An English poet who was interested in expressing his personal experiences life wrote the book ‘The Marriage of Heaven and Hell’. In this book, the author tries to bring out the social structure of the society. The book argues that in the material world that we live in, there is always a struggle between evil and divine forces. Human beings always desire to do good things. They want to help people and make the world a better place for everyone. Divine forces always define such feelings.
On the other hand, the materialistic nature of the world would lead one to sin. The desire to own the world and to have servants makes one engage in acts, which may harm others or even their own conscious. As Blake (4) puts it, Heaven and Hell find themselves in a marriage where they are struggling for existence.
The book ‘Frankenstein’ is a series of letters that Shelly wrote to different people about her personal life experiences. The author identifies a number of weaknesses she has to her friends. In this letters, the author states some of the actions that she associates with Godly forces. She also identifies forces that she considers devilish. In this essay, the author seeks to confirm that in the two books, the role of the devil is the same.
Discussion
An analysis of the two literatures reveals that the authors believed in spiritual world. They believed that both Godly and devilish power exist under the world. They closely demonstrate that in a person’s life, there is always a struggle between good and bad forces.
In a person, there is always a desire to do what is right. Godly forces define this desire. However, sometimes one finds oneself doing what he or she knows is wrong (Berendt 78). Such worldly physical desires may make one do what is wrong. Devil influences one to engage in such immoral acts.
The two authors agree that devil’s forces are very destructive. Shelley (85) says, “Fear overcame me; I dared no advance, dreading a thousand nameless evils that made me tremble.” She observes that evil forces came over her and she started trembling in fear, unable to advance. On the other hand, Blake (6) says, “I saw a mighty Devil folded in black clouds, hovering on the sides of the rock; with corroding fires.”
These two statements closely relate in defining the role of the devil. The devil is not only dreadful; it is also destructive and only brings suffering. The authors also seem to agree with the fact that devil has very strong forces. The devilish forces are sometimes so strong that they consume an individual (Chaniani 67).
In both books, there is an agreement that demon gives reward to those who follow his ways, and this reward is always disastrous. Blake (5) says, “The original Archangel is called the Devil or Satan, and his children are called Sin and Death. The scholar says that those who believe in the ways of the devil tend to get two main things. The first is always the desire to sin, and once one commits sin, he or she will get the reward. The reward for sin, according to this author is death.
This role of demon as presented in this book closely compares with the role given in the second book. Shelley (97) says, “What could I do? In an evil hour I subscribed to a lie; and now only am I truly miserable.” She admits that due to the evil spirit, she subscribed to a lie despite knowing so well that this is a sin. She then continues to state that such a sin has consequences, which is misery. Misery in this case compares closely to death presented in the first book (Suggs 112).
The two books demonstrate that devil is a destiny killer. Shelley (82) says, “The picture appeared a vast and dim scene of evil, and I foresaw obscurely that I was destined to become the most wretched of human beings. The author says that because of the evil forces, the future became obscure and destiny became wretched.
This statement is reflected in the second book. Blake (21) says, “Once I saw a Devil in a flame of fire that arose before an Angel that sat on a cloud.” This scholar notes that a flame of fire arose in the form of a cloud, shrouding the future. These two books agree that devil destroys the bright future of an individual that has been planned by God.
How the Books Challenge Prevailing Conventions about God
The two books supports the current believe that evil forces are destructive. However, there are cases where they challenge existing conventions about God. Blake (24) says, “This Angel, who is now become a Devil, is my particular friend; we often read the Bible together in its infernal or diabolical sense.” Many people in the current society believe that devil hates the bible. However, this book demonstrates that even the devil like reading the bible.
Conclusion
These two books share the idea that demon has a role to play in the society. Demon is always interested to cause pain in people’s lives. Evil forces are deceitful in nature. They corrupt the mind.
Works Cited
Berendt, J. Midnight in the Garden of Good and Evil: A Savannah Story. New York: Vintage Books, 1999. Print.
Blake, W. The Marriage of Heaven and Hell. Coral Gables: University of Miami Press, 1968. Print.
Chaniani, S. The School for Good and Evil. New York, NY: Harper, 2013. Print.
Shelley, M. Frankenstein. Irvine: Saddleback Educational Pub, 2010. Print.
Suggs, R. The Comic Book Bible. Uhrichsville, Ohio: Barbour Pub, 1995. Print.
Victor Frankenstein, the Swiss chemist who creates the monster, is the protagonist of the novel Frankenstein by Mary Shelly. The character plays a crucial role in the development of the novel as every action that happens in the novel is the outcome of what Victor has been working. Widely recognized as the modern Prometheus, Victor, who had been obsessed with the idea of creating life at the death of his mother, works hard to realize the goal and the creation of the monster is of great significance to the entire story of the novel. “Victor Frankenstein pursues knowledge in an obsessive manner that blinds him to the possible effects.
Victor Frankenstein is the primary cause of his creature’s desolation. Indeed, Victor Frankenstein is at fault for the creature’s isolation and malformation, which causes the creature to feel rejected, lonely, and determined to seek revenge.” (Shelly 2006). Therefore, the role of the scientist, which many of the readers along with the character itself neglect, is of great significance. It is primarily because all the actions, events, and characters in the novel are in one way or other linked to or determined by the thoughts and deeds of Victor, the scientist.
The decision of the scientist, a mere human, to intervene in the divine duty of creation in creating a monster, along with his many other obsessions leads the entire action of the novel forward and it is based on this determining role of Victor that the entire novel is marked and appreciated. Victor Frankenstein is “a scientist who dared to defy nature and as a result, lost all those dear to him, as well as his mind,” and based on the role played by this character, it is possible also to analyze the morality of science treated in the novel. (Need a Research Paper on a Specific Topic. 2005).
To rightly understand the significance of the protagonist of the novel, Victor Frankenstein, the scientist who plays God by creating the “monster”, let it be noted that every character in the novel is linked to him if we attempt a character map of the novel. First of all, is Victor who tells the entire story to Robert Walton who in turn records the tale in letters to his sister Mrs. Margaret Saville. More importantly, he is the creator of Monster which murders Henry Clerval, the protagonist traveling companion and best friend, Elizabeth Lavenza, Victor’s spouse, and William Frankenstein, the youngest brother of Victor and the first one to be murdered. (About the Novel. 2008).
Every action and character in the novel, in this manner, is linked to and affected by the role of the scientist protagonist Victor Frankenstein. He “is at fault for the creature’s isolation and malformation, which causes the creature to feel rejected, lonely, and determined to seek revenge.” (Shelley 2006). No other justification is needed for the reason why Mary Shelley, the novelist chose the title of the novel to be Frankenstein.
The influence of the scientist on the novel, other characters, and events, etc are very much evident. In the same way, the role of this character is of great significance to the readers as well. Therefore, it is important that we pay attention to the advice of Victor who tells, “Learn from me, if not by my precepts, at least by my example, how dangerous is the acquirement of knowledge and how much happier that man is who believes his native town to be the world, than he who aspires to become greater than his nature will allow.” (Shelley 2000, p 31).
Works cited
About the Novel. Character Map. Cliffnotes. 2008. Web.
Need an Research Paper on a Specific Topic? Free research papers. 2005. Web.
Shelley, Mary. Frankenstein. Signet Classics. P. 31. 2000.
Shelley, Mary. Summary. Cause and Effect of Victor Frankenstein. Bookrags. 2006. Web.
When writers and poets create their literary works, they use specific devices and techniques like imagery, metaphor, simile, and symbolism to better convey the theme and highlight important details. However, it may also happen that some readers interpret the text in many different ways and can see new meanings in literary works written hundreds of years ago. For example, in the 1818 novel Frankenstein by Mary Shelley, researchers and ordinary readers managed to find a concept that was not discussed before – they discuss unnatural as a metaphor for homosexuality.
It is unknown if this theme was introduced in the novel by Shelley on purpose. However, researchers noticed that “before creating the monster, Victor Frankenstein had implicitly exhibited an unconscious inclination to homosexuality” (Yang 591). For instance, there was a lack of intimacy and sexual desires between him and Elizabeth, while Victor was rather close with his friend Clerval. Nevertheless, it may be more important to explore unnatural as a metaphor for homosexuality.
The scientist was attracted to inanimate material; while turning his back on the world of nature, he tried to learn something unnatural, something beyond the law of God. The aim of Frankenstein was to “bestow animation upon lifeless matter,” break through the boundaries of death and life, and challenge the normality of heterosexuality (Shelley 89). By creating an unnatural monster and endowing life to the dead objects, Victor denied one of the main laws of nature. Consequently, he also proved that it was possible to create a new life without a female, and this unnaturalness challenged the idea of heterosexuality being the only way to procreate. Further, although Frankenstein is at first attracted by the unnatural monster (and homosexuality, as supposed), he later becomes disgusted with his creation (Shelley 98). This may be seen as a metaphor for contemporary people’s contradicting feelings towards homosexuality: while some men experienced homosexual inclinations, they at the same time tried to feel disgusted for them because of the fears and attitudes imposed by society.
To draw a conclusion, one may say that such an interpretation of the novel by Shelley seems to be rather possible and logical. Indeed, there are many hints that Frankenstein is homosexual, and his craving for the unnatural just shows his uncertainty or even hidden fear of his desires. Therefore, Victor’s creation of the monster is an attempt to learn about his own secret sexual desires and challenge heterosexuality.
Works Cited
Shelley, Mary Wollstonecraft. Frankenstein, or the modern Prometheus. Lackington, Hughes, Harding, Mavor, & Jones, 1818.
Yang, Siyu. “Homophobia and the Queered Gothic in Frankenstein.” Advances in Social Science, Education and Humanities Research, vol. 497, 2020, pp. 591-595.
Writers of fictional works of art often come up with characters that are not real in a bid to convey a certain message to the audience. In most cases, the imaginary characters are given attributes that personify human beings in real life. In this paper, the author places emphasis on monsters as fictional characters.
Daragh (382) argues that certain character traits associated with monsters can be used to explain themes that relate to human society. To this end, the author of this paper examines Frankenstein, a monster. Details about the traits of this character are explained in a bid to draw parallels between him and human behaviors.
Whenever monsters are depicted in a text, the creators are often interested in bringing out the fears of the people in a given society. According to Daragh (382), monsters are presented as villains and as creatures whose purpose is to terrorize others.
However, there are cases where the characters harbor no ill intentions at all. In such situations, the monsters are used to illustrate the monstrous behavior of actual beings. An example of the same is presented in the character of Frankenstein. In the book, the author uses the monster to show how real people behave in society.
A number of specific characteristic features are discussed in this paper. They include, among others, appearance, emotions, and articulations associated with the character. Each of the traits addressed is essential in understanding the reasons why Frankenstein was created. More specifically, the role of the character as a monster helps to appreciate the place of such creatures and other fictional figures in a given literary piece of art. Daragh (383) suggests that monsters advance important themes in a story. In light of this, a closer look at the role played by Frankenstein reveals the irony of a creature that should elicit fear among people but ends up experiencing terror instead.
Statement of the Research
The underlying principle of this research undertaking is to examine the character traits of Frankenstein as a monster. The analysis is best realized in the context of a thesis statement that the arguments revolve around.
Thesis statement
The following is the thesis statement of this research paper:
An assessment of the Frankenstein character reveals that monsters are a creation of society.
The author of this paper draws most of the arguments from the opinions made about monsters in peer-reviewed articles. For example, the Master’s thesis by Story (1) seeks to outline the background of monsters in a bid to illustrate their nature. Such arguments are important as they inform the reader why these characters are created. The analysis made in this paper will borrow from Story and other relevant sources.
A Formalist Review of Frankenstein the Monster
Characteristics of Frankenstein
Appearance
In many narratives, monsters are depicted as creatures that are larger than human beings. Most of the times, these characters are given abilities that are superior to those of humans. Works of art that rely on the technique of appearance suggest that monsters are creatures whose sole purpose is to harm humans.
That is the underlying principle in the majority of these narratives. In their research paper, Story (1) advances the idea that giants and ogres are best understood as villains. One way of depicting a villain is by giving them features that would allow them to terrorize people. The same includes anatomical and morphological features associated with the creatures.
Frankenstein is depicted as a relatively large creature. Estimates of the monster’s height suggest that he is about 8 feet tall. Story (1) argues that a reader will only identify a giant as a towering figure. If a storyteller fails to exaggerate the height of this character, the reader may have problems identifying with it.
A case in point is a scenario where a 5 feet character encounters one who is 17 feet taller. The first reaction from the shorter one may be outright intimidation. In most cases, humans are intimidated by anything that is larger than them. They will do anything to try and overcome that thing. The towering height is used to ensure that Frankenstein attains the much needed intimidating attributes associated with a villain.
In terms of physical attributes, the monster is depicted as a human who has had all their organs stitched together. The terror sought from a villain is often amplified by ensuring that their physical looks are not very appealing to the reader. Daragh (383) makes a similar assertion by insisting that monsters are essentially creatures that seek to instill maximum fear among people. To achieve this objective, the character that takes the role of the monster must be made as unappealing as possible.
At this juncture, the appearance of Frankenstein is symbolic of a typical scary monster. A tall figure of a man who is made up of body parts sewn together is already scary enough. According to Story (1), most humans associate body organs with death. As such, the monster that is Frankenstein is given a character that symbolizes death. Essentially, the physical appearance of the ‘creature’ is made horrid to ensure that the reader is intimidated and terrorized to the point of believing that nothing good can come out of it.
The physical appearance of Frankenstein connotes the various opinions held by a human with regards to real and imagined monsters. To illustrate this point, Story provides a comparative analysis of monsters and humans with defects. Story (2) suggests that the horror associated with ogres is a reflection of the thoughts held by individuals in relation to their counterparts who are afflicted by various disabilities.
In the thesis, Story (2) argues that dwarfs and giants are often characterized as monsters in various narratives. The towering figure of Frankenstein is used to illustrate gigantism. The condition often exhibits itself through distortions of the hormones responsible for growth. As such, humans who are afflicted by such conditions are regarded as strange apparitions by their peers. The same applies to monsters.
Frankenstein’s body, as mentioned earlier, is a series of organs and limbs that have been loosely bound together. Such kind of an appearance is symbolic, given the fact that the monster is created by a human being. His appearance is the imagination of a person keen on creating life (Story 3). In this case, the symbolic gesture is that Frankenstein personifies all the horrors created by human beings in the name of science.
An appearance like the one suggested above is an example of how monsters are depicted by individuals. Daragh (383) argues that grotesque characters derive their horrid attributes from their paranormal nature.
Frankenstein is an example of such a paranormal creature. The same explains why his interactions with people in the Story elicit fear. However, it is important to note that appearances can be deceiving. A look at the personality of the ‘monster’ will illustrate whether they are misunderstood creatures or not.
Emotional attributes of the giant
Many scholars and critics pose the question of whether monsters have emotions or not. Such individuals seek to understand whether or not the actions of these characters are driven by some form of the emotional deficit. Daragh (383) poses these questions as they try to make sense of the various themes illustrated in monster-related narratives.
Frankenstein, on his part, is depicted as a character capable of expressing emotions. Right after his ‘birth,’ he is keen on interacting with other people. The ‘monster’ gets emotional when he realizes that he cannot live alone. His desire for friendship drives him to seek the companionship of other people. However, his appearances scare everyone off. He is even branded as an evil person.
In most cases, monsters are highly misunderstood, creatures. In The Beauty and the Beast, a similar fate befalls the beastly character (Weaver 290). The monster in this narrative is a beast that was put under a spell to appear hideous. In spite of these various attempts to make friends with other people, his appearances relegate him to a life of loneliness.
At times, the character gets emotional owing to his lack of friends. The same situation befalls Frankenstein. His interactions with the rest of the society are likened to the manner in which a wild animal escapes a sanctuary. He is viewed as an outsider. People work on the assumptions that he is a giant who has escaped from ‘monster land.’
Perhaps it is the feeling of loneliness on his part that drives Frankenstein to seek friendship. Upon his creation, he clamors for companionship. However, the behavior of his maker shocks him even more. In what would be a classic case of a man creating life, the birth of Frankenstein should have heralded joy on the part of his creator.
However, the maker rejects him, setting into motion a series of events that would suggest sadness on the persona of the ‘monster’s.’ Story (3) uses the same analogy of emotional distress to explain the interaction between monsters and humans.
All forms of interactions result from the desire for emotional fulfillment. The only way one can have emotional satisfaction is through participation in societal activities. Frankenstein’s rejection by his own creator forces him to seek companionship elsewhere. However, due to his appearances, nobody wants to interact with him.
If anything, he only instills fear and terror among the people. Story (5) argues that classical monsters are creations of elements that desire companionship. When this companionship is absent, the characters tend to sink into an emotional abyss and sometimes engage in horrible acts.
The emotional conduct of Frankenstein is an illustration of human behavior. There are instances where people exhibit shortcomings in their appearances and personality traits.
When they are rejected by others due to circumstances beyond their control, their emotions are shattered. As a result, such individuals may end up confining themselves to their lonesome states (Weaver 291). The argument that monsters are a misunderstood lot is supported by the perception that their hideous appearances depict their attempts to attack human beings. However, this is not always the case.
Frankenstein represents the idea that monsters seek emotional satisfaction, just like human beings. The two forms of creatures share the same need for social and emotional company. Story (5) makes a similar assertion by arguing that the interaction between monsters and human beings should not always be seen as the former’s intent to cause terror.
Perhaps, ogres and giants are driven out of their world by the absence of emotional satisfaction, as was the case between Frankenstein and his creator. As such, it is prudent to be realistic when analyzing monsters in a narrative. To this end, attention should be given to their emotional status before passing judgment on their actions.
Frankenstein: The Articulate Monster
One of the most common traits of monsters is their inability to communicate. Daragh (384) suggests that most of these characters produce very intimidating sounds, such as roars and growls. It is very rare to find a monster that is depicted as articulated in speech. Interestingly, Frankenstein is quite capable of communicating, as illustrated in the novel.
He is capable of making coherent speech both with himself and with other people. The ‘monster’ is depicted as having traits similar to a civilized gentleman. He is able to engage in conversation in an action that goes against all the stereotypes of a monster.
As already mentioned in earlier sections of this paper, monsters are imaginary beings. In essence, they do not exist. However, their depiction in literary works of art has evolved over time. Story (2) supports this position by arguing that the phenomenal traits of these characters are changing ‘periodically.’
The thesis by Story (2) introduces the reader to monsters in different categories. The traditional giant is depicted as a brute. Such actions as eloquent speech and ‘gentlemanly’ behavior were not common among monstrous characters in novels.
Frankenstein belongs to the category of monsters that can be regarded as traditional. According to Story (2), such creatures are, at best, meant to inspire fright and terror. Everything about them is designed to scare away the reader. However, the case is different for Frankenstein. Regardless of his hideous looks, the monster’s ability to express himself is derived from his interest in literature.
The attribute is illustrated in the character’s ability to make reference to other narratives. The grammatical correctness with which Frankenstein articulates his issues is an example of the divergence of the character from traditional monsters.
There are other instances where monsters are depicted as having some grasp of a language. Story (2) suggests that most traditional monsters are unable to enunciate their words properly. An improvement in the roaring and growling of monsters is seen in the manner in which other horrid creatures are depicted as having incoherent speech.
However, the fluency and coherence of Frankenstein set him apart from other traditional monsters. Perhaps, he is not a monster after all, given his gentlemanly behavior. Frankenstein’s title of an ogre must have resulted from people’s reaction towards his appearance.
His articulate nature is also evident in the way he presents himself. Regardless of his intimidating looks, Frankenstein acquires a taste for the formal presentation. The development is evident in the manner in which the character learns the art of grooming as a measure of presentation.
While making reference to Frankenstein’s narrative, Story (2) suggests that the man learns all about grooming in less than one year. At the time, reading was considered to be the preserve of the elegant. Frankenstein demonstrates his cultural aptitude when he proves that he has the ability to read in French and German.
The eloquent nature of Frankenstein is a character trait that enables him to adopt an almost human persona. Such an attribute can be used to support the argument that monsters can turn out to be like humans if they are provided with the right environment to thrive.
Frankenstein: the determined monster character
When an individual is said to be determined, the first thing that comes to the mind of the audience is the resolute ability to achieve a certain objective. Frankenstein comes out as an individual intent on making friends with others. However, his monster personality discourages the formation of social bonds. Alker (110) suggests that most monsters are determined to fit into the human world. Frankenstein’s intention of seeking companionship from his MMaster and other people is an example of his determination.
Under many circumstances, monsters are depicted as a face of chaos whenever they are introduced in a narrative. According to Story (3), traditional monsters are often determined to perpetuate terror in society. However, Frankenstein deviates from this form of traditional desire. In his quest to fit into society, he goes to great lengths to develop the necessary behaviors. The same is evident in the way he teaches himself such habits as reading and grooming.
Determination can also be seen in the manner in which he decides to become vengeful. Frankenstein’s initial interactions with people are genuine and sincere. However, after facing rejection, he becomes spiteful. In their study, Weaver (287) describes rage as a characteristic that is largely associated with monsters.
It is apparent that vengeance is fuelled by the negativities the characters experience from people. In Frankenstein’s case, even his maker rejects him. The said rejection inspires his determination to “extract his pound of flesh” from people who demonstrate open hostility towards him (Weaver 287). The determination is an affirmation of the fact that all monsters draw their behavior from certain factors. As a result of their resolve, they are able to realize their objective, whether evil or good.
Desire for companionship
In the previous sections, it was determined that Frankenstein is not existing for the mere reason of causing terror like traditional monsters. As illustrated by his grooming abilities, it is evident that the character is interested in finding a person to comfort him. However, it is unfortunate that he cannot find friendship and companionship even in his own creator.
Alker (113) argues that most monsters find something worth attachment themselves to in the human world. As such, it is common to find a monster looking for friendship in humans, as was the case with Beast in “Beauty and the Beast.”
Companionship is one of the priceless aspects of life. Even among human beings, the absence of this element is known to bring out the worst in people. Frankenstein represents the many individuals whose desire for the company is endless.
There are certain narratives where the absence of companionship has the potential to give rise to retaliation, as was the case with Frankenstein. Once he realized that people were repulsed by his person, he resorted vengeance. Weaver (113) argues that such issues as a lack of social company among monsters are a trigger to their acts of terror.
Frankenstein’s monstrosity is highlighted in the manner through which he tortures and kills his victims. As illustrated by Story (3), traditional monsters are known to inflict harm upon their prey. When the reasons behind their acts are unearthed, it becomes apparent that they are vengeful. The monster that is Frankenstein can be said to be a creation of the rejection he faces in his attempts to find companionship.
Frankenstein the Lone Ranger
The moment this character comes to life, he realizes that he is a species on his own. At one point, he suggests to his MMaster that he would prefer to get a mate. However, his requests fall on deaf ears. Sloggett (126) makes reference to Frankenstein by suggesting that his loneliness is one of the reasons behind his need for companionship. However, the rejection he faces from other people isolates and drives him to loneliness.
The biggest blow as far as rejection is concerned is the hostility directed towards Frankenstein by the womenfolk. At one point in the passage, the monster appeals to the audience to empathize with his situation. He argues that humans have mates, while his heart remains shunned. He goes on to lament about his unfortunate situation, wondering why people reject him, while even animals have partners (Story 24).
The lone ranger in the monster becomes apparent when he resorts to his vengeance against humans. Even in his terror escapades, Frankenstein operates like a one-man army of assassins. Such habits suggest that he is a lone ranger. In addition, it is possible to determine his character as a loner by looking at the kind of food he eats.
Story (24) points out that Frankenstein was the only monster who does not eat meat. The comparison is made with reference to traditional ogres. Most conventional monsters are known to be flesh-eating beasts. Frankenstein’s habit of eating vegetables puts him in a league of his own as a lone ranger.
A hero
There are various instances where a monster is seen as the savior of people in a given situation. For instance, when Frankenstein ponders about his build, he illustrates to the audience that he does not have the normal characteristics of a man. According to Daragh (387), in classical times, superheroes were viewed as beings with extraordinary body features. Frankenstein, in a monologue, suggests that he has capabilities that are not possessed by normal men. The abilities include agility, build, and tolerance to weather, and a unique diet.
The bodies of most heroes are structured to respond to the demands of carrying out extraordinary tasks. Frankenstein is depicted as a character who is trying to come to terms with his body features. In the process, he asks himself fundamental questions as to why he exists with such an overly large and hideous body.
Story (34) argues in spite of their unpleasant looks; some monsters use their super-human abilities to benefit mankind. The same explains why Frankenstein is thinking very hard about his intended role, given that he has features that are lacking in mere mortals.
Frankenstein’s heroic nature may not have come out clearly in the narrative. However, his attempts to conform to the requirements of a normal life make him carry out extraordinary tasks.
For instance, his abilities to groom himself and learn how to read and write are examples of extraordinary tasks. Such an undertaking can be seen as a heroic act to a reader who is full of despair owing to certain shortcomings in their life. Daragh (390) introduces an aspect that would explain the benign superhero status of the monster. Daragh suggests that human negativity killed the hero and turned him into a villain.
Caring
Frankenstein describes himself as a character who presents both hope and despair. According to Alker (114), most monsters are capable of caring about others. However, the ability is hidden by the vile nature of their appearances.
In relation to his affection towards women, Frankenstein demonstrates how he will use the opportunity to provide love and care. In his monologues, he describes how he will be romantic to any lady who agrees to enter into a relationship with him. He argues out this point as if to suggest that ordinary men lack the care and affection capabilities he possesses.
At one point, Frankenstein decides to perform a heroic act by rescuing a dying girl. He does this regardless of the hatred directed towards him by the ordinary folk. The character uses his energy and time to rescue someone he has no ties with. Unfortunately, his caring nature does not endear him to the public. On the one hand, the spectators overlook the kind gesture and assume that he is about to kill the girl. Elsewhere, the girl’s father scampers for safety fearing that the monster intends to inflict harm on him (Story 7).
The argument that Frankenstein is caring transcends his heroic gestures. At the heart of the matter is a man who has been branded as a monster by members of society. He is regarded negatively in spite of his attempts to be a gentleman to these people. A wicked being would rejoice at the misfortunes of the people who have caused him harm.
However, help comes from unlikely quarters in the name of Frankenstein, “the monster.” Only a caring person would overlook societal hate and negativity and continue to engage in good deeds without expecting rewards in return (Daragh 388).
Vengeful
Many behavior patterns that connote terror are derived from people’s bitterness. Evidently, Frankenstein’s attempts to blend into the society are met with hostility from the members of the public. His own creator despises him.
The major reason behind this rejection and hostility is his appearance. According to Alker (114), unlike human beings, monsters do not have control over their appearances. As such, discriminative treatment results in bitterness. As illustrated, Frankenstein’s only desire was companionship with others. Instead, society treats him with a lot of hate. His only response is vengeance.
His vengeful behavior embodies his ruthless nature. As already indicated in this paper, Frankenstein engages in ruthless killings in spite of his earlier kind and caring nature. According to Story (2), the ruthlessness of monsters results from a direct provocation of their person. The same is true even in cases where the provocation was done in the past.
In the case of Frankenstein, the hate and spite he receives from society are seen as an irritant. By assuming that his appearances are intimidating, the society fails to understand that his looks are beyond his control. The actual trigger to the provocation is evident in the manner his own creator joins the hate bandwagon. The agony appears to be too much for him to bear. He fails to win over his own creator.
Conclusion
In this paper, the author highlighted a number of issues in relation to Frankenstein, the monster. Story (2) was used to introduce an element of traditional monsters. The author of this paper highlighted the characteristics of such monsters.
With regards to hideous appearances, Frankenstein fits into this profile. However, the actions of this monster are reactions to the hostile treatment he receives from people. Initially, Frankenstein expresses the desire to fit into human society. The aspirations are made apparent by his grooming and literacy skills. To this end, he defies most of the stereotypes associated with monsters, such as being chaotic.
In spite of his caring nature towards members of society, Frankenstein is not treated nicely. When it dawns on him that his own creator does not like him, his ruthless nature is revealed. Daragh (388) suggests that the behavior of individuals towards monsters is responsible for the latter’s character. The monstrosity associated with Frankenstein can be attributed to the hate and discrimination in society. As such, it is logical to conclude that monsters are a creation of people’s attitudes and behaviors.
Works Cited
Alker, Zoe. “The Monster Evil: Policing and Violence in Victorian Liverpool.” Social History 37.1 (2012): 113-114. Print.
Daragh, Downes. “‘Excellent Monsters’: The Railway Theme in Dickens’s Novels.” English: Journal of the English Association 61.235 (2012): 382-393. Print.
Sloggett, Maria. “‘Delirious Monologues’: Christina Stead’s ‘Egotistical Monsters’.” Journal of the Association for the Study of Australian Literature (2013): 121-128. Print.
Storoy, Ina Helen. The Evolution of Monsters in the Romantic and Victorian Eras, Seen through Frankenstein and the Strange Case of Dr. Jekyll and Mr. Hyde. Diss. University of Tromso, 2013. Print.
Frankenstein by Mary Shelley tells the story of the scientist Victor Frankenstein and his creation of a monster that is separated from all worldly beings. Naomi Hetherington examines the work in her essay from the point of view of theology, and the divine principle of the creator. Naomi Hetherington is a member of the Department for Lifelong Learning. The author has received several awards for excellence in teaching during her tenure at the Department of English and Humanities at Birkbeck, University of London. Moreover, Naomi Hetherington is considered an honorary fellow in the School of English, including for her services to interdisciplinary biblical studies. She is a Fellow of the Sheffield Institute for Interdisciplinary Biblical Studies, which gives her the unique privilege of reviewing and interpreting Mary Shelley’s outstanding work. Hetherington’s essay is titled “Creator and Created in Mary Shelley’s Frankenstein” and argues that Frankenstein’s creation is a parallel to Milton’s Paradise Lost and God’s creation of life. Hetherington adequately concludes that Victor Frankenstein is a symbol of God through the creation of a new being, and the monster is a symbol of Satan due to his deeds.
I agree with Hetherington’s position, since Victor takes on the role of God and creates a new creature, while his monster goes out of control. Hetherington throughout the essay emphasizes the parallel of humanity’s moral limitations through Victor Frankenstein and the separation and connection to Paradise Lost. For Hetherington, Shelley ties the two stories together, thanks to Victor creating the monster and his “fall” from humanity, weaving a tangled web of allusions through her characters’ insatiable desire for knowledge (Hetherington 6). When Frankenstein goes beyond the proper science and refuses to call his son his own, he becomes a cruel overlord of what he sees as satanic. At the same time, his Being sees Frankenstein as Satan sees God: a tyrant who rightfully deserves to be destroyed. Because Satan cannot tell justice from revenge, Frankenstein’s monster feels he has no choice but to take revenge on his unjust creator.
Hetherington says that in the first place it is Satan, in the form of a monster created by Frankenstein, who can evoke in the reader a sympathetic understanding of his fate and deeds. The monster seems sincere in his emotions and desires, especially in his desire to help the De Lacy family. The monster acts as an altruist when he saves a drowning girl and warms his creator with fire. Unlike Frankenstein, who forgot about his family because of his ego, the creature enjoys positive emotions.
The monster created by Victor Frankenstein, like Satan, rejects his creator’s ideas and yearns for more. Hetherington’s opinion is supported by The Edinburgh Magazine and Literary Miscellany, stating that the monster manifests a thirst for emotions and satanic resistance to its desires and needs. According to the second author, the creation thinks that now it can cease to belong to the creator and get to know the family, despite its disgusting appearance (Edinburgh Magazine 252). The monster had no choice but to become evil, as Satan did. As he said: “Satan had his companions, fellowdevils, to admire and encourage him; but I am solitary and detested” (Shelley 124). In the end, however, they are both considered terrible creatures.
Mary Shelley’s outstanding story is built like a web of allusions. It is expressed in the fact that the characters go from their insatiable desire for knowledge. Additionally, Frankenstein’s entire life and creation of his own monster refers the reader to John Milton’s poem “Paradise Lost”. Shelley influences the characterization of Victor and Creation so that these characters present, like their own, challenges to religious authority figures. The moral decline of both characters is observed in the fact that Victor is doing what only God should do. Additionally, Shelley alludes to the ambiguity of the image of Satan in Milton’s poem.
Works Cited
Hetherington, Naomi. “Creator and Created in Mary Shelley’s Frankenstein.” The Keats-Shelley Review vol. 11, no. 1, 1997. pp. 1-39.
Shelley, Mary. Frankenstein; or, The Modern Prometheus. Ed. Brantley Johnson. New York: Simon, 2009. Print.
The Edinburgh Magazine and Literary Miscellany: A New Series of “The Scots Magazine”. U of Maryland, 1818. pp. 249-253.
The Industrial Revolution brought about a great time of change for the people who lived in this time. As the country changed from being mostly agriculturally based to mostly industrialized, people began to debate the relative merits of machines over nature. Newspapers made available through advances in printing techniques pointed out both the advantages and disadvantages of the new machine age. The great issues of the day were the main focus of articles as well as the works of fiction that were becoming much more popular as the price of books fell. “The Victorian novel, with its emphasis on the realistic portrayal of social life, represented many Victorian issues in the stories of its characters” (“The Victorian Age”, 2007). One of the biggest debates in this period was discovering what people felt the proper role of the scientist was in the contemporary age, which was addressed in the novel Frankenstein written by Mary Shelley.
In this book, the main character is Victor Frankenstein who is a scientist that intentionally pushes the boundaries of technology in an attempt to overcome death by re-animating dead tissue. Through this story, science is criticized for its inability to deliver on all its promises as well as having a lack of imagination. “The ancient teachers of this science,’ said he [Frankenstein’s first professor], ‘promised impossibilities, and performed nothing. The modern masters promise very little; they know that metals cannot be transmuted, and that the elixir of life is a chimera” (Shelley, 1993: 40). Frankenstein believed he could create a better human than the one created by God. In the end, though, the monster he succeeds in creating turns out to be the destruction of Frankenstein’s entire family. This makes the argument that science cannot and should not attempt to replace nature in terms of creation.
In addition to examining the ideas of physical science and the capabilities of machines, Shelley attempts to take a scientific approach to the development of her characters. For both the scientist and the monster, she adopts the Lockean model of individual development in which all people are born as a blank slate, without any real personality of their own good or bad. As the characters move through the book, it is seen that they are shaped by their experiences. Frankenstein is mostly an innocent country boy until he enters the city and begins studying science. At this point, he turns into a careless, selfish man with no compassion for the beast he’s brought to life. The monster also enters the world with a gentle spirit but is eventually pushed into violence as the only way of gaining Frankenstein’s attention. Thus, Shelley argues that the only way to retain the peace and harmony of the world as it was then known was to carefully raise children within the natural world without attempting to mechanize it.
With the beginning of the Industrial Revolution, most people felt anything was possible, but Shelley questioned whether that was advisable. She did this first by questioning whether physical science could actually produce desirable results and answers that it is not. This is shown as the monster turns out to be something so hideous that not even its creator can stand to look at it in spite of its naturally gentle nature. She then uses the science of the mind to argue that the natural world, in the absence of machines and science, is the best environment for the development of mankind.
Works Cited
Shelley, Mary. Frankenstein. New York: Barnes and Noble Books, 1993.
The Industrial Revolution was the cause of a great time of change, also referred to in literary circles as the Victorian period. The comfortable old social and cultural norms were being challenged in ways that had never before been experienced as new technology in the form of machines, and modern social structures in the form of growing cities emerged as driving forces in many people’s everyday lives.
“By the beginning of the Victorian period, the Industrial Revolution, as this shift was called, had created profound economic and social changes, including a mass migration of workers to industrial towns, where they lived in new urban slums” (“The Victorian Age,” 2007).
The rising middle class began breaking down the old class structure that had formed the backbone of European society for so much of its history just as advances in technology and machinery touched off new debate regarding the existence of the soul and the nature of God.
Charles Darwin’s Theory of Evolution touched off new debate as well regarding the integrity of the Bible itself. With the availability of new jobs in the cities, traditional women’s roles were also being challenged as more and more young women sought better futures for themselves within the factory setting.
The public was becoming more and more involved in the debates being waged, particularly as newspapers and other periodicals became more prevalent with the introduction of the printing press, introducing and maintaining widespread discourse in the political and social issues of the day. “The Victorian novel, with its emphasis on the realistic portrayal of social life, represented many Victorian issues in the stories of its characters” (“The Victorian Age,” 2007).
The Issues of the Enlightenment in Mary Shelley’s Novel
Mary Shelley’s Frankenstein explores many of these issues of the enlightenment, eventually seeming to conclude that it was not the positive motion it was assumed to be.
Victor Frankenstein suffers from a severe lack of foresight or heedfulness in his endeavors. Goodson (1996) suggests that perhaps this was the result of Victor’s inner desolation and search for fulfillment and enlightenment.
While he was creating his creature, he could only envision something beautiful and pleasant even though his instructors had warned him of the unnatural teachings of those ‘pseudo-scientists’ he had admired in his earlier years. “The ancient teachers of this science,’ said he [Frankenstein’s first professor], ‘promised impossibilities, and performed nothing.
The modern masters promise very little; they know that metals cannot be transmuted and that the elixir of life is a chimera” (Shelley, 1993: 40). He purposefully and intentionally turned his back on the natural world as a means of concentrating on discovering the secret of bringing life to inanimate material, a process in which he was “forced to spend days and night in vaults and charnel-houses.
My attention was fixed upon every object the most insupportable to the delicacy of the human feelings” (Shelley, 1993: 45) while “my eyes were insensible to the charms of nature” (Shelley, 1993: 49). Thus, Shelley is seen to structure her novel around some of the more concerning features of her time period. That was primarily the emergence of the factory and the machines replacing human workers in what was becoming a frightening question regarding the worth of a human.
Knowledge as a Frankenstein’s Theme
Despite the few warnings he’d received and the obvious challenge to the natural order of things, Frankenstein continued his search for in-depth knowledge. He continued to work on the creature he had started, continued to envision it as a beautiful thing that would give all homage to him and remained unable to foresee the true nature of what he was doing until it was too late. The living monster stood facing him in all its horrendous grotesqueness.
Shelley’s protagonist makes a bid for knowledge beyond that of the ‘modern man’ when he attempts to create life on his terms, seeking enlightenment as it was then defined. “Victor Frankenstein, the ‘modern Prometheus’ seeks to attain the knowledge of the Gods, to enter the sphere of the creator rather than the created” (Bushi, 2002). This is in keeping with the signs of the times in which men continued to work on new designs for machines that were intended to replace the hands and minds of human workers within the factories.
Like these men who created machines that performed more uniform work at faster rates for less expenditure, Frankenstein envisioned himself creating a better human than the one created by God, presuming he could somehow circumvent the powers of nature established by God to impose the better, stronger and more economic powers of man. “The deification of science, as described in Shelley’s work, depends upon the defiance of God. Victor is at first charmed by natural science because of the grand dreams of its masters in seeking power and immortality” (Bushi, 2002).
In his pursuit of knowledge, Frankenstein is able to ultimately push aside any of the compunctions against his actions that normal men may face, braving the worms and other decaying matter of the charnel houses to develop his messy workshop in which he pieces together his oversized creation using terms that are as applicable to the feminine role of procreation as well as the mechanic’s role of machination. This, too, is consistent with the times. “The comment that seems evident in Frankenstein is that God has abandoned Man; the progression of history sees Man abandon God in the Victorian era” (Bushi, 2002).
This was the process of enlightenment and, because of its inherent separation from God, is shown to have failure as its hallmark and trading card. In the end, of course, the creation of the monster leads to chaos and the ruin of Frankenstein’s entire family, beginning with the most innocent. Frankenstein’s search for the knowledge of the gods has led only to the destruction of his soul.
The Creature as the Product of the Enlightenment
The creature, the product of the enlightenment, is unable to exist in the world where he has been released. He is neither male nor female living in a world in a world unprepared to accept him as he is. Yousef (2002) suggests a significant part of the problems faced by the monster stemmed from his unenlightened status based upon his appearance and upon his enlightened status based upon his understanding of continued rejection. He is the only one of his kind and quickly comes to the realization that without a balancing influence, there is no means by which he will be able to find peace.
“You must create a female for me, with whom I can live in the interchange of those sympathies necessary for my being” (Shelley, 2004: 195). He has learned the necessity of the balancing influence of family, which is brought by the natural order of the family, consisting of a man and a woman, by watching the De Lacy family after having been abandoned by his creator at the university and having struggled through the wilderness in ignorance.
Within the greater society, the creature has even less chance of being heard than the female, as is proven when he attempts to converse with the blind De Lacy father yet is silenced by the screams of the De Lacy children upon their early arrival home.
The creature of Frankenstein is a symbol in his mere existence. As the technologically produced, free-thinking, and self-aware being that he is, he represents the concept of man’s science taking over the reproductive powers of women, supplanting the natural role and removing the feminine from the equation altogether.
As a symbol of enlightenment, he illustrates that man knows not what he does. This produces horrific results both physically and psychologically, that quickly escalate much further out of control than could have been originally imagined.
Conclusion
Throughout the novel, technology is shown to be man’s attempt to harness the female and the natural in ever tighter constraints even while society seemed to be embracing the uncontrolled experiment of enlightenment that was sweeping the developed nations at this time.
Through characters such as Justine, Shelley tried to indicate how women were effectively silenced for no other reason than they were women while technology, in the symbol of the monster, was able to wander free and create mischief at will. Frankenstein’s exploration into the arcane knowledge and pursuit of enlightenment is seen to destroy his soul, his family, and his science even though he succeeds in bringing about life not directly created by God.
The creature becomes not only man’s attempts to supplant and destroy nature, but also the object lesson of the evils of such attempts as the balance of nature is upset. In the end, Victor argues in favor of the natural order of things, urging his fellow man not to make the same disastrous mistakes he’s made in his attempts to attain the ultimate enlightenment.
Goodson, A.C. “Frankenstein in the Age of Prozac.” Literature and Medicine. Vol. 15, N. 1, (Spring 1996): 16-32.
Shelley, Mary. Frankenstein. New York: Barnes and Noble Books, 1993. “(The) Victorian Age.” The Norton Anthology of English Literature. New York: W.W. Norton and Company, 2007.
Yousef, Nancy. “The Monster in a Dark Room: Frankenstein, Feminism and Philosophy.” Modern Language Quarterly. Vol. 63, N. 2, (June 2002): 197-226.
Is he really a monster? If so, in what way? If not, why is he called that?
In Merry Shelly’s story, Frankenstein, people regard Victor’s creation as a monster, but it is not a monster. The society rejects it and whoever sees it reacts hysterically even though it means no harm. An attractive person can be labeled as a monster by his or her actions and character, but not the way s/he looks.
Victor’s creation might appear as a monster, but inside that hideous looking creature, is a normal being. Society should be blamed for what the creature has turned out to be. People treat it like a monster, and thus it becomes one. The creation becomes the victim of Victor’s obsession.
The creation is not a monster because it has human habits and affection. While observing the cottagers, the Frankenstein’s creation notes that it is deeply affected by the people’s unhappiness. A monster cannot say such things. In addition, a monster cannot care for people it does not even know. Observing the cottagers sympathetically is a reflection of the soft side of this hideous creature. The monster even goes out of its way to rescue a girl, but this kind gesture is misinterpreted.
The monster has all the traits of human beings. Being outlawed and rejected by society is very traumatizing for the monster. From the start of the story, Frankenstein’s creation is misjudged due to the way it looks.
The creation describes the cottagers as perfect human beings and as his “protectors”. The creation is regarded as a monster due to its appearance. For instance, Victor runs out of his apartment the moment he sees it. It has yellow skin and black lips with watery eyes make it abnormal in appearance, which explains why people called it a monster.
Why has this story endured and been so popular for so long?
This story has endured and remained popular for so long as it addresses pertinent issues in society. The issue of scientists creating other beings has been pertinent in society for a very long time. The question of technology vs. morality arises every time the issue of human cloning and stem cell research comes up.
The fact that humans are in a position to so something does not mean they should do it and perhaps Mary Shelley understood this maxim clearly. In the story, Frankenstein, Victor first attends the university where he studies Chemistry and he sets out to unravel the mystery of origins of life by creating a monster.
Similarly, universities are the breeding grounds for scientists who seek to create other beings. The monster becomes rogue and starts working against its creator. It kills Victor’s friends, bride, and associates. The loss caused to the creator is immeasurable.
The contemporary research on stem cells and cloning resonates very well with the occurrences in Frankenstein. Scientists are obsessed with the creation of cells, which will probably give way to the ‘creation’ of cloned human beings. Therefore, Mary Shelley’s story remains relevant and popular as people use it to raise some apposite questions concerning the modern progression in science.
Will the cloned creatures turn against their creators just like the monster in Frankenstein or will they function to accomplish the objectives of their creation? Will scientists be in a position to destroy the creatures so created through science and technology? The above issues are some of the pertinent questions that arise from the story Frankenstein regarding the contemporary events in scientific research and technology. These issues have enabled the story to remain popular for so long.
The story of Victor Frankenstein is one of the most disputable in contemporary literature. Written at the beginning of the ninetieth century, it became a real event of the Victorian era. In her book, The Frankenstein; or, The Modern Prometheus, Mary Shelley brought up the topic problem of the correlation between creator and creature, ambitiousness and encroachment upon the right to be God.
The destiny of the novel protagonist, Victor Frankenstein, and his creature is just an inevitable result of arguments with nature. Victor was sure that he would manage to create a man, as well as many years ago God did it. Still, he failed to create a beautiful human being and paid for his mistake.
“Shelley’s fictional portrayal of grief in Frankenstein not only prefigures God win’s response to an emotional crisis, but it replicates the sensibility of Reason and emotional restraint. Shelley creates the same terrible struggle for moderation between a learned father who shares Godwin’s “philosophy” of logic and a passionate son struggling for self-control” (Hobbs).
Still, Victor did not realize the main mistake of his experiment. He did not understand that he doomed not only his family to death: the Creature is the main victim of Victor Frankenstein:
“Accursed creator! Why did you form a monster so hideous that even you turned from me in disgust? God, in pity, made man beautiful and alluring, after his own image; but my form is a filthy type of yours, more horrid even from the very resemblance.” (Shelley 113)
Victor did not realize that God created humanity and took care of creature, while Frankenstein sought for the success of scientific experiment: “From the beginning, the creature is unloved: Victor, in his flight and subsequent ignoring of what he has done, seems to treat the creature as a nuisance that if ignored might simply go away, disappear” (Seabury 135).
The monstrous feature of Victor Frankenstein is the inability of compassion and love which is so necessary for a living being to be identified as a human. The only thing he saw was the experiment he did, and created an evil creature: “Frankenstein repeatedly insists that every significant event in his life is a predetermined step towards a terrible deed. External events in his history are shadowed by developments in an intellectual life whose course is directed as if by original sin” (Goodall 19):
Of course, the destiny of the Creature was predetermined by Victor’s mistake. Without any doubt, the situation was absolutely different for it. “Frankenstein likewise belongs to the criminal confession genre because, famously, it provides a space in which the Creature speaks for himself, giving his version of things” (Marshall). The creature was created by the man who was the God for the monster, the only member of the family, its father, but it got nothing but hate and disappointments. The Creature realized that other people had the same attitude as Frankenstein, still, their motives were not clear.
To sum it up, it should be admitted that Victor is guilty of what happened to his family and Creature. Frankenstein’s ambitiousness and indifference towards the Creature made a real monster of it. Both characters hated each other; still, the Creature hated Victor for the fact he abandoned it: “…declared everlasting war against the species, and more all, against him who had formed me and sent forth to this insupportable misery.” (Shelley 113) and Frankenstein detested the Creature because it was his unsuccessful experiment.
Works Cited
Goodall, Jane. “Frankenstein and the Reprobate’s Conscience.” Studies in the Novel 31.1 (1999): 19.
Hobbs, Colleen. “Reading the Symptoms: An Exploration of Repression and Hysteria in Mary Shelley’s ‘Frankenstein.’.” Studies in the Novel 25.2 (1993): 152.
Marshall, Tim. “Not Forgotten: Eliza Fenning, Frankenstein, and Victorian Chivalry.” Critical Survey 13.2 (2001): 98.
Seabury, Marcia Bundy. “The Monsters We Create: Woman on the Edge of Time and Frankenstein.” Critique 42.2 (2001): 131-144.
Shelley, Mary Wollstonecraft. Frankenstein Or, the Modern Prometheus. New York: Collier Books, 1961. Print.
Mary Shelley began her writing career at the tender age of 10 years. This was partly due to the influence of her father, William Godwin, who was an established writer and a political journalist.
Mary’s mother, Mary Wollstonecraft, had died when her daughter was only ten days old owing to childbirth complications. Mary’s labor pains had lasted a record 18 hours and required four more hours to remove the afterbirth. After her demise, the young child named after her late mother grew up under the custodian of her father and his friends.
At a young age of 21 years, Mary’s first book Frankenstein was published, and it became an instant success. That was partly due to its representation of the feminine gender. Mary borrowed heavily from the writings of her mother, who had also been an established writer. All the women in Frankenstein are presented as being beautiful, submissive, and virtuous regardless of the position they hold in society.
Frankenstein’s Female Characters
The first female character that the writer introduces to us is Caroline Beaufort. This character represents the other female characters in the novel. When we meet Caroline, she is tending to her invalid father “with the greatest tenderness.” This means that Caroline is a dedicated woman who is ready to help her family members.
After the death of her father, Caroline’s courage rises “to support her in adversity.” This shows that the woman presented to us has a strong character that enables her to deal with the enormous loss in her life. This lack of weakness in her character leads Frankenstein’s father to marry her. Caroline’s ability to evoke love from those around her becomes a common trait among all the women in the narration.
Frankenstein’s father seems to have a kind of “reverence” for her virtues, something that suggests to us that she must have been a religious person. Her strong character is displayed even at the point of her death. This demonstrates how women conducted themselves in trying moments. According to the writer, their “fortitude and benignity” does not leave them even when they are staring death.
Another woman whom we encounter in the novel is Elizabeth. From the description that we first get of her, one does not fail to realize that Elizabeth has the same character as Beaufort. Elizabeth introduces her as “a being heaven sent,” which implies that she is a great help to her and her family. Beaufort continues to claim that Elizabeth is a blessing to the whole family. Her complexion and beauty, which is “fairer than pictured cherub,” does not blur her character.
What the writer wants to bring out in this passage is that the women in question lean more on their character than their beauty. One thing that we learn through Elizabeth and Frankenstein’s mother is that the women in the book heavily rely on the men in their lives for provision.
By the time that this book was published, women were less valued in society, and this might be one reason why the writer chose to present women as playing supportive roles to men. Frankenstein confesses that he looked “upon Elizabeth as mine,” showing how women were viewed as men’s property at the time. This desire for the woman to be owned proves that they were weak in the physical sense. Even though they had a strong character, they still needed the assurance of a man.
The final female character whom we encounter in the book is Justine. Justine is Frankenstein’s house cleaner, and she represents the ideal misrepresentation of women in the novel. While Elizabeth is still alive, she refers to Justine as “softness and winning mildness.” It is fascinating to notice how a woman heaps praise on another for her submissiveness.
All the women in the book are praised for their passive nature, especially toward men and the authority. When Justine is taken to court for a crime that she has not committed, she gladly accepts her punishment, although she knows that she is innocent of any wrongdoing.
This passiveness in her nature can either be looked at the angle of her being a woman or for being a lowly house cleaner. During the time, the rich despised the lower class, and women were considered second-class citizens. This combination might have contributed to the passiveness witnessed in all the women in the story. Like all the other women, Justine is presented as “very clever and gentle, and extremely pretty.” Despite her beauty, she still maintains her character, which is more desirable among women.
Conclusion
The view of women is a key component of the book. All the women in the book are presented as possessing physical beauty, but they disregard it in favor of their spiritual and inner beauty. The writer of the book presents women as submissive creatures who rely on men for provision and protection.
By looking at the upbringing of Shelley, one fails to understand where she drew her inspiration from since she grew in a very different background where she had to fight to get everything. One, therefore, realizes that the writer must have been avoiding risking disagreements just for the sake of it. The female characters, therefore, help us to understand the character of Frankenstein and to provoke the reader’s empathy for him.