Creation of Sympathy For The Monster In Vol Chapter 5 and Vol Chapter 7 In Mary Shelley's Frankenstein
Sympathy is created for the monster in chapter five and chapter seven
in Mary Shelley's Frankenstein by a variety of methods. These methods
are utilised and explored deeply throughout the novel.
Initially, Shelley introduces the creation of Frankenstein's monster,
through the viewpoint of Dr Frankenstein himself. This first
interpretation of him is very descriptive and powerful, as it comes
from Frankenstein upon the creation of "this catastrophe". His disgust
just creates a more vivid description of the monster, with him
describing the monsters contrasting features, such as his "lustrous
black" hair and "watery eyes". His inability to endure the aspect
drives him out of the room in terror. This creates sympathy for the
being, as we see immediate rejection from its owner. This feeling for
sympathy could be greatly misinterpreted, as we know very little about
the monster, primarily because of Dr Frankenstein giving a biased
opinion in the novel. So, the sympathetic feeling that COULD occur,
may also lead to other similar feelings that Dr Frankenstein
experiences, such as disgust, rejection, and bewilderment. However
justified these descriptions may seem at the time, we must not forget
that it still is a biased opinion, and with many people, in the time
that Shelley wrote this that were judging on appearance, these other
feelings towards the monster certainly occurred.
To intensify Frankenstein's horror and disgust, a range of techniques
are utilised. These techniques in turn reflect the gothic genre to
which the novel belongs. Pat...
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...ly, without fear of
immediate rejection. He would judge upon his personality, instead of
appearance. This "plan" appears to be working; however the rest of the
family appears, and they think he is intent on harm. This causes them
to become hostile towards him, and eject him from the cottage. This
causes the monster to think again about humans and their "virtues" and
turns him rebellious, and hateful.
In conclusion, there are a number of factors that alter the monsters
outlook towards humans, however each one of them portrays a different
emotion towards him. For example, Frankenstein causes the monster to
feel rejected, and unloved, whereas the Delacey family shows that some
humans possess other qualities. This is short lived, however, still
occurs. But, with a build up of bad events, sympathy is again
emphasised.
The Fulfillment of the Definition of Gothic Horror by Chapters 5 and 4 of Mary Shelley's Frankenstein
on the gothic genre of the book, and her life is also mirrored in that
This reaction originates from a preconception, a fear caused by the human nature to prejudge based on past experience. This prejudice is indeed the source of the pain and torment in Mary Shelley’s Frankenstein. If a "monster" exists in the novel, it is this aspect of human nature. Works Cited Shelley, Mary. Frankenstein.
Frankenstein describes all the bad things that he doesn’t like about his creation when it first comes to life, ‘yellow skin scarcely covers the work of his muscles’, ‘watery eyes’ and ‘straight black lips’. These things all explain things that most people would consider ugly and unpleasant to a person or creature. Frankenstein also thinks of his creation as a monster and wonders what, he feels is, a terrible thing he has done, ‘rain pattered dismally’ refers to the awful way Frankenstein felt when the creature came to life, Frankenstein felt as though he had done a terrible thing and that what he had created should be destroyed, ‘the wretch, the miserable monster whom I had created’ also refers to the way Frankenstein felt about his creation and what he sees it as. Frankenstein’s Monsters first experiences of life are confusing to him as his vision is blurry and his senses are not very good, almost like an infant, ‘dark, opaque bodies’, ‘oppressive light’, and ‘tormented by hunger and thirst’ all describe what the creature was going through and tells us that he is like a young child, who can’t get food for themselves and is adverse to bright direct light.
The word monster has a variety of meanings to the world. For children the word monster can be some evil creature living under their bed and for parents, a monster can be their child running around causing amuck in the house. Other people view the word monster as a person who is vicious and grisly like the Zodiac killer. In Mary Shelley’s Frankenstein, Doctor Victor Frankenstein makes a creature whose description is the definition of monster. He is made of different parts from bodies—giving the creature a horrifying look— runs around the city, terrifying others of leaving their houses, and kills multiple people. All evidence shows that Victor’s creature is a monster, however Victor makes the monster with his own hands, doesn’t that make Victor Frankenstein a monster in the making?
By the end of Frankenstein, Mary Shelley wanted the reader to discover that it was not Frankenstein’s creature that was the monster, but Victor Frankenstein himself. She was able to accomplish this fully by highlighting the absence of a single trait in Frankenstein; he has no empathy. Empathy, the ability to feel with another creature, is an integral part of what makes us human, what separates us from inanimate objects and animals. It is possible for a person to register another creature’s emotions without truly being empathetic. True empathy requires an individual to merge identities and act upon both their own and the others’ emotions.
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.
Compare and Contrast the episodes of the creation of the monster and the creation of the second monster in Mary Shelley's Frankenstein Mary Shelley finished her first edition of 'Frankenstein' in 1816, when she was nineteen years old. Since then her "monster" has become so popular in the twenty-first century that he appears in films, advertisements, comics and even computer games. So how is it that as such a young age she was able to write such a gripping novel, which has become more famous than any other work of 'Romantic' literature, and indeed, her own? It could have been a result of an intellectually stimulating childhood due to having free access to her fathers extensive library and literary connections; or it could have been a result of her being emotionally undernourished as a child. Whichever way, she has succeeded in writing a novel that 'speaks to the mysterious fears of our nature and awaken thrilling horror' (p.8 - author's introduction), as she wanted; and she has included many personal ideas about politics and familial relations as well as moral, philosophical and scientific ideas on the creation and 'elixir of life' (p.42).
...luding intelligence, compassion, and emotions. The monster attempts to make friends with his peer humans, despite his continuous rejection. His efforts show that even the monster experiences vulnerability and desire for companionship. The monster proves his intelligence as he devises a plan to learn the English language by observing his neighbors. Meanwhile, Doctor Frankenstein lacks the human quality of intelligence as he fails to foresee the effects of taking creation of life into his own hands. The doctor also lacks compassion when he abandons his creation, the equivalent of a parent leaving his child. Frankenstein flees from his monster because he actually fears the monster as much as the rest of society due to its frightening stature. Doctor Frankenstein and his creation exemplify the qualities people should exude to consider themselves members of the human race.
In the novel, Frankenstein, the author, Mary Shelley, implements a prevalent nineteenth century structure called epistolary within a frame narrative to introduce a sublime story. Through Robert Walton’s letters to his sister, Victor Frankenstein’s life story, and the monster’s interjection, the author provides multiple perspectives to the plot. By allowing each character to share their story that all contain differing point of views, it enables the readers to remain interested and informed. Through the three contrasting narrators, Shelley strengthens the roles of the characters as they respectively convey their emotions and input their personal thoughts.
The creature’s moral ambiguity characteristic was a vile ingredient to the construction of this novel Frankenstein because it made the reader 's sympathies with him even after the audience knows he had committed murder because the readers had seen the truth this creature had to face. That he had tried everything within his power to peacefully live with them, to interact, communicate, and befriend them “these thoughts exhilarated me and led me to apply with fresh ardour to the acquiring the art of language”, that even though he was seen as a monster because of the looks he was created with, something he had no control over, he still had hope to be seen as equals, ”My organs were indeed harsh, but supple; and although my voice was very unlike the soft music of their tones, yet I pronounced such words as I understood with tolerable ease. It was as the ass and the lap-dog; yet surely the gentle ass whose intentions were affectionate, although his manners were rude, deserved better treatment than blows and execration;” this hope of his was utterly crushed, and can only set him up for utter disappointment(12.18). Because in the end he only received hates, scorns, violence, and prejudice from his good will. So in the end of the story, Mary Shelley’s forces the readers to see within the creature’s heart and for
Shelley, Mary. Frankenstein: A Norton Critical Edition. Ed. J. Paul Hunter. New York: W. W.
...most readers tend to sympathize with Frankenstein because of the way in which he is mentally and physically harmed by his creation. However, one must also realize that while Frankenstein is a victim in the novel, he also exhibits features that make him a monster. These monstrous qualities, however, stem from his passion for science and his desire to create life. Not only does the reader criticize and pity Frankenstein, but the reader also empathizes with Frankenstein’s creation. He was unjustly shunned by society because of his physical appearance. On the other hand, the reader realizes that like Frankenstein, the creation can not be sympathized with entirely. He too exhibits traits that make him appear villainous. It is the duality of these two characters that make Frankenstein and his creation two of the most appealing characters of the nineteenth century.
Shelley, Mary. Frankenstein: A Norton Critical Edition. ed. J. Paul Hunter. New York: W. W. Norton, 1996
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 ...