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moral in frankenstein
the effect of science on frankenstein
the effect of science on frankenstein
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Portrayal of the Characters in Frankenstein
In the novel Frankenstein, written by Mary Shelley, the characters have been portrayed effectively. Much of the interactions between characters, and characteristics of the characters have been based on events which have occurred in Shelley's own life, or they represent what she believes is important. For example, Victor is portrayed as having a strong passion for science, and a poor understanding of relationships. Elizabeth is shown as a stereotypical woman of the time, who is also very powerless. The monster is depicted as being both beautiful and ugly, and someone who the reader feels sympathetic towards. Through the portrayal of her characters, Shelley has created a very effective novel.
Shelley portrays Victor Frankenstein as a person who has become enrapt in the strong scientific movement of the time. She created him in response to what she saw happening around her - science was becoming a religion to some people, as it provided answers to their questions about the world, and started a fascination that humans could create anything that they wanted to. In her novel, Victor is one of these people, and wants to be the supreme creator or scientist, and therefore take over the role of God. To do this, he creates a being, thinking that 'a new species would bless me as its creator and source ...No father could claim the gratitude of his child so completely as I should deserve theirs.' (pages 52-53). Victor then abandons this creature which he has made, and this is one of his main crimes. After Victor has done this, his monster murders all those who were close to him, and this represents Shelley's beliefs on how dangerous the worshipping of science could become, and th...
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...along with the monster's struggle for acceptance due to his repulsive looks. Shelley has created a novel which will be remembered for many more generations to come due to the excellent character portrayals that it contains.
Works Cited and Consulted
Bloom, Harold. Mary Shelly's Frankenstein. New York: Chelsea, 1987.
Botting, Fred. Making monstrous. Frankenstein, criticism, theory. Manchester University Press, 1991.
Boyd, Stephen. York Notes on Mary Shelley's Frankenstein. Longman York Press, 1992.
Mellor, Anne K. Mary Shelley. Her Life, her Fiction, her Monsters. Methuen. New York, London, 1988.
Patterson, Arthur Paul. A Frankenstein Study. http://www.watershed.winnipeg.mb.ca/Frankenstein.html
Shelley, Mary. Frankenstein or the Modern Prometheus. Edited with an Introduction and notes by Maurice Hindle. Longman York Press, 1998.
Shelley, Mary "Frankenstein". The Presence of Others. Comp Andrea A. Lunsford and John J. Ruskiewicz. New York: St. Martins, 1997 230-235.
... good, but can be turned to evil by society’s narrow-minded view of what is normal, and the corruption of the mind through knowledge and education. The repercussions of Victor’s and others alienation of the creature turned a caring individual to an evil one. Shelley succeeds in bringing Rousseau's theory to life, that one is born good, but he can be turned to evil through civilization and education. This story still has a great meaning for us today. Millions of people are outcast by society, not only because of physical appearance, but also because of sexual orientation, social status, and religion. Once people quit looking so narrow-mindedly at one another, the world will be a much better place, and Frankenstein's "monster" will rest in peace!
Shelley, Mary. Frankenstein or the Modern Prometheus. Edited by: D.L. Macdonald & Kathleen Scherf. Broadview Editions. 3rd Edition. June 20, 2012
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.
into the sky for a resolution, a sign of hope. But it did not give
Shelley, Mary. Frankenstein or the Modern Prometheus. Edited with an Introduction and notes by Maurice Hindle. Penguin books, 1992
Tragedy shows no discrimination and often strikes down on those undeserving of such turmoil. In Mary Shelley’s Frankenstein, a creature more repulsive than one can imagine is brought to life by a young scientist. Although this creature is horrifying in sight, he is gentle by nature. Unfortunately, the softer side of the creature is repeatedly overlooked and the so called “monster” is driven to a breaking point. Even though the Creature committed many crimes, Mary Shelley’s Creature was the tragic hero of this story because of his efforts rescue the life of a young girl and helping destitute cottagers.
...most readers tend to sympathize with Frankenstein because of the way in which he is mentally and physically harmed by his creation. However, one must also realize that while Frankenstein is a victim in the novel, he also exhibits features that make him a monster. These monstrous qualities, however, stem from his passion for science and his desire to create life. Not only does the reader criticize and pity Frankenstein, but the reader also empathizes with Frankenstein’s creation. He was unjustly shunned by society because of his physical appearance. On the other hand, the reader realizes that like Frankenstein, the creation can not be sympathized with entirely. He too exhibits traits that make him appear villainous. It is the duality of these two characters that make Frankenstein and his creation two of the most appealing characters of the nineteenth century.
Smith, Johanna M. Introduction: Biographical and Historical Contexts. Frankenstein. By Mary Shelley. 2000. 2nd ed. Bedford/St.
Mary Shelley’s Frankenstein or; The Modern Prometheus, published in 1818, is a product of its time. Written in a world of social, political, scientific and economic upheaval it highlights human desire to uncover the scientific secrets of our universe, yet also confirms the importance of emotions and individual relationships that define us as human, in contrast to the monstrous. Here we question what is meant by the terms ‘human’ and ‘monstrous’ as defined by the novel. Yet to fully understand how Frankenstein defines these terms we must look to the etymology of them. The novel however, defines the terms through its main characters, through the themes of language, nature versus nurture, forbidden knowledge, and the doppelganger motif. Shelley also shows us, in Frankenstein, that although juxtaposing terms, the monstrous being everything human is not, they are also intertwined, in that you can not have one without the other. There is also an overwhelming desire to know the monstrous, if only temporarily and this calls into question the influence the monstrous has on the human definition.
As a young writer, at just the age of 18 years old, Mary Shelley was able to become a gothic novel specialist. She was able to create a story that has an unbelievable amount of depth behind all of the events that happen between the characters. Her writing stays relevant in today’s society due to her focus on the creation of artificial life. Many of the characters in the novel Frankenstein have a deep love and desire for new discoveries. The characters like Walton, the Creature and Victor have the desire for ambition which they all become overly consumed in their works and end up in destructive situations. In the novel Frankenstein, Mary Shelley is able to develop multiple characters whose ambitions lead to destruction;
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. Edited with an Introduction and notes by Maurice Hindle. Penguin books, 1992
In a world where murder is seen as a way to check if the prophecies of the witches are real, Macbeth and Lady Macbeth get caught by greed, the only escape seems to be a murder that will stop the nightmare of the killings. Once the murder has been committed, the revolt against it becomes very absurd and very illegitimate, making Macbeth a tragedy of the dark that develops in the night. In Act II scene II, Shakespeare uses tension and dramatic interest along with stage effects and language techniques to illustrate how Macbeth, with the help of Lady Macbeth influencing him to do so, commit the dreadful murder of King Duncan, and the after effects of this deed.