relationship would be seen as disgusting, and they were not willing to defend it. Shelley put this feelings into Victor, making him unable to deal with his creation he flees, which only makes his feelings worse. Victor's immediate response was to run away from his problem instead of facing them, simply because his problem appeared to be ugly, and because he knew that how he made his creation was wrong, just as Mary Shelley felt. She knew that she got her husband the wrong way, so she ran away from the problem, the people that would know what she did. But running away from problems only makes them much worse and those who run from their problems, slaves to their problems. As the book progresses Victor tries to run away from his creation, and by doing so, he becomes a slave to it. Victor spends months locked alone in his apartment, and finally completes his experiment, “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. Unable to endure the aspect of the being I had created, I rushed out of the room and continued a long time traversing my bed-chamber, unable to compose my mind to sleep” (Shelley 611-612). Victor's first response is to run away from his problems, for what once looked beautiful was now seen as ugly, and so he runs away from it hoping it will just go away. Much like Mary Shelley’s own relationship with Percy, before they were married Percy seemed loving, attentive, and perfect, but as soon as they were married she saw the true monster that he was. A monster that manipulates her feelings, and constantly encouraged her to cheat, while he cheated on her. Again Shelley put up with this in an effort to create a family, by any means possible. After Victor flees from his creation he starts to fear the evils that the monster would do, and places the blame on himself for creating it, “I had been the author of unalterable evils, and I lived in daily fear lest the monster whom I had created should perpetrate some new wickedness. I had an obscure feeling that all was not over and that he would still commit some signal crime, which by its enormity should almost efface the recollection of the past” (Shelley 1112-1115). During Mary Shelley’s marriage to Percy, many believed that Mary felt guilty for the sins of her relationship. She felt guilty that she was entering into an open marriage when all she wanted was a unified family unit, which is seen in Frankenstein through Victors own guilt about the monster he created (a parrell of what Mary saw her relationship as, a monster). Both Mary and Shelley want to achieve fame and glory through their written work, but both live in fear that their “monsters” will commit some crime that will expose their own pasts and destroy their careers. With these new found fears both Mary and Victor decide to fight back against their own monsters to try to achieve freedom for themselves and their futures. A person can only live in fear for so long before they finally muster the courage to fight their oppressor, by any means necessary. After Victor receives a letter from his beloved Elizabeth he decides that he will no longer live in fear, “Well, be it so; a deadly struggle would then assuredly take place, in which if he were victorious I should be at peace and his power over me be at an end. If he were vanquished, I should be a free man” (Shelley 2529). Victor’s decision to kill the monster, and end the pain and suffering is what Mary Shelley wanted to do. Mary made the decision to leave Percy, but in reality she never mustered enough strength to do so, so she created a fictional novel to do so and to reflect the horrendous outcomes that ending the relationship would create. But a similar situation may have a occured in reality, that Mary Shelley read a letter from one of her lovers, and she realized how it felt to feel loved, so she decided to leave, but told no one. Victor tired of living in fear and in pain decides to kill the monster after he finds his beloved Elizabeth dead, “I rushed towards the window, and drawing a pistol from my bosom, fired; but he eluded me, leaped from his station, and running with the swiftness of lightning, plunged into the lake” (Shelley 2636-2638). Victor is tired of the fear and decides to kill the monster, and with it all of his own terrible dark secrets, this was the mindset of Mary Shelley. Mary was tired of Percy controlling her personal works, tired of him cheating on her constantly, and tired of the pain and shame that came with it. So she decided to kill Percy, but she was not successful, and she was kept locked in the snares of an abusive relationship, and eventually her secrets emerged exposing her for her sins. The novel Frankenstein is simply a documentation of Mary’s personal life disguised as a fictional story, because it was published before all of her secrets came out while she was in her relationship with Percy. Through the novel the reader sees how Mary is obsessed with creating a family unit, something that is beautiful and pure. But this obsession turns against her when she puts her own needs second to whoever she enters a relationship with, believing that after she creates a family she will be happy. After she creates the family she immediately sees the monster she created by creating a family through, and tries to simply run away from her problems by moving to France with Percy. But even after she runs away she lives in constant fear that her sins would be exposed and ruin her chances of having a carrerior, but by running and living in fear she becomes a slave to Percy. Percy forced Mary to flirt with other men for his own personal enjoyment, even though she feels extremely guilty about it. So Mary decided to kill Percy and become free from her oppressor, alas she is never strong to kill Percy, or end the relationship, so she lives in a life of pain and suffering. Making the novel truly one of the scariest horror novels to ever exist, because it is a coded cry for help from a women trapped in an abusive relationship and contanly in psychological terror and torment.
Previously portrayed through Frankenstein’s letters as the sole cause of both his and society’s despair, the monster’s use of the word “abortion” instead demonstrates Victor’s individual contribution towards his creature’s destructive path. Since the definition of abortion serves as the premediated act of terminating life, Frankenstein’s deliberate decision to desert his artificial creature exhibits society’s lack of sympathy for those with uncontrollable differences such as the monster’s physical deformities. Nevertheless, the textual irony of the monster’s frustrations eventually becomes apparent when the creature exclaims “Was there no injustice to this?”. Setting off a chain reaction of several more questions, Shelly’s text further mirrors the monster’s bafflement with the careless actions of Victor Frankenstein. That is, although Frankenstein gave his creation the “gift” of life, the monster has been perpetually denied every chance to live happily because of mankind’s relentless and inescapable hatred. More so, explained as the abandonment or failure of a process, Frankenstein’s ultimate refusal to love his own creation typifies how the creator’s ironic choices remain accountable for failing both the monster and
Although humans have the tendency to set idealistic goals to better future generations, often the results can prove disastrous, even deadly. The tale of Frankenstein, by Mary Shelley, focuses on the outcome of one man's idealistic motives and desires of dabbling with nature, which result in the creation of horrific creature. Victor Frankenstein was not doomed to failure from his initial desire to overstep the natural bounds of human knowledge. Rather, it was his poor parenting of his progeny that lead to his creation's thirst for the vindication of his unjust life. In his idealism, Victor is blinded, and so the creation accuses him for delivering him into a world where he could not ever be entirely received by the people who inhabit it. Not only failing to foresee his faulty idealism, nearing the end of the tale, he embarks upon a final journey, consciously choosing to pursue his creation in vengeance, while admitting he himself that it may result in his own doom. The creation of an unloved being and the quest for the elixir of life holds Victor Frankenstein more accountable for his own death than the creation himself.
Throughout Mary Shelley’s classic novel Frankenstein, Victor Frankenstein pursues, with a passion lacking in other aspects of his life, his individual quest for knowledge and glory. He accepts the friendships and affections given him without reciprocating. The "creature," on the other hand, seems willing to return affections, bringing wood and clearing snow for the DeLaceys and desiring the love of others, but is unable to form human attachments. Neither the creature nor Victor fully understands the complex relationships between people and the expectations and responsibilities that accompany any relationship. The two "monsters" in this book, Victor Frankenstein and his creation, are the only characters without strong family ties; the creature because Frankenstein runs from him, and Victor because he runs from his family.
A predominant theme in Mary Shelley’s Frankenstein is that of child-rearing and/or parenting techniques. Specifically, the novel presents a theory concerning the negative impact on children from the absence of nurturing and motherly love. To demonstrate this theory, Shelly focuses on Victor Frankenstein’s experimenting with nature, which results in the life of his creature, or “child”. Because Frankenstein is displeased with the appearance of his offspring, he abandons him and disclaims all of his “parental” responsibility. Frankenstein’s poor “mothering” and abandonment of his “child” leads to the creation’s inevitable evilness. Victor was not predestined to failure, nor was his creation innately depraved. Rather, it was Victor’s poor “parenting” of his progeny that lead to his creation’s thirst for vindication of his unjust life, in turn leading to the ruin of Victor’s life.
“Allure, Authority, and Psychoanalysis” discusses the unconscious wishes, effects, conflicts, anxieties, and fantasies within “Frankenstein.” The absence of strong female characters in “Frankenstein” suggests the idea of Victor’s desire to create life without the female. This desire possibly stems from Victor’s attempt to compensate for the lack of a penis or, similarly, from the fear of female sexuality. Victor’s strong desire for maternal love is transferred to Elizabeth, the orphan taken into the Frankenstein family. This idea is then reincarnated in the form of a monster which leads to the conclusion that Mary Shelley felt like an abandoned child who is reflected in the rage of the monster.
Victor Frankenstein, blinded by pride, remained unaware of how his experiment would affect not only him, but the world around him as he formed his new discovery. His secret to creating life only caused more life to be lost. Because of Victor’s reckless behavior, he caused the depressed and lonely world around his own creation, one who, in the end, Victor did not want to take responsibility for making, no matter how remarkable. The Creation, a being of unfortunate circumstance, exemplifies how knowledge has dangerous and everlasting effects if not used safely or for good intentions. Unfortunately, The Creation leaves his own damage behind as well, again showing how knowledge is harmful, by killing Elizabeth, Victor’s wife, Henry Clerval, his dearest friend, and other members a part of Victor’s family and friends. This demonstrates how knowledge, if not used wisely, can lead to death and suffering. The power of knowledge, in Mary Shelley’s writing, is a gift bestowed on those who can handle the power responsibly, as opposed to using it for selfish boasting. In contrast, she uses these two characters to show the importance of being knowledgeable in both science and responsibility and the unforgivable mutilation that comes if you fail to overcome
In the novel Frankenstein, the author, Mary Shelley writes about a scientist named Victor Frankenstein who brings to life a human- like creature. Viewing this book through a psychoanalytic lens uncovers the many layers that make up this text and the characters. The psychoanalytic theory deals with a person’s underlying desire, most famously, the oedipal complex. The oedipal complex is the belief that all people possess the desire to partake in affectionate relations with a parent of the opposite sex. In Frankenstein, Shelley uses Victors conscious and subconscious to suggest that Victor possesses the oedipal complex, and that he feels intense guilt for the monster that he has brought to life.
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.
As Victor Frankenstein recounts his informative tale to a seafaring Robert Walton, he makes it known that he was a child of nobility; however it is sadly transparent that, combined with insufficient parenting, Victor’s rare perspective on life pushes him towards a lifestyle of conditional love. Children are considered symbolic of innocence, but as a child Victor’s arrogance was fueled by his parents. With his family being “one of the most distinguished of the republic,”(Shelley 17), Victor’s parents saw him as their “plaything and their idol, and something better-their child, the innocent and helpless Creature bestowed on them by Heaven, whom to bring up to good, and whose future lot was in their hands to direct to happiness or misery, according as they fulfilled their duties towards me,”(19). “The Social Order vs. the Wretch: Mary Shelley's Contradictory-Mindedness in Frankenstein Sylvia Bowerbank.” Bowerbank, "The Social Order vs. the Wretch", knarf.english.upenn.edu/Articles/bower.html.
Victor Frankenstein, the monster’s creator, is the victim of his own pride. An ego unchecked is a dangerous thing. But in truth, it really just shows Victor’s humanity. He is privileged, educated, talented, loved, adored, but he is not perfect. His flaw is his own ego and pride. Without doubt, this is the result of a childhood where he was overindulged. Overindulged to the extent he was given a little girl “Elizabeth” as a “present”, whom he considered from childhood “mine only” (Shelley 21). Little wonder the twenty year old Victor would think he could create, control and command life. But Victor as with any indulged child did not take the time to learn much from his parents about parenting and fath...
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...
Mary Shelley’s Frankenstein, or the Modern Prometheus, explores the monstrous and destructive affects of obsession, guilt, fate, and man’s attempt to control nature. Victor Frankenstein, the novel’s protagonist and antihero, attempts to transcend the barriers of scientific knowledge and application in creating a life. His determination in bringing to life a dead body consequently renders him ill, both mentally and physically. His endeavors alone consume all his time and effort until he becomes fixated on his success. The reason for his success is perhaps to be considered the greatest scientist ever known, but in his obsessive toil, he loses sight of the ethical motivation of science. His production would ultimately grieve him throughout his life, and the consequences of his undertaking would prove disastrous and deadly. Frankenstein illustrates the creation of a monster both literally and figuratively, and sheds light on the dangers of man’s desire to play God.
Another major novel, Mary Shelley’s Frankenstein, contains two characters where one chooses to alienate themselves while the other is an outcast who wants to fit in. Frankenstein almost completely cuts ties with his family and his happy life to discover his full potential at school. Frankenstein gets so into his studies that “Two years passed in this manner, during which I paid no visit to Geneva, but was engaged, heart and soul, in the pursuit of some discoveries, which I hoped to make” (41). Victor is so engrossed in creating life that he chooses not to see or talk to his family members. The only time Frankenstein visits his family is when he hears about the death of his brother who is killed by his creation. Frankenstein’s alienation from his family defies
Victor Frankenstein is ultimately successful in his endeavor to create life. This, however, does not stop the underlying theme of obsession. Shelley’s shift from Victor’s never-ending quest for knowledge is replaced with an obsession of secrecy. “I had worked har...
In her novel, Frankenstein, Mary Shelley characterizes characters individyals bsed on their domestic affections. In explaining the downfall of figures in the novel, such as Dr Frankenstein and his creature, Shelley includes the family background of each to show how a rejection of relations within the family corrupts decision making. In the “Discovery and Domestic Affections in Coleridge and Shelley,” Michelle Levy tries to show how Shelley uses the domestic relationships that an individual has, and the impact of such relationships with projects of discovery.