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Feminist themes in frankenstein
Frankenstein analysis
Intro to Frankenstein analysis
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When overviewing the life of Mary Shelley, it is an undeniable fact feminism saturated the viewpoints of Frankenstein’s author. Hence, reading Anne K. Mellor’s Possessing Nature: The Female in Frankenstein provides valuable insight into discovering the deeper message sown within the fabric of this early eighteenth century novel. However, though we may be able to say with certainty Frankenstein is a tale in the dangers of the destruction of women, the bold point requires further evidence to substantiate the sound logical reasoning behind Mellor’s argument. Let us focus on the point of contention where logic is strong but evidence is rather lacking: Creating a society of only men.
Mellor summarizes this argument in the opening paragraphs to her
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article: One of the deepest horrors of this novel is Frankenstein’s implicit goal of creating a society for men only: his creature is male; he refuses to create a female; there is no reason that the race of immortal beings he hoped to propagate should not be exclusively male. By refusing to create a female sex, Mellor argues he wanted to remove the female sex by giving all reproductive power to men.
In this way, the men then would have ultimate power in society by having reduced the necessity of the female to nil. Yet can the discerning reader truly adopt this as truth? In looking at the reasoning behind the creation of the story, never once does Frankenstein wish to create a female replacement in the way argued by Mellor. For, when she particularly looks at the strong symbolism between the creation of the monster and the loss of Frankenstein's mother a conclusion is drawn that he was trying to become his mother. However, how can we argue this point when we consider that the reasoning behind the monster’s creation was to reverse the death of a female character? Furthermore, the reasoning behind the creation of the monster given to the reader seem rather vague. In reviewing page thrity-one of our edition, it is clear from the outset our protagonist concentrates on the issue of creating the monster because of his desire to explore where life originated: “Whence, I often asked myself, did the principle of life proceed?” If Frankenstein is to be trusted, then we cannot conclude from his disclosed reasoning that his goal was the replacement of the female sex. Rather, it was to further the age old question of the origins of
life. Despite this reasoning to the contrary of Moller’s thesis, we cannot deny the strength of the analysis and logic used to substantiate her claim on this issue that Shelley intends for us to see Frankenstein as replacing the female sex. Simply looking at the paragraphs following the final creation of the monster, the dream of Elizabeth and Frankenstein’s mother in particular build to this conclusion. Here, we see on page thirty-six of our text we read that the man saw his lover transformed into the corpse of his deceased mother. This image in and of itself supports quite strongly the thesis propagated by Moller. Hence, the logic for the replacement of females argument is quite strong using this example and other examples of imagery placed throughout the story. However, because Shelley seemed to have intentionally made her message vague in the story, more evidence must be presented in order to confirm a most agreeable argument. In conclusion, in limiting ourselves to examining a small section of the text, the weight in favor of adopting Moeller’s interpretation of Frankenstein is particularly heavy. However, we cannot wholeheartedly embrace the convincing logic of Moller without proper evidence. Particularly concerning is the lack of connection between Moller’s implied reasoning of the story and the clearly stated reasoning of the characters. Although the novel’s feminist author left a message for her readers, this patron of her pen would like to see more reasoning before adopting a certain interpretation of the text by contemporary critics.
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
‘[The] characters and plot of Frankenstein reflect . . . Shelley’s conflicted feelings about the masculine circle which surrounded her.’
Frankenstein: Contexts, nineteenth century responses, criticism. By Mary Shelley. Norton Critical Edition. New York: New York. 1996.
Many innovations throughout the modern world have made life significantly easier, safer, of higher quality, and are said to be done for the "greater good of humanity". However, these accomplishments come at a cost, as expressed through the concepts of creation and responsibility that lie at the core of Mary Shelley's Frankenstein. It is through these concepts that Shelley explores how society has changed during Romanticism and the Industrial Revolution, with lessening importance on shared knowledge and the "public sphere" and more emphasis on individual achievement and identity, leading to a fractured and isolated society. In this paper I argue that Mary Shelley's Frankenstein criticizes the impacts of Industrial Revolution and Romantic era-inspired individualism on the community and individual, using Victor Frankenstein's disruption of the reproductive process and subsequent relationship with his creation as examples of potential negative consequences. To begin our analysis, I will look at how Mary Shelley positions Victor Frankenstein's motivations to create life against natural laws within the ideas of individualism, as Victor can correlate directly to the educated human at the center of Enlightenment, Industrialism, and Romanticism values.
Works Cited for: Shelley, Mary. Frankenstein: A Norton Critical Edition. ed. a. a. a. a. a J. Paul Hunter. New York: W. W. Norton, 1996.
In Anne K. Mellor’s “Usurping the Female”, she provides many arguments that Victor Frankenstein tends to despise the female sexuality as a whole. She gives details on the consequences of his unusual thinking and actions. Mellor also goes far in-depth on the penalties of fighting against nature or stepping onto nature’s domain. She puts enormous emphasis on the importance of family in a person’s life and thoroughly explains the patriarchal system that has been dominant during Mary Shelley’s time. According to Mellor, Frankenstein was based upon “a rigid division of sex-roles: the man inhabits the public sphere, the woman is relegated to the private or domestic sphere” (Mellor, Anne K.). Victor Frankenstein ultimately fears one thing, conferring
The Strange Case of Dr. Jekyll and Mr. Hyde could be compared to Mary Shelley’s Frankenstein because they both characterize their women characters as passive, disposable and useless. Although Frankenstein was written many years earlier, both texts deal with many of the s...
In “Frankenstein” penned by Mary Shelley, one cannot help but notice the role of women in the novel compared to men. Even though Mary Shelley is the daughter of Mary Wollstonecraft, a mother advocating for women’s rights in society, she displays the roles of Caroline, Elizabeth, and Justine as passive women. This may be the time period when women were considered inferior to men. Caroline, Elizabeth, and Justine are depicted as possessions by men, admired for their superficial beauty, and do not take action without the permission of men. On the other hand, Shelley illustrates Safie as a woman who speaks up for her own rights when her father forbids her to find Felix.
When reading Frankenstein by Mary Shelley, one cannot help but notice that the women characters seem to have little substance compared to the male characters. This may have been caused by the time period in which she wrote: one in which females were considered inferior to males. This difference between the sexes can be looked at using a variety of different perspectives. Johanna M. Smith, a professor at the University of Texas at Arlington, discusses this issue using feminist eyes in her essay entitled "'Cooped up': Feminine Domesticity in Frankenstein." The main points in Professor Smith's essay are that the female characters are there only to reflect the male characters, and that the Frankenstein family has a weird style of living, which she describes as a "bookkeeping mentality" (Smith 279).
Yousef, Nancy. "The monster in a dark room: Frankenstein, feminism, and philosophy." Modern Language Quarterly 63.2 (2002): 197+. Literature Resource Center. Web. 24 Jan. 2012
In conclusion, in Mary Shelly’s novel Frankenstein, the female characters always fulfill the limited and archetypical roles that are set for them by society. In this novel, many female characters are considered to be possessions. In fact, they are considered to be the servants of men. “I have a pretty present for my Victor—tomorrow he shall have it.” (Mary Shelly, Pg. 70)
Within Frankenstein, the level at which a female is portrayed is quite low. Like we have heard in class, women were not necessarily respected as much as men were when the novel was written. Published in 1818 by Mary Shelley, her story tells of the adventure of young Victor Frankenstein and the creation of his creature. Though deep within this narration of Frankenstein’s life, there seems to be an underlying theme seeping through Shelley’s writing. Shelley seems to venture into the idea of feminism and grotesquely show how men are treated much better than women. Her novel includes various concrete examples to support this hypothesis.
Mary Shelley’s magnificent minor character Justine endures a horrendous death and maintains courage and grace when faced with a daunting trial. The powerful description of this strong young woman magnifies the gross wrongdoings of Victor Frankenstein and belittles his masculinity as he is seen as weak in comparison. Frankenstein is incapable of possessing the qualities inherent to Justine thus supporting the idea of womanly might as a formidable force.Through the representation of Justine’s intense, unwavering courage during her trial and Frankenstein’s absence of masculine bravery and justice, one can see that Shelley’s minor character is an affirmation of the undeniable strength of women.
Mary Shelley’s Frankenstein was published in 1818 during the Romanticism era. Romanticism describes the period of time from the late 18th century to the mid 19th century. This period was seen as a response to the Enlightenment; overall there was an increase in the desire to understand the world in an objective matter (lecture). Though Romanticism is commonly viewed as a literary and artistic movement, Mary Shelley gives evidence on the development of Europe in a historical sense through her novel, Frankenstein. Through the motifs and personal experiences of her characters, Mary Shelley’s Frankenstein gives insight on scientific development, emerging roles of women, and how the individual is viewed the
Mary Shelley in her book Frankenstein addresses numerous themes relevant to the current trends in society during that period. However, the novel has received criticism from numerous authors. This paper discusses Walter Scott’s critical analysis of Mary Shelley’s Frankenstein in his Blackwood's Edinburgh Magazine Review of Frankenstein (1818).