A review by Shelley of his wife’s novel presents an understanding that there may not be a monster in Frankenstein. He comes to the conclusion that it is in fact a person who was maligned and therefore became iniquitous. But to others it seems as though it is a branch of legendary monsters. The difference is that they combined the characteristics of multiple animals whereas the Monster has united the qualities of a human and of a machine. If the monstrosity of the Monster wasn’t bad enough, the namelessness of it is accentuated as a huge timidity. “In Genesis 3:19-20, Adam’s dominion over plants and animals is demonstrated by his power to name them; knowing the name of something has traditionally conferred magical control over it, as well as giving it a place in an ordered universe. Frankenstein’s creation is simply “the Monster”-aptly communicating its total otherness and man’s impotence before it” (“Mary” 14).
By viewing Frankenstein through the eyes of a feminist, it becomes clear that the novel recognizes the need of woman to care for the newborn baby. Therefore, the novel brings forth the argument against artificial reproduction. This argument is rooted in the birth of Mary Shelley’s baby who died two weeks later. Following the tragedy of her baby girl, Mary gave birth once again to her newborn son, William. Then six months later, she conceived yet another child, Clara Everina, in December. From then on Mary becomes increasingly aware of the dangers of pregnancy and profoundly frightens her (“Mary” 45).
The monster’s physical grostequeness, as well as murderous deeds – his strangling of William, Clerval, Elizabeth and framing of Justine – tempts the unthinking reader to believe that the monster is the embodiment of evil. However, on analysis, the reader realizes that this is not entirely true. Mary Shelley has gone to great lengths to portray the monster as less of a ‘daemoniacal corpse’ and more ...
One reason that Mary Shelley’s story has been so popular throughout the ages is because it conveys the greatest concerns of pregnancy possibly for the first time in Western literature. This is partly due to male writers wanting to steer away from the topic of pregnancy and female writers, prior to Mary Shelley, regarding pregnancy or even childbirth as inappropriate to conversed about with men. This in turn comforts the women who are reading that their fears are felt by other women as well (“Mary” 46).
A topic that has been greatly discussed by critics is the lack of parenting by Victor Frankenstein. He waited nine months to give birth to his child but when the baby comes into the world, Victor is overcome by revulsion and is appalled by the aberration of his child. When his child tries to hug him, Victor once again runs away from his child and leaving him with no one. This reaction is most likely the result from an earlier absence of compassion. During the testing, Frankenstein fails to think about the feelings of the creature and how it would feel to be brought into the world that he lives in. Instead, Frankenstein presumes that the creature will embrace him for what he has done. Due to the horridness of his creation, Frankenstein then undertakes a tremendous type of alleged murder of an infant. Then the creature begs Frankenstein to reconsider and remember his parental commitment to care for his child. But Frankenstein believes that he is right in carrying out the act until the day he dies. The case of Frankenstein is a great example of a beating parent and his actions would later come into play once Frankenstein murders his first victim, a diminutive child (“Mary” 47-48).
There were many instances throughout the novel of Frankenstein that reader could deduce that some of the story was influenced by Mary Shelley’s own life. The people and events that shaped the novel include her parents, Mary Wollstonecraft and William Godwin. Her parents were greatly affected by the events of the French Revolution. Her mother also died a short time after her birth and thus explains why her monster was motherless as well. The death of her child greatly influenced her as well her husband, Percy Shelley. His fascination with science is probably where she got the inspiration for Victor Frankenstein. The people and events all had a long and lasting effect on Mary’s life and in her remarkable writing (“Symbol and Parable” 1-2).
Frankenstein Frankenstein, or the Modern Prometheus, by Mary Shelley is a horror story. However, its ghoulishness involves the way that we treat each other and how self-centered we can be when chasing our ambitions. The novel teaches the powerful lesson that passion intemperate by moral responsibility leads to destruction. The novel opens in the desolate Alps with Dr. Victor Frankenstein telling ...
Victor’s worst sin is not one that is very conventional. Many may think that it was making of the Monster, but on the contrary, it is actually his refusal to take accountability for his actions that he has taken. This theme in context conveys us to the type of gridlock which Frankenstein attains in the demolition of both the maker and the product. Furthermore, we witness that the desire is both gallant and yet still commendable. However, this is also lethal due to the fact that individuals are unable to accomplish their goals and ambitions in veracity (Levine 3).
Frankenstein has a plan which includes the control of the environment. The creature is then a slave of repression and also is made into an entity and not a being. This is all in addition to his veracity being determined for the monster instead of him defining his own life. From here, the monster must react and rebel in order to survive. That is where the majority of the book gets its foundation and structure (Crafts 2).
One of the most remarkable characteristics of the book, Frankenstein, is the energy of the creature in relationship to the human beings. The strength that the monster possesses comes from a feeling of browbeaten people. This is the result of them being assaulted by scientific objectification. As a result, he tries very hard to affirm that he is in fact human by rising up even though he is looked upon as being just an object in a much objectified world. To us, he seems as though he is the quintessence of a vision, the Noble Savage. The Noble Savage acts as though he is within a melancholy mind frame which gives rise to his characteristics of being both levelheaded and a scholar. Nevertheless, the creature denounces Frankenstein and then he even objectifies him as well. This is quite fascinating due to the fact that both the creator and the created have now been objectified (Crafts 3).
... in this regard that “like Victor Frankenstein and his Monster, Mary Shelley felt the agony and grief of ... his devastation and says, “What a glorious creature must he have been in the days of ... kindheartedness to the cottage-dwellers and saving the life of a child are reimbursed with unsubstantiated ... the fact that he is revered by his worst enemy who describes him as, “Oh, Frankenstein! ...
At the time when Mary had disappeared with the writer, she was young and still spontaneous. Despite her character flaws which she displayed abundantly, Mary Shelley was also smart and intellectual. But unfortunately, she could not overcome her lack of individualism. This lack of uniqueness came through in her journal and also in Mary’s writing. Her husband’s role in her life had actually caused Mary to shape her life and writing after his likeness. Mary’s life was very similar to the ways that she experienced her novel; it was a stroke of brilliance that was seen however it was not communal. Mary doesn’t ridicule romantic aspiration by creating her idol the maker of the monster. But the result of her making the monster a gross mess is that she initiates a thoughtfulness of the world. This will in return confront the wholesomeness of romanticism. Essentially what Frankenstein has made is causing his goals and his creature to seam very outrageous and absurd (Kiely 2).
Frankenstein consists of a number of confessions. There are a total of three in which the narrative confesses to certain people who are strangely close to the speaker. The initial confession is of a youthful Robert Walton who writes on his journey to the Arctic. The first letter that he writes is to his sister who is residing in England. Once he arrives in the Arctic, he saves Frankenstein whose ship had crashed. After Frankenstein is safe, he tells Robert a story in which Robert learns is a story by the creature to his maker (Kiely 4).
The second contains more irony that the first paradox. It says that if Frankenstein had been more pleasing to the eye, then the catastrophe would not have occurred at all or if it did happen, then it would not have been of any significance. This was not the intention of Victor Frankenstein though. It would be fair to call him an idiot during his instant of conception (“Frankenstein” 3).