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Creation and Transgression
In Paradise Lost Milton presents a myth of creation, one that elaborates upon the accounts of creation depicted in Genesis, namely that God created the heavens and the earth in six days, while also creating man in the image of himself. Milton also includes a myth of transgression in his narrative, one that outlines Satan’s rebellion, the temptation of Adam and Eve, and man’s inevitable Fall. In various ways, Frankenstein echoes Milton’s version of creation and transgression through its presentation of Victor’s creation of the monster and their mutual transgressions. In this essay, I will argue that Shelley synthesises these myths in her narrative so that they are almost indistinguishable, and that in making this
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The epigraph in its original context details Adam’s complaint of injustice against his creator for having been created at all: ‘Did I request thee, Maker, from my clay / To mould me man? Did I solicit thee / From darkness to promote me?’ (PL, X.743-5). The comparison that Shelley thus suggests, between God and Adam in Paradise Lost and Victor and the monster in Frankenstein, is then rather striking, because it compares Milton’s God with the conduct of a man who usurps and abuses godlike powers. Arguably, if God’s conduct in Paradise Lost is even slightly comparable to Victor’s, it could be submitted that Shelley believes religion, and particularly Christianity, has a lot to answer for. Alternatively, Shelley could simply be reproving Victor’s behaviour in his obvious attempts at playing ‘God’, and making that more damning by contrasting Adam with the Monster. As Chris Baldick has remarked, to early readers of Frankenstein it appeared that Shelley was ‘calling into question the most sacred of stories, equating the Supreme Being with a blundering chemistry student.’ In his analysis, Baldick contends that Paradise Lost lays itself open to this kind of impious treatment by Shelley, because ‘by submitting God’s providence to rational debate’ Milton had ‘inadvertently exposed the foundations of his religion to
Frankenstein by Mary Shelley is a gothic novel that tells the story of scientist, Victor Frankenstein, and his obsession with creating human life. This leads him to creating a gruesome monster made of body-parts stolen from grave yards, whom upon discovering his hideousness, the monster seeks revenge against his creator, causing Victor to regret the creation of his monster for the rest of his life. Shelley uses the literary elements of personification, imagery, and similes to give a vivid sense and visualization of Victor Frankenstein’s thoughts and feelings as well as to allow us to delve deeper into the monster’s actions and emotions. Throughout the novel, Shelley uses personification of various forces and objects to reflect the effect in Victor’s actions.
Throughout Mary Shelley’s Frankenstein, a great comparison is shown between Victor Frankenstein, the main character, and Prometheus, one of Greek mythology’s greatest Gods. Shelley borrows from the tale of Prometheus a consequence resulting from searching for a great source of enlightenment and power. In creating a being and giving it life, Frankenstein seems to take on the remarkable role of God which leads him to thinking that a power that is so heavenly cannot be played with by mankind. During his quest to expand his creative knowledge, abilities, drive, and ambition to know the origin of life, he puts himself in conflict. Frankenstein gambled his way into the godly realm without realizing he committed a sin by creating the monster, and
As he does not even have a name as a marker of identity, he longs for parental recognition from Victor in order to end the confusion about who he is, and the more he understands the fear and hatred he unintentionally provokes in others, including Victor, the more hopeless his view of the world and his future becomes, which leads him to try and gain that recognition through violence. The murder of William, as Knoepflmacher argues, marks also the irreversible loss of “the ‘benevolent’ or feminine component” of the creature’s identity, which makes him “indistinguishable from Victor Frankenstein, similarly alienated from his feminine self” due to the loss of his mother and later on, his wife. The identities of the two are, indeed, intertwined and become fragmented in relation to Milton’s Paradise Lost, to which the novel constantly alludes. The creature reads Milton’s work and although he at first sees himself in Adam, he soon finds himself forced to identify with Satan. Chris Baldick argues that not only the creature but Victor himself starts to feel more like Satan than God – with whom he should identify in this instance – as the story progresses in the sense that “he too bears a hell within him”.
Christianity in Frankenstein Throughout the novel, there were many biblical allusions. Christianity play into novel by comparing the creation of Frankenstein's monster to the creation of Adam and Eve. Mary Shelley incorporating this into the novel to show that no one should ever come close as Frankenstein was to receiving "God" status because it will ultimately drive them to destruction. The purpose of these connection is that no one should not play God.
Since when he reads the novel Paradise Lost he makes the connection. He says “I ought to be thy Adam” (Shelley 45) and that he is seeking a female companion, Eve, and that his God, Victor does not grant him “[an] Eve [that soothes his] sorrows… [he] was alone” (Shelley 61). Victor is God to the creature, because “I remembered Adam’s supplication to his Creator. But where was mine? He had abandoned me” (Shelley 61).
Duality is shown in Mary Shelly’s Frankenstein, a gothic tale of a scientist whom looks to advance the life-giving qualities of mother nature. Through this novel, Shelley proves that good and evil in human nature is not always simple to define, and that everyone has both of these qualities within them. The duality of human nature is shown through the characters of Victor Frankenstein and his monster, who are both heroes in the novel while simultaneously displaying anti-hero qualities. Shelley forces the reader to sympathize with them both but also creates gruesome ideas of the two. Frankenstein’s creature places himself in a submissive position when he begs his creator to have mercy on him and asking the creator to “create a female for [him] with whom [he] can live in the interchange of those sympathies necessary for [his] being.”
Throughout Frankenstein, Shelley uses Victor to warn the reader of the dangers of aspiring to godliness, and the consequences one faces in the aftermath doing so, even going as far as to compare Victor to Satan, tempting the crew of Walton’s ship, in the book’s final pages. The Victor Shelley creates is very similar to the Satan created by Milton in his book, Paradise Lost, which explores the biblical tale of Adam and Eve. In Frankenstein, Victor speaks of his desire to create the Creature, saying, “I deemed it criminal to throw away in useless grief those talents that might be useful to my fellow-creatures.” (152). Shelley’s diction choices, such as the word “useless” exemplify Victor’s excessive hubris, portraying him as a man who creates his Creature for, in his mind, the good of society.
In Chapter 15 of Frankenstein, the author compares the monster to Adam (the first man) as well as comparing Victor to God. I believe that Frankenstein is not as much a commentary on the bible, but rather on the nature of man. In Frankenstein, Mary Shelley compares the monster and Victor to biblical figures in order to relate that everyone is capable of moral good and evil. As we see in the novel, the monster is much like Adam in that he desires companionship, he is made in the likeness of his creator (a man), and he eventually turns to evil.
The Creature in Frankenstein Mary Shelly’s “Frankenstein” is an inspirational work of horror and science fiction; it is the narrative of an unorthodox act of creation, of a monster which torments his miserable creator. The author puts forth ideas, and reinforces it through the development of the plot, that mankind is capable of both good and evil. Shelly demonstrates the ‘humanity’ of the creature; his actions and his inclination are like those of mankind. Indeed, even the negative aspect of his character, demonstrated through his quest for revenge, has a parallel in the actions of his human creator. In Mary Shelley’s “Frankenstein” the creature is represented as being vicious and murderous but he is not inherently evil or malicious.
“My tale was not one to announce publicly; its astounding horror would be looked upon as madness by the vulgar. Did anyone indeed exist, except I, the creator, who would believe, unless his sense convinced him, in the existence of the living monument of presumption and rash ignorance which I had let loose upon this world?” (Shelley 63).
Mary Shelley’s novel Frankenstein, shows how a character who is portrayed as a tragic hero, in the beginning, can become the monster in the end. Victor and the Monster in Mary Shelley’s captivating novel showed how rival enemies share striking similarities. The similarities between the two tragic characters are driven by their dreary isolation from the secluded world. A large difference is that they were both raised in two completely different environments but understood the meaning of isolation. Physical differences are more noticeable rather than their personalities.
Brandon McCormick Ms. Headley English 2013 8 December 2014 Allusions to Paradise Lost in Frankenstein In the nineteenth century gothic novel Frankenstein, Mary Shelley uses numerous allusions within her novel that can easily be interpreted by the reader. These allusions make it easier for readers to understand the characters and compare their circumstances throughout the story. The most significant and most used was from John Milton’s epic Paradise Lost. It is known that, “…Paradise Lost stands alone in the eighteenth and nineteenth centuries atop the literary hierarchy, and Milton’s epic is clearly rooted in the history of Puritanism and in the bourgeois ideal of the individual, the ‘concept of the person as a relatively autonomous self-contained
In many novels symbolism functions as a way to reveal much of what is intended for the reader to understand about characters and the work as a whole. Symbols can be ideas, objects, or actions that constitute multiple interpretations or meanings. This is also true for many older novels including Frankenstein. Throughout the gothic fiction novel Frankenstein by Mary Shelley, the use of symbolism and the role it partakes in the entirety of the story signifies its importance. There are many symbols throughout the novel some including light and fire, the creation story, and exploration.
Mary Shelley’s novel Frankenstein, is one of the most important and popular novels in the Romantic genre to this day. The novel was originally controversial because it touched on many fragile subjects such as the human anatomy and the development of science. The structure of Frankenstein begins as an epistolary, narrative story told by Robert Walton to his sister in England. Walton’s letters tell us that he is exploring, searching for what lies beyond the North Pole, and he eventually connects with Frankenstein. Shelley creates the protagonist, Dr. Victor Frankenstein, who has a fascination with life and death.
The fictional horror novel of Mary Shelley’s Frankenstein is driven by the accentuation of humanity’s flaws. Even at the very mention of her work an archetypal monster fills one’s imagination, coupled with visions of a crazed scientist to boot. Opening her novel with Robert Walton, the conduit of the story, he also serves as a character to parallel the protagonist’s in many ways. As the ‘protagonist’ of the story, Victor Frankenstein, takes on the mantle of the deluded scientist, his nameless creation becomes the embodiment of a truly abandoned child – one left to fend for itself against the harsh reality posed by society. On the other hand, Walton also serves as a foil to Victor – he is not compulsive enough to risk what would be almost