In Philip Pullman’s adaptation of Mary Shelley’s ‘Frankenstein’ , it clearly shows that he encourages the audience to feel more sympathy for the Monster and not Frankenstein. This is because of the way people describe the Monster and say extremely violent things to him, such as death threats. The Monster states things in the story so the other people understand the hardships he has had but not everyone believes that it is worth feeling sorry for because of the way he is different to man. So it makes the audience have sympathy for him because they know what the Monster has been through and they know he has had gone through more exclusion from the public than what Frankenstein has. The Monster tried to do everything he could possibly do with other humans right, but they just didn’t accept him.
He studied in the field of science, sensitive, articulate, and adoring towards his family and friends. At first glance, even his purpose for creating the monster seems noble however, underneath Victor’s elegant and altruistic surface lies a an ugly attribute, which makes you question whether his actual expectations with the creation truly were noble as he would make them out to be (Marklund, 2010).Victor’s real reason for creating the creature seems to be a desire to obtain awe and fame and does not think about any conceivable consequences. Victor is responsible ultimately for the death of his loved ones and struggles with his ego and personality. At first glance, you would presume the fiend is evil, yet it is Victor thereupon creation of the monster avoids his obligation. His first indication of his egotistic behavior is when he embarks on the task of creating life.
His appearance scares the people he encounters, and his only desire is love. Further in the novel, there are many situations where the Monster is the victim. Shelley uses words that provide imagery for her readers. Readers will think Victor is the antagonist. He realizes if he would show the Creature love, the Monster would not kill the people.
10)Victor’s dismay for the monster doesn’t mean he shouldn’t take responsibility and take care of his creation. 11) Victor spent plenty of time on the creature and the monster, larger and stronger than Victor petrified Victor which caused him to enter a state of illness caused by fear. 12) A person who lacks an identity such as Victor attempted to create a life which resulted in a hurried project and a scary creature. 13) Since Victor played God in the creation of the monster the monster had the right to despise Victor. (Shelley) 14) Since Victor denies the monster social acceptance, the monster is left to self educate himself which leads to isolation issues which cause violence.
Frankenstein is educated by alchemy teachers who encourages him for this obsession to science. His determination to know the secret of life results in terrible events. Mary convinces us that ignorance is a bliss in this case . Obviously, it is concluded by Victor Frankenstein as he advised Walton to avoid ambition in pursuit of scientific discovery . Man thinks he can challenge his creator by undertaking this responsibility.
After Victor Frankenstein created the Monster, Frankenstein was “unable to endure the aspect of the being [he] had created, [and] rushed out of the room…” (35). Frightened of his very own creation due to its hideous appearance, Frankenstein took flight and didn’t think of the consequences that would eventually follow. Being terror-stricken by the Monster and fleeing shows Frankenstein’s strong sense of fear. Though it was cruel that Frankenstein would run away from the very creation he put together with his very own two hands, his reaction of fear and panic proves that he does contain a sense of humanity within him. Indeed, it is also true that Frankenstein has failed to tolerate or look past the Monster’s flawed appearance; however, because he himself was the creator of the Monster, he felt a sense of pressure and fear of being the one to have to take responsibility for creating something so
The monster was abandoned by his mother, Victor because of fear and revulsion.The creature like Victor was self-learned and was intrigued ; wanting knowledge but his main drive was not glory, fame or the mystery of life but was basic human needs; love, family and acceptance. "What chiefly struck me was the gentle manners of these people, and I longed to join them, but dared not.” Throughout the novel ,Victor was treated with love, care and respect from friends, family and society even though he was selfish, vile, etc., whereas, the monster a gentle creature was treated with fear, disdain and , as a monster because of his outwardly appearance regardless of his heroic and kinder
Loss as a Literary Device In the short stories Gwilan’s Harp by Ursula K. LeGuin, The Washwoman by Isaac Singer, and The Last Leaf by O. Henry, the theme of loss plays a central part in the lives of the main characters. Each of the stories deals with one or more different forms of loss. Although some instances may be more serious than others, they are all equally important. These forms of loss include property loss, the loss of status, and death. Loss, although it can make for a sad story, often causes readers to immerse in the story, because the characters seem more life-like.
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.” 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,
Unlike Victor Frankenstein’s birth, the creature searched for glory from a beginning of loneliness and a craving for love from the humans he wished to be. Even though he was unfamiliar with the typical childhood when he was first ‘awakened’, the monster knew he had “no money, no friends, no kind of property”, and he wished to change that (128). He wanted what everyone else got freely, and even with this unfairness, he tried desperately to earn these ‘normal’ assurances he didn’t already own—like acceptance. When the creature was furiously denied these privileges, he turned away from humanity and their prejudice and looked to his own race, demanding a similar undead wife from Frankenstein. “‘You must create a female for me with whom I can live in the interchange of those sympathies necessary for my being.
His letter to his mother allows every audience member to think back on personal conflicts they may have had when it came to disappointing someone close to them. The detailed sadness and attempts to better/correct himself, puts the reader in a state of sympathy towards the author, allowing them to feel what he had gone through and effectively immersing them in the article. This use of Pathos benefits him as he effectively reaches his audience on a personal and emotional level, reminding them that though everyone is different, we are all still humans. Kefalas makes an effort to blend these emotions with his argument, making an attempt to win over his audience and bring them to his side. This effective strategy aims straight at the hearts of the readers as he/she must question if what they recently believed in, is truly humane and justified.
In the story of Mary Shelley you are able to read how hard it is for Frankenstein to give his creature the love and support it needs. Frankenstein did not even name his creature. Frankenstein was aware of the fact what he was doing. It was his intention to create new life. Though he wasn’t conscious about how his creation would turn out.
This is reinforced by the rhetorical question that serves to convince Walton that the Monster hated having to turn to violence. In both situations, a friendly and accepting hand could have led both monsters to happiness and kindness, but the lack thereof sparked the violence. Grendel and the Monster from their respective works, Gardner’s Grendel and Shelley’s Frankenstein, find themselves with no companionship, nobody to share in their joys or sorrows, which leads to violence being taken out on those who rejected them; if those victims had initially accepted and loved Grendel and the Monster, this would not have