The Struggle For Friendship In Mary Shelley's Frankenstein

All the monster wanted was company, but because he feels alone. He tries to make friends with the people, but every time someone saw him, they would scream and run away from him. When he talks to Frankenstein, he tells him “I am alone and miserable: man will not associate with me.”

Once noted, the parallels between Frankenstein’s fears and desires and the reality the monster experiences are many. Now that Victor is in university, he no longer has family and friends to fall back upon in the unknown territory of his university. Frankenstein voices is that “[he] believed [himself] totally unfitted for the company of strangers,” irrational as it may be, and believes himself solely dependent on his family and childhood friend for companionship. Without the love guaranteed to him by his family, Victor believes he is unfit to make companions by himself and destined to a life of loneliness. He places much importance on the fact that his father and Elizabeth love him and are concerned with his well-being. "I will write instantly, and relieve them from the anxiety they must feel," he says, when he recovers from his illness. The fact that they feel anxiety over his well being is a large part of their value in his eyes. Frankenstein wants to be loved and desired and fears being alone, whether through rejection or some other means of isolation. Plunk “[He] loved [his] brothers, Elizabeth, and Clerval; these were ‘old familiar faces;’” that kept him away from solitude. If he were to lose them, he would lose his safety net and fall into the terrifying void of potential societal scorn and solitude. Whether this fear is reasonable in the beginning of the book, before the

The monster on the other hand had known only loneliness from the second he opened his eyes. The monster learns through painful rejection that he will never find companionship because humans are unable to see past his ghastly appearance and in anger tears away one of Frankenstein’s many companions. This begins the spiral of anger and loneliness that leads to the monster killing nearly everyone Frankenstein is close to. This, inadvertently, forces Frankenstein to have the same feelings of anguish and loneliness that he first instigated in the monster. Frankenstein never realises that all the monster wants is a companion, he cannot see his own emotions reflected in his creation. Through this Shelley is demonstrating that humans may never have the capability to fully understand the things they create through scientific endeavours, therefore reinforcing her concept that too much knowledge can only lead to downfall. Frankenstein had a wonderful life and in creating then abandoning his monster he destroyed that. The bitter link is the fact that Frankenstein, in leaving his monster, in making his creation go into the world alone, sealed his fate to die alone on the sea, the majority of his loved ones dead at his

Victor Frankenstein is selfish. The novel portrays Victor as a selfish character who is only concerned about his own well-being. Frankenstein wanted to manipulate the power of life. He abandons his creation because of the creature’s appearance and also withholds information or lies about his creation. Due to Victor 's selfishness, readers feel sorry for his creation.

Knowledge has the capability to be used for both good and evil. In Mary Shelley’s Frankenstein, there is a consistent message throughout the novel showing the dangerous and destructive power that knowledge can have. Two key characters, Victor Frankenstein and his monster, are shaped through their obsessions with knowledge and the power and responsibility that it brings. Ultimately, Victor’s downfall is a result of his uncontrollable thirst for knowledge, and is brought about through the monster which is the embodiment of his obsession.

Moments, when characters have a sudden change in attitude, can be found often throughout Frankenstein, but it is prominent during Walton’s last letter to his sister as he tells of meeting the monster. The monster mentions his past concerning Victor Frankenstein and that his feelings were “forever ardent and craving; still [it] desired love and fellowship, and [it] was spurned…” (Shelley 211). While the monster recognizes his desire for love, he then contradicts that desire by stating that “[Frankenstein’s] abhorrence cannot equal that with which [it regarded itself]” (Shelley 212). The monster’s growing internal conflict through the novel between his desire to be accepted and his knowledge of being different is what causes him to be a dynamic character. He goes through such a dramatic change in desires from one end of the book to another it’s almost as if he’s a different person. This is interesting to the reader because they can recognize and compare the monster’s personality at different times in the

The gothic fiction novel Frankenstein by Mary Shelley centralizes on humanity and the qualifications that make someone human. The content of the novel Frankenstein depicts a monster displaying human traits that his creator Victor does not possess: empathy, a need for companionship, and a will to learn and fit in.

To go further in depth, the characters in Frankenstein expressed the need of a companion to feel the need and want in life. The character to introduce the want for a friend is Robert Walton. In his second letter to his sister, Margaret Saville, he wishes for a friend he could bond with. “You may deem me romantic, my dear sister, but I bitterly feel the want of a friend. I have no one near me, gentle yet courageous, possessed of a cultivated as well as of a capacious mind, whose tastes are like my own, to approve or amend my plans.” Robert Walton was pleased to have Victor on board and connect with him. Frankenstein is intelligent and well educated, like Walton, and took Robert’s interest. “How would such a friend repair the faults of

The most shared emotion in Frankenstein is loneliness. Robert, the seafarer, writes in letters to his sister Margret: "You may deem me romantic, my dear sister, but I bitterly feel the want of a friend". This feeling of loneliness despite

“I was benevolent and good; misery made me a fiend.” (Shelley 69) Said by Frankenstein’s monster, this quote truly defines him: initially an affectionate, love-seeking creature, he transformed into an enraged killer, angry at humanity for the undeservedly poor way he was treated. Victor Frankenstein is an unique, complex individual who encounters a similar change of nature for similar reasons. The quote—though spoken by the monster—encapsulates the evolution of Victor Frankenstein’s personality; misery—a product of isolation and loneliness—aroused a deterioration of temperament from an initially benevolent Frankenstein.

In their respective novels, the monster from Frankenstein and Grendel from the novel share many similarities as well as differences that can be seen throughout their separate novels. While the number of differences between the two novels are abundant, we will mostly be looking at how each of these two complex novels are similar to each other. In focusing on their similarities we look at how they both feel alone and isolated, they both want companionship, and they both are at times enticed by humanity.

Whereas Frankenstein does not properly value the domestic affection he is given until it is violently taken from him, his creation learns that this is what values most in life and yet is not able to gain this affection from others. Francis Bacon says in his essay Of Friendship “I have given the rule, where a man cannot fitly play his own part; if he have not a friend, he may quit the stage”. Shelley highlights the need for a sense of belonging and companionship by letting both her main figures suffer the pain of not having this need fulfilled and, in consequence, they both “quit the stage” (Bacon) and turn their backs on humanity. Social isolation, although through different circumstances, was the predominant cause for both Frankenstein and his creature’s demise. Even Percy Bysshe Shelley, Mary Shelley’s husband, wrote in his preface to Frankenstein about the “amiableness of domestic affection” (Shelley 9). By denying both main characters the sensation of domestic affection, or any other kind of social belonging, Mary Shelley highlights the importance thereof. The resulting isolation became the driving force behind both Frankenstein and his creation’s abominable actions which, in turn, shows that trying to avoid isolation and seeking the feeling of social belonging is the primary message of Mary Shelley’s Frankenstein and of

When writing any piece of fiction, an author 's choice of narrative voice has a huge impact on how readers experience the story. From the slightly less personal yet versatile third-person to the narrow, limited view of first-person, the narrative voice literally provides the voice of literature. It affects which characters the reader really connects with, the opinions that influence them, the knowledge they have, and numerous other aspects. While most authors stick with only one tense, Mary Shelley challenged that standard in Frankenstein. In Frankenstein, Shelley changes her narrative voice numerous times in order to fully develop all aspects of the story through Walton 's letters, Frankenstein 's story, the Monster 's story, and also the

Mary Shelley’s book Frankenstein is a frame narrative of the life of Victor Frankenstein recorded by Robert Walton. It is circled around his creation of a monster that suffered a lonely life and wanted revenge for being created. In Frankenstein, Shelley portrays many big ideas but, one that continues to show importance is the idea of Human Needs and Desires. so, in the novel Mary Shelley presents the idea that all creatures have a basic need for friendship and love.

Male companionship presents itself in Frankenstein by Mary Shelley and Picnic at Hanging Rock by Joan Lindsay, as a complement to the characteristics that the other male companion does not possess. In Frankenstein, the desire for male companionship spawns from the contrasting natures of Victor Frankenstein and Henry Clerval. Both Henry Clerval and Elizabeth Lavenza serve as foils to Victor’s nature but a woman’s place in Frankenstein’s hierarchy prevents female to male companionship. The one-sided nature of Victor and Henry’s relationship prevents either from achieving a literary climax as companions. The desire for male companionship spawns from a similar place of distinction presented by Mike and Albert’s class and lifestyle differences in