In the novels Grendel and Frankenstein, two characters are presented as one of, or the, isolated and alienated main character. Both experience rejection by the hands of man, and are pushed into roles by the actions of man. Their relation to man, or their state as man’s, “otherkin” magnifies their rejection, but again their status as being “other” justifies their rejection in spite of the harshly negative results. Their status in these novels reflects much of how contemporary authors write about monsters. Out of ignorance, humans rejected their otherkin, Grendel, and the creature from Frankenstein, and as a result the rejected became violent and wreaked retribution on humanity. “Behind my back, at the world’s end, my pale slightly glowing …show more content…
The monsters are specifically identified as something “other” outside of humanity. “The creature does not choose to be alienated. Rather it is, in fact, others who isolate it, because of its hideous appearance.” (Brannstrom 10-11) In spite of the obvious bias of this quotation, it draws towards an overarching idea. How the monsters are the dark side of man. That’s their narrative intent. Even in the creature’s case where he seems to be a Tabula Rasa onto which man creates violence; he is partly intended to show, “...alienation and how innocent victims are affected by it” (Brannstromm 3) Grendel is certainly meant to represent the darker thoughts of man, with Gardner insinuating that excessive, “nihilistic or existential thoughts caused the violence of Grendel.” (Merril 166) and his physical form is monstrous even more so than the creature’s. The reader is left in a situation where the acts of man on the two monsters aren’t unjustified, and the acts of the monsters as retribution aren’t unjustified. When man first met Grendel, they assumed he was dangerous and hurt him. When Frankenstein first saw his creation, he fled in
In society, there have always been different roles in defining the boundaries between right and wrong; Monsters take a big part of that role. In Jeffrey Cohen’s “Monster Culture,” Cohen explains seven theses which provide a clearer explanation of how monsters take a part in establishing these boundaries. The oldest Anglo-Saxon story written- “Beowulf”- provides three different monsters which all connect to Cohen’s seven theses. In the older version, however, the monsters do not relate to humans in any way, except that they are enemies. The modern version of Beowulf portrays Grendel’s mother to still be evil but also have relations with the humans in the story.
the men as the "beasts" and Grendel as the victim. & nbsp; Another aspect of the humans in the story that Grendel defines is their concept of a hero. Not only does he allow for heroes to exist he gives them their purpose in life. Grendel is the monster in the darkness. that every loyal thane would defend his king against. Without Grendel this unique situation would not exist. On the other hand, Grendel has the ability to humiliate and cause a man to be named a coward. He does. this to none other than Unferth. Unferth is treated like a hero because he would defeat the "monster" Grendel, or die trying. When Grendel does not. allow him to complete this task he is shamed by his fellow thanes. Grendel realizes that by killing the man he will be defining him as a hero in the eyes of the humans. Considering the way Grendel was treated by Unferth. and others like him, it becomes easy to sympathize with him extracting this.
Grendel and Frankenstein are two monsters whose society ignores their existence and find them to be burdensome to their society based on the mere fact that they are not like the rest of their surrounding man-kind. Grendel and Frankenstein both strive to accept their place in the views of their surrounding peoples. Although their sporadic happiness comes from them engaging in fights and killing members of their societies, they learn to accept their place within the societies by coping with their ability to stay loyal to themselves and to fight back with self-devotion and not wanting to give up on themselves.
Throughout the history of mankind, the question of what it means to be a human being has been contemplated for centuries. Numerous philosophers have read and debated this significant question and it is still reflected upon today. Frankenstein, written by Mary Shelley plumbs the depth of this question with the example of a creature who is spurned by humanity despite being human in character. The discernment of creature from man is still misconstrued as shown in this tale, but its importance lies in the message Frankenstein that appearances matter very little when it comes to being human. The creature’s human qualities of its emotions, desire for companionship, and intelligence set it apart as uniquely human from simply a base and barbaric monster
Jeffery Cohen's first thesis states “the monster's body is a cultural body”. Monsters give meaning to culture. A monsters characteristics come from a culture's most deep-seated fears and fantasies. Monsters are metaphors and pure representative allegories. What a society chooses to make monstrous says a lot about that society’s people. Monsters help us express and find our darkest places, deepest fears, or creepiest thoughts. Monsters that scare us,vampires, zombies, witches, help us cope with what we dread most in life. Fear of the monstrous has brought communities and cultures together. Society is made up of different beliefs, ideas, and cultural actions. Within society there are always outcasts, people that do not fit into the norm or do not follow the status quo. Those people that do not fit in become monsters that are feared almost unanimously by the people who stick to the status quo.
In most novel and movies monsters are known to be evil, committing numerous crimes against humanity and are normally the ones that we don’t sympathize with. However, this novel carefully shows the reader that monsters can be good creatures, with a decent heart and act based on the actions of others. The novel shows how the monster should be pitied, rather than criticised. Mary Shelley's “Frankenstein” manages to create sympathy for the creature through speech, actions and mistreatment the creature suffers.
Throughout time man has been isolated from people and places. One prime example of isolation is Adam, "the man [formed] from the dust of the ground [by the Lord God]" (Teen Study Bible, Gen. 2.7). After committing the first sin he secludes "from the Garden of Eden to work the ground from which he had been taken" (Teen Study Bible, Gen. 3.23). This isolation strips Adam from his protection and wealth the garden provides and also the non-existence of sin. Mary Shelley, the author of Frankenstein, is able to relate to the story of Adam and the first sin to help her character, the Creature, associate with Adam. The Creature is able to relate because "[l]ike Adam, [he is] apparently united by no link to any other being in existence" (Shelley 124). In other ways the creator of the creature, Victor Frankenstein, also identifies with the tale of the first human, but with a different character, God. "God created man in his own image" (Teen Study Bible, Gen. 1.27) and unlike Frankenstein "God saw all that he had made, and it was very good" (Teen Study Bible, Gen. 1.31). Frankenstein brought a life into the world but did not take the responsibility to lead and guide his creature to benefit himself or the created. Unlike God's creature who did in turn prosper. Instead of prosperity Frankenstein receives a life of loneliness and responsibility of many unnecessary deaths. The Creature, like his creator, lives his life in isolation from society. His only goal is to be loved and accepted by those around him. Through these circumstances the effects of isolation and loneliness are brought to life by the creature and the creator thought their pasts, social statuses, emotions, and dreams and fantasies.
A being cursed for evil goes through life looking for meaning. How can a monster of biblically banished descent be challenged with ideas of morality. In John Gardner’s postmodern novel Grendel, Grendel, explores and speculates on the meaning of life, humanity, and existence while being cursed to life as a monster. Due to his own bleak existence and the observations he has made of mean, Grendel views life as meaningless. Even though he is a descendent of Cain, the distinction between good and evil is blurred in Grendel’s perspective. How can a monster view morality when he is the wicked one yet he watches humans kill each other for bloodshed? Grendel is trying to make sense of an absurd world while the different theories shape his own identity.
Mary Shelley’s Frankenstein, a truly famous novel that has been revisited by many, as well as revised by the author in the many years since its original publication. Within this novel Shelley conveys the tragic fictional story of Victor Frankenstein and his monster that he thoughtlessly brought to life, as well as the lives of those affected by his hideous creation. Throughout the novel it is made quite apparent that the monster was not inherently evil, in fact the monster was quite benign, however through its interactions with society the monster is slowly shaped into a being that can truly be called just that, a monster. All of the aforementioned change to the monster are brought about in part by the societal standards of the time period
The fact that Frankenstein’s creation turns on him and murders innocent people is never overlooked; it has been the subject of virtually every popularization of the novel. What is not often acknowledged is the fact that Frankenstein himself embodies some of the worst traits of humankind. He is self-centered, with little real love for those who care about him; he is prejudiced, inflexible and cannot forgive, even in death. While some of these traits could be forgivable, to own and flaunt them all should be enough to remind a careful reader that there are two "monsters" in Frankenstein.
Peter Brooks' essay "What Is a Monster" tackles many complex ideas within Mary Shelley's Frankenstein, and the main concept that is the title of the essay itself. What is the definition of a monster, or to be monstrous? Is a monster the classic representation we know, green skin, neck bolts, grunting and groaning? A cartoon wishing to deliver sugary cereal? or someone we dislike so greatly their qualities invade our language and affect our interpretation of their image and physical being? Brooks' essay approaches this question by using Shelley's narrative structure to examine how language, not nature, is mainly accountable for creating the idea of the monstrous body.
The definition of ‘monstrosity’ and what it means to be ‘monstrous’ can be understood to mean something that is visually unattractive, malformed and/or terrifying. However, monstrosity is not exclusively about something aesthetically ugly, it can also apply to what differs from what is considered ‘normality’. What is ‘normal’ versus what is ‘monstrous’ is closely linked when exploring ideas about the human condition. The representations of monstrosity in Frankenstein and in The Tempest reveal how what is monstrous and what is normal are often found side by side, challenging the idea that it is limited to outcasts who do not ‘fit-in’, and that deep down, a desire to be understood, accepted and included and to live life with meaning are central to the human condition and that monsters in society often reveal our deep seated fears and anxieties about our own existence.
The creature is more human than Victor since he has the intuition to take care of others, regardless of whether he knows the people. The cottagers whom the creature refers to as “amiable cottagers” (Shelley 79) provide him with a sense of belonging and self-worth, even though he only watches them through a cottage window. The creature recognizes “The trait of kindness moves me sensibly” (Shelley 78) and wanted to help them because he desired to be a part of their family. Anonymously, the creature collected wood and found the tools needed to repair the cottage and cultivate the garden in the cover of darkness. The creature found delight in their surprise to find chores were done when they got up the next morning. Although he found delight
However repugnant he was on the outside, when Frankenstein’s creature begins to tell his tale of sorrow and rejection the creature does not seem to be monstrous. Although rejected multiple times by the humans around him when he finds a family in poverty and “suffering the pangs ...
...zes humanity in this scene by portraying them as the evil beings instead of Grendel who is the helpless victim of their savage assault. The men attack Grendel solely because they could not understand him and because of his appearance. Grendel makes no attempt to harm the men but to communicate with them while they are the ones that savagely tried to kill him. John Gardner portrays the men as the real monsters who mercilessly tried to kill Grendel while he was defenseless. Grendel has another revelation due to this attack in where he states. “The world resists me and I resist the world… “That’s all there is.”(Gardner, 28) Grendel makes this assertion as a means to organized the ways he perceives the world. While he once saw the world as a confusing array of frightening images, now he can separate the world into categories: those who do not resemble him and himself.