Burns In Frankenstein, written by Mary Shelley, the monster’s persuasive use of the allusion to Paradise Lost in his feeble attempt to convince Victor to create his Eve is overshadowed by the fate of the Pursued Protagonist. When Victor and his creation first meet on the cold confinements of the Glacier, the monster expresses his eternal hatred and vengeance towards mankind. He believes “I ought to be thy Adam, but I am rather the fallen angel, whom the driest from joy for no misdeed... I was benevolent and good; misery made me a fiend”(Shelley 87). The monster wants so badly to be Adam, loved by his creator God, and yet he resorts to the methods of Satan.
Mary Shelley’s Frankenstein follows the story of a scientist and his experiment gone wrong. Victor Frankenstein, the scientist, abandons his creature at the first sight of it coming to life. The monster, left alone and afraid, transforms from a warm, loving character to one that seeks revenge as the toils of nature and reality begin to take control. Their title changes of “master” and “subordinate” are often referenced in Frankenstein, and plays off the feelings of vengeance they have for each other. Shelley has built the novel around this relationship in a way that captures not only the audience’s attention but also the character’s feelings of regret and hatred as the consequences of exceeding these moral boundaries come to haunt them in the decisions they make and influence the people around them.
Throughout the novel there is no difference between someone 's outer and inner beauty, ultimately one 's physical appearance ends up influencing how others character 's perceived them. “Did I request thee, Maker, from my clay, To mould me, Man, did I solicit thee, From darkness to promote me?” (Milton, Book X, 743–745). The following quote appears in John Milton’s Paradise Lost, when Adam grieves over his fallen condition. The creature within Frankenstein, can identify his feelings and compares himself to both Satan and Adam. However, like Adam, he feels shunned by his creator, although he strives to be good.
He calls on the “spirits of the dead” and “wandering ministers” so that the “cursed and hellish monster drink deep of agony” and feel “the despair that now torments me”(179). The monster is also capable of wanton destruction when he burns down the DeLaceys’ house and dances “with fury around the devoted cottage”(123) like a savage. Finally, the monster seems to enjoy the pain he causes Frankenstein: “your sufferings will satisfy my everlasting hatred” (181) he writes to Victor. Were these pieces of evidence taken out of context, the reader would surely side with Frankenstein. But Shelley prevents such one-sidedness by letting the monster tell his version of the story.
Comparison can be made between Ahab and the monster in Frankenstein on the basis of revenge that the monster wanted to take from Victor. Victor lost all the power over his creation when the monster killed William. Frankenstein immediately felt responsible for the crime because he never made his creation to go around and kill people. After destroying the work of second creature, the monster threaten Victor saying that, “Remember that I have power; you believe yourself miserable, but I can make you so wretched that the light of day will be hateful to you. You are my creator, but I am your master;—obey!” (Shelly, 192).
“For the first time, also, I felt what the duties of a creator towards his creature were, and that I ought to render him happy before I complained of his wickedness.” (Shelley 70/71) In Mary Shelley’s novel Frankenstein from 1808 Victor Frankenstein decides to awake a being out of several dead body parts and tries to make afterlife possible after the death of his loved mother. Driven by his pursuit of success he does not take consequences or failure into account. This paper argues to what extend the creator Victor Frankenstein is responsible for the creature he has developed and could have prevented the loss of his loved ones killed by the monster due to revenge. What should be taken into account first is, that Frankenstein was a young man. He was seventeen years old (25) when he left his family and moved to Ingolstadt to study science at the university.
Mary Shelley uses Frankenstein's rationalizations to show how his ego seeks to protect itself. Shelley focuses on how Frankenstein's ego gives Frankenstein a warped sense of reality. This warped sense of reality is first seen when Frankenstein decides to go from having little scientific experience to creating life from nothing. His ego forces him to labor with rot and the dead to achieve a mythical status as first and lone creator of life, further blinding him to the horror of his creation. As the novel progresses, Shelley uses ego to once again rationalize Frankenstein's actions.
In the novel, Frankenstein, written by Mary Shelley, Victor and the Creature are the main references when it comes to the issues of morality. Several themes such as good versus evil, prejudice, and ambition & fallibility, the importance of friendship along with references to other famous texts like the Christian bible are manifested through the use of Victor and the Creature as they interact with each other allowing readers to construe examples of morality. Many debaters may argue the Creature is “evil” since a majority of his actions harm others while Victor is good because he was the victim and seeks to destroy his creation. However, one may counter this argument if they accentuate Victor is evil since he was the Creature’s creator,
Frankenstein, a work by Mary Shelley, is a story about how man creates life so he can carve a new era of society, but ultimately faces the repercussions from attempting to defy the laws of nature. In Frankenstein, Mary Shelley uses the themes revenge, nature, and isolation from society to create meaning for her readers. For example, Revenge is a powerful force that will consume the minds of those it inhabits. The monster begins its life with a warm, open heart. However, after it is abandoned and mistreated first by Victor and then by the De Lacey family, the monster turns to revenge, it became blinded, and “...feelings of revenge and hatred filled [its] bosom… [and it] bent [its] mind towards injury and death” (Shelley 99).
Behind the novel 's indictment of the intellect stand three important myths to which Shelley alludes. She subtitles her book "A Modern Prometheus," linking Victor Frankenstein to the heroic but ultimately tragic figure of Greek myth who contended with the gods, stole fire from them to give to humans, and was punished by Zeus by being chained on Mount Caucasus to have vultures eat his liver. Her husband Percy Shelley wrote a closet drama, Prometheus Unbound, and fellow Romantic poets Byron and Coleridge were also attracted to and wrote about a figure of defiant ambition. The story of Faust, like the Prometheus myth, also involves one who would trade everything to satisfy an aggressive and acquisitive intellect. Finally, Adam 's fall from grace came of his eating of the fruit of the Tree of the Knowledge of Good and Evil.
Grendel vs. “The monster” Grendel in the novel by John Gardner is very similar to “the monster” in Frankenstein by Mary Shelly because both Grendel and the monster feel like outsiders, they kill humans, and they both are able to learn new things. Grendel feels like an outsider because he knows he is different and he wants to know the truth of why he is what he is and why God made him that way. Grendel asks his mother “Why are we here?” which means that he is doubting his existence. Grendel kills humans in the mead hall while they are asleep. “Swiftly, softly, I will move from bed to bed and destroy them all, swallow every last man.” He kills them because he was affected by the shapers death.
He is also seeking revenge on Frankenstein by threatening him to choose between complying with his demands or letting your family die. Furthermore, the theme of light/dark is present in both as in Othello, Iago says that he will turn Desdemona’s king act into something evil and dark. The contrast between light and dark is shown as Desdemona’s good deed is the light and way Iago will portray it to Othello is the dark. Similarly in Frankenstein, the light dark imagery is present, although not as evident, in that the way the creature communicates to Frankenstein is somewhat light, as he is talking in a calm and reasonable manner. The darkness is shown when he threatens Frankenstein with the ultimatum, comply with my demands or he will kill all of Frankenstein’s friends and