He also views Victor Frankenstein as the modern Prometheus that is stated in the title of the book. He argues Victor rebels against the divinely arranged order, steals spark from heaven, as illustrated in the book and creates a creature in his image (Cantor para. 3). However, just like Prometheus, he ends up bringing destruction and disaster upon the very people he was trying to help. The monster created by Victor plays a good role of the Prometheus in Shelly’s story (Shelley 104).
Victor’s Validation of Alienation Throughout Mary Shelley’s novel, Frankenstein, human alienation manifests itself through Victor’s inability to put other’s first and focus on his relationships. In Frankenstein, Victor demonstrates a constant need to appear knowledgeable and gain glory and fame from his scientific discoveries—which causes Victor to overlook the importance of company. In order to validate his alienation, his personal desire for fame encouraged him to act selfishly, corroborating his decision to focus only upon himself. Furthermore, Victor himself creates the monster and abandons him with selfish intent. Although selfish desires do not always isolate an individual, selfishness is often a cause of human alienation.
From Son to Satan: Parenting in the 17th century Often in a novel, an author will make the relationship between a parental figure and a child be one of conflict to emphasize their relationship to each other. However, in the 1818 Gothic Romantic novel Frankenstein, author Mary Shelley uses the father and son relationship between scientist Victor Frankenstein and the creature as a tool to demonstrate that one must take responsibility for their actions and that monsters are not born monsters visualized through Victor’s abandonment of the creature, the monsters reaction to being shunned and Victor’s failure to comply with the creatures request to create a partner. The inception of the conflict between the two characters began when Victor became
The gigantic body and the ugly countenance, these hideous features of the creature who is assembled with the materials that Frankenstein had selected as beautiful, imply an alienated and transformative state of human beings. Marx’s theory of alienation works best here, as what is created by Frankenstein becomes what he is alienated from and largely controlled by. Again, the metaphor ‘slave’ appears in the confrontation between Frankenstein and the creature. When Frankenstein agrees to make a female creature for the creature, he feels the submission in his relationship with the creature and admits that he is the slave of the creature, saying “but through the whole period during which I was the slave of my creature I allowed myself to be governed by the impulses of the moment” (139). The creature is even more conscious of his superior power over Frankenstein, and calls himself ‘the master’ when Frankenstein breaks his promise, “Slave, I before reasoned with you, but you have proved yourself unworthy of my condescension.
Throughout Frankenstein, Mary Shelley shows how dangerous knowledge can be. Discuss. In her novel, Frankenstein, Mary Shelley highlights how the pursuit of knowledge can lead to disastrous consequences when it is placed in the wrong hands. This is evidenced by Victor Frankenstein’s carless actions, and that of his creation when it is discovering the world and society for the first time. Victor’s reckless behaviour contributes not only the deaths of his family, but the creature’s nature of becoming sinful through experience.
Victor is horrified with the monster he has created, and flees to avoid the responsibility that follows. However, although he escapes from the responsibility he has created for himself, the monster feels betrayed by his maker and hell ensues when he kills every person Victor loves. In the end of the story Victor dies, haunted by his own actions. The story, which was written in a time where science and technology held promise of great advances for society, has become a cult classic. There has been made countless movie adaptions of the novel, thus every cultural consumer in the Western world knows the story about “the crazy scientist” and his horrible creature.
Frankenstein exposes the dangers of scientific exploration, the destruction reaped by progress for progress’ sake. Shelley cautions against playing God without consideration for the natural order, using the relationship between masculine power and feminine fragility to parallel the interaction between science and romanticism. The novel extols the romanticism of nature’s indescribable splendor and energy, and villainizes many of the concepts of the scientific revolution, especially those that encourage irreverent exploration, or the glorification of oneself. The turmoil of innovation and progress distracts from the values of the past, completely antithetical to a higher power. Author Fritjof Capra argues that nature exists as an inherently feminine power to for exploitation, yet Shelley’s text reinforces the notion of nature as both a feminine and masculine force, contrary to Capra’s assertion.
The monsters revenge on Frankenstein, drives him too to be full of hatred and need for vengeance because he destroyed everything good in his life. He feels as the death of his loved ones is his fault because he is the one that created the horrid creature in the first place (Brackett). “As time passed away I became more calm; misery had her dwelling in my heart, but I no longer talked in the same incoherent manner of my own crimes; sufficient for me was the consciousness of them” (Shelley 158). The monster wanted Victor to feel the same thing as him, lonely and sadness. The monsters revenge works, Victor becomes rejected by people and has nobody but himself.
Thus, the killing of the totem is both a celebratory event for the removal of the dictator figure, but also a cause of great remorse, as the father figure was in all probability loved and respected. The guilt causes the sons to further idolize their father, making him stronger in death than in life. They then begin to worship this fallen figure, turning the father into the Father, or God, accidentally creating a religion through their internal strife. The main faults that I find in Freud's proposal is the lack of scientific or anthropologic evidence, along with the primality he assumes of early humans. His theory is primarily based on Sophocles's play Oedipus Rex, and uses the prophecy and downfall of one mythical man to project onto the entirety of human belief system.
the outcast in frankenstein) good example of the creature’s intelligence and eloquence was that he was pointing out that even the worst of men are allowed to defend themselves before judgment is passed. The creature has the ability to speak in his own defense, but is not given the chance. He is not accepted as a human and therefore is not given the right to defend himself. The creature also points out that while Victor has labeled him a murderer, Victor does not see a crime in killing the creature. The creature’s rejection in the novel is due to the nature of his being.