I had desired it with an ardour that far exceeded moderation; but now that I had finished, the beauty of the dream vanished, and breathless horror and disgust filled my heart.” (Shelley 43) The shift in Victor’s feelings towards the monster reflect the shift in the author’s feelings towards Victor. In the beginning of the novel, Victor is just a boy enamored with science and discovery, but as he grows he descends into greed and selfishness. By the time the monster is alive, Shelley has already lost her respect and love for Victor, just like he has the
In every good horror story, there is always some sort of monster that is violent and cruel. However, Mary Shelley's Frankenstein is the exception. The monster that Victor Frankenstein creates, gains great sympathy from the audience, while he describes his story. As he narrates his experience, it is revealed that the creature is no fiend, but a friend. Frankenstein’s monster, for a monster acts very human.
While Shelley doesn’t paint the monster as an innocent victim, the monster’s reasoning for his actions allow the reader to sympathize with his underlying misery, which leads the reader to question how the novel would have turned out if the monster was shown even an ounce of
Instead of seeing an impactful, knowledgeable story, he sees one completely devoid of any “imagination” or “passion”. However, the novel’s universal nature reigns to refute these statements. At the tender age of 20, typically a time of emotional learning, she understood the very intricacies of life, allowing her to pen a story about a monster “...even Dante could not have conceived” who yearns for love from his neglecting creator (Shelley 52). In it, she shows the monster’s climb up the hierarchy of needs, as well as its failure to move past his basic needs(safety and physiological) to achieve his psychological needs (love and belonging).
Such passion is seen in Victor’s ‘noble intent’ to design a being that could contribute to society, but he had overextended himself, falling under the spell of playing ‘God,’ further digging his grave as he is blinded by glory. His creation – aptly called monstrous being due to its stature, appearance, and strength – proved to be more of a pure and intellectually disposed ‘child’ that moves throughout the novel as a mere oddity, given the short end of the stick in relation to a lack of familial figures within his life, especially that of parents. Clearly, Victor Frankenstein had sealed his fate: by playing God he was losing his humanity, ultimately becoming the manifestation of Mary Shelley’s hidden desires, deteriorating into The Lucifer Principle by which the author Howard Bloom notes social groups, not individuals, as the primary “unit of selection” in human psychological
Unfortunately, the creature soon learns to be scared humans, who, frightened by his look, drive him away with stones and never really give him a chance to learn of his true identity. The real villain in Shelley’s story is neither Dr Frankenstein nor his creation – it's the hateful villagers. Only when experiencing their abuse will Frankenstein become a monster, acting out of revenge on those who refused to relinquish him an opportunity. This is the important myth, the original myth, and it suggests a radically different ethical and social order than the more popular belief of the Frankenstein myth. Overall, archetypes can be found woven throughout the novel Frankenstein in the form of ecumenical symbols and commons themes.
“Mary Shelley 's “Frankenstein” is a text which has ever since it was first published, influenced social and cultural debates over the relationship between human beings [...]” (Allen 117). There are multiple texts that deal with the question of who the real monster is. The name 'Frankenstein ' is often related to the monster by people who have not read the book (Heesel 3). This essay, however, tries to explain why the reader might think of Frankenstein as a monstrous, inhumane being in the first place. People usually sympathize with the protagonist and his actions.
Through the portrayal of the “monster” inside the Creature, Shelley argues that we need somebody with us to guide and protect. While the Creature was in the DeLaceys shed he found some notes in his pocket. They were papers from Victor’s journal and with his newfound reading skills he was able to see how he was made. He is extremely angry at Victor for making him the way he is. He is disgusted by the way Victor regarded him.
The monster continues by reassuring the creator of his independent intelligence and power over the creature by telling Frankenstein, “This you alone can do”. Here, the creature assumes a role of submissiveness and reliance on Frankenstein. Frankenstein’s monster gains the sympathy of the reader who, despite condemning the murder of innocent people, commiserate with the lonely creature who is in search of an acquaintance, which he will likely never find. The monster also displays power and aggressiveness over Frankenstein; “You are my creator; but I am your master; obey!” The monster wants to desolate Victor’s heart, not by killing him directly,
“He raised her, and smiled with such kindness and affection that I felt sensations of a peculiar and overpowering nature”(Mary Shelley pg 75). , “What chiefly struck me was the gentle manners of these people and i longed to join them”(Mary Shelley pg 77). And the final quote “when they were unhappy, I felt depressed; when they rejoiced, i sympathised in their joys.”
In Mary Shelley's novel, Frankenstein, cruelty is what sets the plot in motion. The rejection of the monster by Victor Frankenstein represents the wickedness that is consolidated with human society. The inclusion of cruelty in Frankenstein functions to capture the creature as abandoned by his creator, withdrawn from mundane society, and a victim of the evil nature of humankind, even when he has admirable intentions. Although the novel was written in the 1800s, there is a strong connection between what we understand of how society treats “ugly” people now and how they were treated back then. In the novel, once Victor Frankenstein completed his creation and it was filled with life, he screamed and fled from him.
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. The monster’s first-person narrative draws the reader in and one learns that the creature is not abomination
Mary Shelley shows the endless amount of revenge and that it is driven by pure hatred and rage. The monster was not created to be vengeful, he was kind hearted but when he was poorly treated by Victor and then by the Delacey family, he turned cold. In her novel Frankenstein, Mary Shelley displays the immorality and destructive effects that revenge can have through Frankenstein and his pursuit of the creature. Immediately after the monster had awoken, hatred thickened and would drive the plot to be all about revenge. The creature illustrates this hatred as he says to Victor, “Everything is related in them which bears reference to my accursed origin; the whole detail of that series of disgusting circumstances which produced it is set in view;
He sees the way that they treat each other, and says that “[his] thoughts now become more active, and [he] longed to discover the motives and feeling of these lovely creatures” (Shelley 80). This shows that he wants what these people have, not their material things, but someone to love on, and someone to love him. Further, the Monster knows that no ordinary person is going to want to spend their
However, when the monster’s perspective is portrayed in the novel, it reminds us of how superficiality guides us to false conclusions. Shelley portrays the creation’s desire to belong to argue against the prejudice set before him: “Now is the time!--save and protect me! You and your family are the friends whom I seek. Do not you desert me in the hour of trial!” (Shelley 120).