In Jeffrey Jerome Cohen’s Monster Culture (Seven Thesis), Cohen analyzes the psychology behind monsters and how, rather than being a monstrous beast for the protagonist of the story to play against, “the monster signifies something other than itself”. Cohen makes the claim that by analyzing monsters in mythology and stories, you can learn much about the culture that gave rise to them. In Thesis 1 of Monster Culture, Cohen proposes that “the monster’s body literally incorporates fear, desire, anxiety, and fantasy”, specifically the fear, desire and anxiety of the cultures that gave rise to it;; fFor example, vVampires, undead, represent a fear of death. Monsters are born of an intense fear, desire, or internal conflict, “at this metaphorical
Childhood is a time in a person’s life where the most growing occurs, not only physically but also mentally. The human brain is nourished and maintained by the love and affection children receive from both parents and it continues to do so for the rest of their lives. The creature’s inability to build up courage and try to interact with society as well as his constant questioning of his existence is a direct result of an inexistent childhood as well as the absence of a loving family. Frankenstein’s mother and Elizabeth were both orphans so he was well aware of the importance of love and nurturing for people of all ages, yet he denied the creature the opportunity to receive affection of any sort. “No father had watched my infant days, no mother had blessed me with smiles
Victor Frankenstein is inadequate to “mother” his creation. Victor is so horrified that he runs away from the creation in two different ways. When he finds his creation missing, instead of looking for him, he tries to forget about it all. Victor didn’t want to deal with the effects of his actions. Victor doesn’t show affection and care outside of his immediate family and friends, so “mothering” was not in his instincts.
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.
The moment Victor Frankenstein successfully infuses life into his creation he is overcome with horror and disgust. Without further examination he is certain to have created a monster, not a human being (Shelley 35-36). However, despite his grotesque appearance, Frankenstein’s creature was not born malicious. During the first stages of his existence, unbeknownst to Frankenstein himself, his acts are motivated by innocence and virtue, which even earns him the title “good spirit” (79). Frankenstein did not create a monster.
Frankenstein could be focused on two different parent-child relations: that of Victor and his parents, and that of him and his creation, even though the entire novel is filled with parent-child relations that are abnormal, such as Safie’s with her father, where her interests are betrayed, Elizabeth’s with her parents, where she is left an orphan, Walton's relationship to Margaret, in which she failed to respond to her younger brother’s needs, and many more. In the beginning of the novel, Victor talks about his childhood in a way that makes it seem as if he had the perfect childhood. The reason he does this could be a psychological defense of an only child (which he was for a long time) who maintains a love/hate relationship with his parents because he senses that they share a love and affection that he is not and cannot be involved in.
Mary Shelley wrote her groundbreaking novel Frankenstein at a time of social and political upheaval in Europe, when the newly emerged industrial revolution was upsetting the social balance of the continent. Shelley saw before her a world of immense change as familiar social constructs fell into disarray when factories replaced farms. It was also at this time that new research in medical science and anatomy was promoting an increasing understanding of the mysteries of life, something that had previously eluded human understanding. Shelley combines the social change and technological progress of her time in an extended allegory in Frankenstein. She uses the danger of unchecked science combined with the loss of family ties to warn us of a threat facing society.
The argument in Mary Shelley’s novel Frankenstein is nature vs. nurture between the two main characters. Victor Frankenstein and the Creature he created, both have a unique part in each other’s way of life. Frankenstein and the Creature have two very different up brings. Nature and nurture are very important throughout the chapters because how each character is treated. The nature part of the argument is Frankenstein and his background, while nurture is the reason for the creature failing.
Frankenstein In Mary Shelley’s Frankenstein, a conflict as old as life itself emerges as the story progresses; parent versus posterity in a struggle for reconciliation. Victor Frankenstein and his creation become tied up in a constant battle as the creation seeks his origins, finding a horrifying truth; the creator had abandoned the creation. This central conflict derives from the creation of the creature, inability of Frankenstein to appreciate his creation, and the creation’s need for a parental figure. The conflict addresses themes of the book such as human desires for prestige, acceptance, and the intimacy of a relationship with one’s creator.
“What does love look like? It has the hands to help others.” Although Saint Augustine announces this statement of insight long before Mary Shelley’s writing of Frankenstein, he aptly illustrates a key motif within the novel. The storyline begins with Victor Frankenstein creating a hideous monster for the sake of self-achievement, and eventually spirals into a journey of vengeance and murders which the creature commits. Surprisingly, the fiend is inherently kindhearted until the base behavior of society torments his character.
There are very few people that would question the dark and horrific nature of Mary Shelley’s writing in her novel Frankenstein. However, Mary also manages to connect the reader to the characters through the use of an emotion that is not commonly found in the horror genre. Guilt is one of the major over-arching themes of Frankenstein and can entirely change how a reader may view a given character, and Shelley uses this to show how each character changes over the course of the story. In the novel, nearly every character goes through their own stage of guilt of varying intensities. Elizabeth, Victor, and even the monster feel guilt for their actions or lack thereof.