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Analysis of frankenstein frankenstein
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Though Frankenstein’s creation is only two years of age, it has the cognitive ability of an adolescent, which the reader can observe its cultivation from infancy through adolescence.
In Frankenstein, Victor Frankenstein creates a corpse from the body parts of random men. On a dreary November night, Frankenstein successfully reanimates the corpse. In a panic, Frankenstein leaves the newborn corpse and retreats to his room. Comparable to a child missing its parent, Frankenstein’s creation- henceforth referred to as “the creation”- hovers over him while he sleeps. Terrified, Frankenstein leaves his apartment and finds refuge in the city. The following day Frankenstein returns to his apartment to find it empty. Two years later, Frankenstein is in the wilderness and sees a figure moving
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swiftly over a rather treacherous terrain. As the figure draws closer Frankenstein realizes it is his creation. Frankenstein tries, however fails, to deliver threats to his creation. Once Frankenstein and his creation are face-to-face, his creation persuades him to listen to its life over the past two years. The creation begins in the sensorimotor stage of Jean Piaget’s Genetic Epistemology.
Jean Piaget, a renowned child psychologist, studied the mental development of children and created four stages (or schemas): sensorimotor (0-2 years old), preoperational (3-7 years old), concrete operational (8-11 years old), and formal operations (12-15 years old). According to Carol Brown, a research student at Oxford University and former Psychology professor, the sensorimotor stage begins when “the child experiences the world (mainly) through its immediate perceptual and physical (sensory and motor) abilities” (Brown 48). An example of this stage is when the creation is overwhelmed with sensations. While recounting its life, it tells Frankenstein, “a strange multiplicity of sensations seized me, and I saw, felt, heard, and smelt, at the same time; and it was, indeed, a long time before I learned to distinguish between the operations of my various senses” (Shelley 92). The creation even stumbles when he begins to walk for the first time, showing that his motor skills are not yet completely established. These examples attest to the creation being a newborn baby in the sensorimotor stage of
life. Because the creation is left to fend for itself, it quickly adapts as much as possible and progresses to the preoperational stage of Piaget’s Genetic Epistemology. As its story progresses, the maturation of the creation is apparent. No longer does it have problems walking or using its appendages, but it makes mistakes that a toddler would make. While in the forest, the creation finds fire that was left behind by beggars. Enticed by the fire and the warmth, the creation “thrust [its] hand into the live embers” (Shelley 93). Without the use of logic and past experiences, the creation is not able to quickly discern that fire is hot and not to be placed on skin. This is an example of the preoperational stage which Brown defines as “the child [being] largely influenced by the way objects look/how they seem, rather than by any particular logic” (Brown 48). Placing its hand in fire is not the only example of the creation’s preoperational stage.
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.
Victor Frankenstein, a medical student spend two whole years trying to create a human out of body parts in his apartment while studying in Ingolstadt. Frankenstein focused his time and energy on his creation, isolating himself from his friends and family back home and he succeeded in making a human, albeit an abnormal human. Victor at seeing his Creation let his instincts take a hold of him which lead to his demise in the end. Victor flees the apartment in fear of the Creature, “Unable to endure the aspect of the being I had created, I rushed out of the room and … I escaped and rushed downstairs” (59). Due to his appearance, which is grotesque and ugly with scarring and yellowish skin, Frankenstein’s instinct is to flee from 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
We first view Frankenstein’s ignorance while he is busy in his work. He had not visited his family for two straight years. These are the people that love and care about him, yet he does not go home. Not even to visit his own father, the man who pays for his schooling and necessities.
Storment, Suzanna. "Frankenstein: The Man and the Monster." Commentary page. October 2002. Washington State University. 8 April 2003. http://www.wsu.edu/~delahoyd/frank.comment3.html.
In a world full of novelty, guidance is essential to whether a being’s character progresses positively or negatively in society. Parents have a fundamental role in the development of their children. A parent’s devotion or negligence towards their child will foster a feeling of trust or mistrust in the latter. This feeling of mistrust due to the lack of guidance from a parental figure is represented in the relationship between Victor Frankenstein and his creation in Mary Shelley’s novel, Frankenstein. The creature created by Frankenstein was shown hatred and disgust from the very beginning, which led to its indignant feelings toward his creator and his kind.
Mary Shelley’s novel Frankenstein shows the progression of maturity in many characters seen in the book. The monster in the book shows a significant amount of maturity at the end of the novel, however, the maturity progression is not seen because story is Victor’s narration. The wretch knows his murders were wrong and ultimately accepts responsibility for his deeds. In the beginning of the book, the monster has the maturity of an infant and knows not of the way humans behave. The monster lacks nurture and self-control and is emotionally disordered (Brown 148). The monster in Mary Shelley’s gothic novel Frankenstein matures throughout the book, ultimately taking responsibility for his actions, and inflicting upon himself the punishment he believes that he deserves for his sins.
Mary Shelley’s novel arises several questions relevant to the present day. A question that arises from the novel is whether man is born evil or made evil from his life experiences. The debate on whether how far man should pursue knowledge exists today as well as other questions challenged in the novel therefore “Frankenstein” is a popular novel at present as much as it was in the past.
The fact that Frankenstein’s creation turns on him and murders innocent people is never overlooked; it has been the subject of virtually every popularization of the novel. What is not often acknowledged is the fact that Frankenstein himself embodies some of the worst traits of humankind. He is self-centered, with little real love for those who care about him; he is prejudiced, inflexible and cannot forgive, even in death. While some of these traits could be forgivable, to own and flaunt them all should be enough to remind a careful reader that there are two "monsters" in 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
After several days and nights of laboring, he “succeeded in discovering the cause of generation and life; nay, more, I became myself capable of bestowing animation upon lifeless matter." Frankenstein set out to create a superior living being, hoping to eventually discover a formula for eternal life. In his research Frankenstein determinedly collected human remains from charnel-houses and cemeteries. Then, "on a dreary night of November ... I beheld the accomplishment of my toils": an eight-foot monster. Applying electricity to the "lifeless matter" before him, Frankenstein saw "the dull yellow eye of the creature open; it breathed hard, and convulsive motion agitated its limbs." And at the result of his creation coming to life, Frankenstein was appalled. "Breathless horror and disgust filled my heart." He thought that he had created a freak. Exhausted, Frankenstein fell into a deep sleep, seeking a "few moments of forgetfulness.
Piaget has four stages in his theory: sensorimotor, preoperational, concrete operational, and formal operational. The sensorimotor stage is the first stage of development in Piaget’s Theory of Cognitive Development. This stage lasts from birth to the second year of life for babies, and is centered on the babies exploring and trying to figure out the world. During this stage, babies engage in behaviors such as reflexes, primary circular reactions, secondary circular reactions, and tertiary circular
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.
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...
Frankenstein by Mary Shelly is an old classic that has been enjoyed by many generations. Despite the fact that the novel was written over a hundred years ago, it is not only beautifully written but also enthralling and well composed. At the young age of eighteen, Mary Shelly raises questions about education and knowledge to which are answered through the well written characters in the novel. The Monster, who is a creation of another character, is highlighted as an individual who goes through an intellectual change.