Evaluation of Mary Shelley's Frankenstein
Form, Structure and Plot
Frankenstein, an epistolary novel by Mary Shelley, deals with epistemology, is divided into three volumes, each taking place at a distinct time. Volume I highlights the correspondence in letters between Robert Walton, an Arctic seafarer, and his sister, Margaret Saville. Walton's letters to Margaret basically explain his expedition at sea and introduce Victor Frankenstein, the protagonist of the novel. Volume II is essentially Frankenstein's narrative, told in his point of view, with much action, death, and many more characters. There are a few chapters within this volume in which the monster narrates his adventures while alone. Volume III displays Victor's death and the monsters portrayal as a desperate character. Robert Walton also writes one final letter to his sister, explaining the remainder of Victor's story. The story is written chronologically, but because Victor's narrative brings about a flashback, it seems as if Victor is found, then the story shifts back in time to Victor?s youth and works its way back into present time. Volume I and Volume III are written in Walton?s perspective but Volume II is written mostly in Frankenstein's point of view. The work follows the patterns of an epistolary novel in that letters introduce the plot, the plot itself follows, and then letters to commence the plot end the story. The actual happenings of Frankenstein cover a two year period, but this does not include Victor?s narrative in Volume II.
Characters
The characters that serve as narrators at some time during the story, Robert Walton Victor Frankenstein, and the daemon, may be considered believable. Walton describes his aspirations and limited findings, which lack room for inaccuracies. Frankenstein?s narrative, which seems somewhat farfetched at first with the introduction of the monster, proves itself as believable due to the raw emotions he expresses. The monster?s narrative is also believable because it just accounts for what he had done to fill time while alone in the woods.
Victor Frankenstein, one of the novel?s round characters, may be described as a creative, knowledgeable, and reserved man in his middle ages. The novel is unique in that Victor Frankenstein is both the protagonist and antagonist, consequentially creating a conflict of man versus himself. W...
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...n my native wood, nor known nor felt beyond the sensations of hunger, thirst, and heat! Of what a strange nature is knowledge! (119).
The theme only heightens toward the end when Frankenstein sputters his dying words: ?Farewell, Walton! Seek happiness in tranquility and avoid ambition, even if it be the only apparently innocent one of distinguishing yourself in the science and discoveries. Yet why do I say this? I have myself been blasted in these hopes, yet another may succeed.? (215). It is only appropriate that his dying words confront the main them of the story. In essence, Frankenstein is confirming that knowledge is, in fact, dangerous, but even more dangerous is not pursuing knowledge for if one were to succeed, he would open that field up to all of mankind.
Significance of Title
There seems to be no true significance of the title Frankenstein. It seems merely to be named after the story?s main character, protagonist, antagonist, and, of course, its roundest character.
Works Cited:
Shelley, Mary Wollstonecraft. Frankenstein; or, The Modern Prometheus. Ed. D.L. Macdonald and Kathleen Scherf. Peterborough: Broadview Press, 1994.
Frankenstein is a horror movie that tells the story of Dr. Henry Frankenstein’s experiment. In search for the fame and glory of playing to be god, he reaches a point where he is able to revive dead people. In this version of Frankenstein’s monster we see a selfish and careless scientist that created a creature with his intelligence. The way the character is shown reflects how ambitious someone can be to reach to be known in the world. This movie makes the people who are watching to feel empathy on the poor creature. This poor creature that did not want to live in a life where everyone is going to hate him for having a horrible aspect and not following rules that he has no idea about.
Despite popular belief, Frankenstein is not the name of the monster but instead its creator. Victor Frankenstein created the “tremendous and abhorred” (page 76) creature that is known as the Monster after he discovers how to give
In Frankenstein, Mary Shelley highlights on the experiences her characters undergo through the internal war of passion and responsibility. Victor Frankenstein lets his eagerness of knowledge and creating life get so out of hand that he fails to realize what the outcome of such a creature would affect humankind. Mary Shelley’s novel, Frankenstein, highlights on how Frankenstein’s passion of knowledge is what ultimately causes the decline of his health and the death of him and his loved ones.
in Frankenstein: Contexts, nineteenth century responses, criticism. By Mary Shelley. Ed. J. Paul Hunter. Norton Critical Edition.
In the United States, there are two kinds of physicians that practice medicine. The Osteopathic medicine is practiced by the Doctor of Osteopathy (D.O.) while Allopathic medicine is practiced by the Doctor of Medicine (M.D.). Due to more physicians hold the degree of MD than the DO's degree, few people recognize Osteopathic Physicians.
In this essay I will be looking at the differences between the creation of the first and second monster, how Mary Shelley portrays the feelings of Victor and the monster and the different myths and legends that she refers to within the novel. Victor Frankenstein had a wonderful life as a child: 'No human being could have passed a happier childhood than myself' (p.39) He was loving and cared deeply for his family, especially for his foster-sister, Elizabeth, who he looked upon as his own, and saw as a 'more than sister' (p.37). Victor always had an 'eager desire to learn' (p.39) about 'the secrets of heaven and earth' (p.39). When he was thirteen years old he started studying the works of Cornelius Agrippa and the fact that his father called it all 'sad trash' (p.40) fuelled his curiosity and enthusiasm and caused him to study even more which was to him, 'the fatal impulse that led to my [his] ruin' (p.41).
Works Cited Shelley, Mary. Frankenstein: A Norton Critical Edition. ed. J. Paul Hunter. New York: W. W. Norton, 1996.
We are shown that this ‘monster’ is a ‘creature’ and more of a human than we think. It is in the complex structure of the novel that Mary Shelley creates sympathy. We shift from Robert Walton to Victor Frankenstein to the monster and finally back to Walton. With each shift of perspective, the reader gains new information about both the facts of the story and the reliability of the narrator. Each perspective adds pieces of information that only they knows: Walton explains the circumstances of Victor’s last days, Victor explains his creation of the monster, the monster explains his turn to evil.
Shelley, Mary. Frankenstein: A Norton Critical Edition. Ed. J. Paul Hunter. New York: W. W.
Throughout Frankenstein, one assumes that Frankenstein’s creation is the true monster. While the creation’s actions are indeed monstrous, one must also realize that his creator, Victor Frankenstein, is also a villain. His inconsiderate and selfish acts as well as his passion for science result in the death of his friend and family members and ultimately in his own demise. Throughout the novel, Shelley investigates the idea of monstrosity. She makes the point that a monster does not have to be genuinely evil in order to be considered monstrous.
Although “Frankenstein” is the story of Victor and his monster, Walton is the most reliable narrator throughout the novel. However, like most narrator’s, even his retelling of Victor’s story is skewed by prejudice and favoritism of the scientist’s point of view. Yet this could be attributed to the only view points he ever gets to truly hear are from Victor himself and not the monster that he only gets to meet after he comes to mourn his fallen master.
Robert Walton, an Artic explorer, demonstrates the idea of knowledge as “dangerous” through his letters to his sister. He shows determination while on his quest, but it is glory that he seeks the most. Walton states, “I shall satiate my ardent curiosity with the sight of a part of the world never before visited, and may tread a land never before imprinted by the foot of man”(8). The statement implies that Walton seeks “dangerous” knowledge; the type of knowledge that only God possesses. Although he wants glory, he refuses to do whatever it takes to get it. Walton expresses that by saying, “I am going to unexplored regions, to “the land of mist and snow”; but I shall kill no albatross, therefore do not be alarmed for my safety” (15). Although Walton seeks glory or forbidden knowledge, he is aware that it comes with consequences that he is not willing to face. He has no interest in betraying people or upsetting nature to get to the level of greatness that he wants. Upon...
Shelley, Mary. Frankenstein or the Modern Prometheus. Edited with an Introduction and notes by Maurice Hindle. Penguin books, 1992
On July 12, 1817, in Concord, Massachusetts, John and Cynthia birthed their third child, Henry David Thoreau. Striving to support the growing family, John worked as a pencil manufacturer, while Cynthia boarded individuals. His two older
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