Mary Shelley’s novel “Frankenstein” is infused with metaphors, revealing the state of the world during 1818 when the first edition was published. Firstly, through the initial dialog between Victor Frankenstein and the monster he created, an image of a repulsive creature is depicted, revealing the destructive relationship possible between a creator and his offspring. Secondly, it can be observed that the metaphor of the monster reveals Shelley’s criticism of the displacement of religion during the era of the enlightenment. Thirdly, Frankenstein can be seen as a condemnation of the treatment given to those with a visible difference within society. Additionally, Shelley’s creation of the monster in her novel could be seen to reveal the toxic effect of a world without female influences.
Mary Shelley's "Frankenstein" In order to illustrate the main theme of her novel “Frankenstein”, Mary Shelly draws strongly on the myth of Prometheus, as the subtitle The Modern Prometheus indicates. Maurice Hindle, in his critical study of the novel, suggests, “the primary theme of Frankenstein is what happens to human sympathies and relationships when men seek obsessively to satisfy their Promethean longings to “conquer the unknown” - supposedly in the service of their fellow-humans”. This assertion is discussed by first describing the Promethean connection. Thereafter, the two forms of the myth, Prometheus the fire-stealer and Prometheus the life-giver are reviewed in the context of Shelly’s use of the myth in her novel and their relationship to the main theme. Finally, the character of Frankenstein as a modern Prometheus of the scientific age is discussed in the context of English Romantic literature.
Through this, it is evident to the reader that Frankenstein carries the attributes of a monster and the ‘demon’ Mary Shelley is depicting in her novel is Frankenstein. Works Cited Shelley, Mary & Hunter, J. Paul. Frankenstein: The 1818 Text, Contexts, Nineteenth-Century Responses, Modern Criticism. New York: W. W. Norton & Company, 1996.
That’s why stories about supernatural became popular. ‘Frankenstein’ is one of the typical examples of that time which portrays the effects of these changes. As we read more we get to know that Victor Frankenstein described the monster when he first came alive. The monster was ‘hideous’ with his ‘yellow eyes’, ‘pearly white teeth’ and ‘scarcely skin’. Here Shelley wants us, as readers, to be repulsed by what we see.
Sympathy in Mary Shelley's Frankenstein In her novel, 'Frankenstein', Mary Shelley employs many innovative literary techniques to invoke feelings of sympathy for the monster. Sympathy is created by the author both by making the readers pity the monster’s loathsome existence and by leading them to understand his violent and cruel actions. We pity the creature because of the way he is treated by mankind and we can identify with his feelings and reactions and understand why he behaves as he does. Shelley uses different narrators throughout the novel and the reader sympathises with the views of these people to differing degrees. The language used when describing the physical appearance of the monster and his feelings is very strong and evocative.
Even though Victor is successful in creating a human heart beat with the use of dead human rem... ... middle of paper ... ... accused mankind of being barbaric. If Victor and society would have been able to get past their prejudices of the unfamiliar, Victor, his family, and the monster may have been fortunate enough to avoid their doomed endings. Mary Shelley’s Frankenstein focuses on several social and emotional themes throughout the novel. The consequence of obtaining too much knowledge for one’s good begins Victor Frankenstein on a canter to an early, lonely grave. The theme of isolation inevitably creates two dangerous monsters within Victor and his creation.
The classic gothic novel Frankenstein by Mary Shelley details the relationship between two significant figures, Victor Frankenstein, and his unnamed monster. The critical relationship between such characters causes many literary critics to compose the idea that they are bound by nature – inadvertently becoming a single central figure (Spark). The notion that the monster is an alter ego to Victor is an ideal suggestion, as their roles in the story consistently change; from predator to prey, depression to anger, pity to cruelty, these are all characteristics shared between both characters at different times of the novel. Numerous themes show these characters as both complementary and contrasted beings (Spark). Muriel Spark proclaims one of the most prominent pieces of evidence to show the relationship between Victor and the monster includes the alternate title of the novel, The Modern Prometheus.
In the novel Frankenstein, Mary Shelley intertwines an intricate web of allusions through her characters' insatiable desires for knowledge. Both the actions of Frankenstein, as well as his creature allude to John Milton?s epic poem Paradise Lost. The legendary Fall of Adam and Eve introduced the knowledge of good and evil into a previously immaculate world. In one split second sin was birthed, and the perfection of the earth was swept away, leaving anguish and iniquity in its ramification. The troubles of Victor Frankenstein began with his quest for knowledge, and, end where both pieces end: death.
We the readers have softened ourselves to the narrator. We are ... ... middle of paper ... ...he age of technology and the Industrial Revolution, the time in which Frankenstein was written. Shelley might have seen the dangers of the technological society and the exploitation of nature. She expressed this danger in the creation of her monster. Frankenstein marries two very different schools of thought.
The author of the renowned work, Mary Shelley, included Satanic heroes among numerous other literary devices that fabricate Frankenstein’s exemplarity. She clearly and cleverly identifies three elements that expose Victor’s role as a Satanic hero by interweaving the theme of nature vs. nurture, a doppelganger, and biblical allusion during the novel’s composition. By choosing to include a Satanic hero, Shelley confines her plot to strict criteria. Satanic heroes can be identified by three distinct characteristics; they distinguishingly decline similarly to Adam from Genesis because he shares those traits. In the same manner as Adam, Satanic heroes desire and seek knowledge and power.