The way Frankenstein conveys his feelings as he beholds the culmination of his obsession shows a deep antithesis of the ‘beauty’ he had expected and the ‘horror’ which had become a reality. This antithesis reflects Shelley’s
“The beauty of the dream vanished and breathless horror and disgust filled my heart.” As the reader acknowledges this it give a nauseating impression towards Victor, but also a shocking undisguised impression of hatred. In chapter 11 we learn to understand Frankenstein when he narrates his flashback. “In my joy I thrust my hand
In order to analyze Frankenstein, one must recall some elements of people's imaginary, as well as old scholars' concepts regarding this famous and ingenious work of Romantic literature. The background in which the author Mary Shelley was inserted to, as well as its importance in introducing readers to a certain type of moral dilemma that was dealt with by several authors of that era, aside from stamping a whole new genre in itself, which was science-fiction. This article briefly discusses the main thematic elements of the novel, inserted in a certain context, under a revenge and betrayal bias, which are ultimately the main triggers of the dramatic action. To start with, it is interesting to mention one of the richest elements of the story. The duality of Victor Frankenstein and its creation is obvious.
‘Frankenstein’ and the so called ‘Monster’ Mary Shelley’s ‘Frankenstein’ examines human nature. A first time reader may be used to the unfaithful Hollywood adaptions of this timeless masterpiece but can find profound levels of depth and meaning in the art of Shelley’s storytelling. The creature in the story is a creation of Victor Frankenstein who is obsessed by "a fervent longing to penetrate the secrets of nature" (Shelley 21). It is the creatures treatment by society and his creator Frankenstein that leads him to indulge in vengeful and evil behavior. Although this behavior is horrible and not at all sane or acceptable, it does not mean that the creature is an animal or ‘monster.’ Some people, legally and illegally, commit and enjoy
Unfortunately, progress is often disrupted by failure to meet lower level needs. Victor Frankenstein in Mary Shelley’s Frankenstein, has a very prestigious rise to self-actualization in the book. Victor also has a very dark, and deep downward spiral back towards the most basic deficiency needs as all of his mental abilities for relationships, esteem, and love are lost due to his actions in the novel. Victor Frankenstein supports Abraham Maslows theory of needs by proving it through his life’s story. Victor Frankenstein can be used to prove Maslow’s hierarchy of needs, thus giving persuasion and justification to Maslow’s theory.
People are, in theory, all bound to a certain set of natural laws and moral codes and country rules, and part of the Romantic dogma is to break free of these bounds. This is precisely what Victor was attempting to do with his reanimation experiments: “Life and death appeared to me ideal bounds, which I should first break through, and pour a torrent of light into our dark world,” (M. Shelley 52) he says, further cementing his existence as a Romantic character. Mary Shelley was a self-professed lover of Coleridge, especially his poem, “Rhyme of the Ancient Mariner,” so it comes by no surprise that she also has references to his poem “The Eolian Harp,” which is another topic breached by several of the Romantic poets because of its place in classical poetry as well. The poem grants the idea of somewhat of a breeze of inspiration playing on the heart of the subject (Coleridge). Shelley takes this idea into her novel in several places, and means it as a breeze of discovery, not just as a breeze of inspiration.
This film shows the importance of how one treats others is more important than how one is made, and this is a product of nurture one receives. In the film, Frankenstein, Frankenstein, the scientist, decides to create a life with his knowledge of science. When Frankenstein succeeds in creating a life, the creature tends to respect and obey Frankenstein’s rules. However, the cruelty of Fritz, Dr. Waldman, and the carelessness of Frankenstein’s duty to nurture the Monster leads to the Monster’s evil behavior. The movie begins with a short narration by the narrator that this is one of the strangest tales ever told; with the two great mysteries of creation- life and death.
Mary Shelley demonstrates this concept through Victor’s pursuit for knowledge, caused by the change of values between the Romantic Era and the Age of Enlightenment. As electricity was discovered, Victor’s admiration for the subject of Galvanism provides him a “thirst for knowledge”, reinforced by his “longing to penetrate the secrets of nature”. This sexual allusion emphasises Victor’s loss of Romantic values which ultimately leads to an extremely arrogant attitude where he “bestows animation upon lifeless matter” and creates the “hideously deformed” monster that metaphorically represents the greed that blinds him. Its horrific actions, namely the killing of people closest to Victor, force him to finally realize that they “died by my hands”. Thus, Shelley warns that the destructiveness of Man’s intrinsic desires for knowledge stems from the change in values.
Shelley draws from the characteristics of gothic fiction influenced by The Romantic Movement, through employing sinister connotations that forebode Victor’s downfall, “…the rain pattered dismally against the panes, and my candle was nearly burnt out…” This portrays the reality that the value of creating life is unattainable, which is furthermore explored in Blade Runner, as Scott presents a world in which technology has eliminated the defining features of humanity. Shelley also alludes to The Promethean Myth and the symbolism of oppressing fire, “…the glimmer of the half-extinguished light…” to emphasise the danger of attaining knowledge beyond accepted boundaries. Shelley’s admonition of excessive knowledge is explored additionally within Blade Runner. Blade Runner is dominated by capitalism and social hierarchy, therefore mirroring the values of the 18th century context of Frankenstein. Scott, influenced by the gothic-novel features in Frankenstein, has employed the style of
Mary Shelley’s Frankenstein (1818) and Ridley Scott’s Blade Runner (1992) express their growing concerns of the destructive consequences of alienation and the suffering that results of this. Influenced by the rapid growth of technology and environmental concerns of their composing times, they illustrate their concerns from different perspectives. Both texts explore the suffering of the environment when one isolates themselves or neglects the natural world. Shelley who was heavily influenced by the principles of Romanticism and was personally exposed to writers and poets who believed in the sublime and rejuvenating power of nature, focuses on the suffering that can occur when one isolates themself from the natural world. It is when Victor