Frankenstein: The Impact of God-like Sciences Stemming from Modern Technology
In Mary Shelley’s novel Frankenstein, Victor Frankenstein’s life story is the heart of the tale. As a young Swiss boy, he grew up in Geneva reading the works of the ancient and outdated alchemists, a background that serves him ill when he attends university at Ingolstadt. There he learns about modern science and, within a few years, masters all that his professors have to teach him. He becomes fascinated with the “secret of life,” discovers it, and brings a hideous monster into the world. The monster proceeds to kill Victor’s youngest brother, best friend, and wife; he also indirectly causes the deaths of two other innocents, including Victor’s father. Though torn by remorse, shame, and guilt, Victor refuses to admit to anyone the horror of what he has created, even as he sees the ramifications of his experiment spiraling out of control. This paper focuses on the God-like sciences that are portrayed in the novel.
“Learn from me. . . 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 101). Victor’s attempt to play God and Creator is most plainly seen through the perceptions and actions of his creation. The creature is born into the world as if it is a baby, knowing nothing of life. This creature's first experience as a living existence is being shunned by its own creator.
I beheld the wretch---the miserable monster whom I had created. He held up the curtain of the bed; and his eyes, if eyes they may be called, were fixed on me… He might have spoken, but I did not hear; one hand was stretched out, seemingly to detain me, but I escaped and rushed downstairs (Shelley 43).
The monster is reaching out to the only thing he knows thus far, his creator, and is met with disgust. Victor, being merely human, cannot offer this creature the unconditional love and guidance that God bestows on His creatures. This, in turn, leads to the imminent immoral actions of the creature.
As technology advances, civilization grows farther from religious beliefs, attempting to become ‘God-like’. Instead of living off what is here, humans build their own habitats. Instead of accepting disease and death, hum...
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Mary Shelley’s Frankenstein, or the Modern Prometheus, explores the monstrous and destructive affects of obsession, guilt, fate, and man’s attempt to control nature. Victor Frankenstein, the novel’s protagonist and antihero, attempts to transcend the barriers of scientific knowledge and application in creating a life. His determination in bringing to life a dead body consequently renders him ill, both mentally and physically. His endeavors alone consume all his time and effort until he becomes fixated on his success. The reason for his success is perhaps to be considered the greatest scientist ever known, but in his obsessive toil, he loses sight of the ethical motivation of science. His production would ultimately grieve him throughout his life, and the consequences of his undertaking would prove disastrous and deadly. Frankenstein illustrates the creation of a monster both literally and figuratively, and sheds light on the dangers of man’s desire to play God.
Upon first discovering how to make life, Victor is overwhelmed with excitement and pride, feeling as though he has unlocked the greatest power on earth. His imagination is “too much exalted” by this newfound ability, and thus determines there is no “animal as complex and wonderful as man” for him to attempt as his first creation (Shelley 43). Frankenstein does not contemplate how he will react to or interact with the human he gives life to, or that he has created an extremely twisted parent-child relationship by creating a human from dead bodies. His general lack of concern regarding the consequences of his remarkable yet dangerous power is the root of the rest of the conflict between him and his monster throughout the rest of the novel, and it exemplifies Shelley’s underlying theme that science should not be pushed past morally and psychologically safe boundaries.
Works Cited for: Shelley, Mary. Frankenstein: A Norton Critical Edition. ed. a. a. a. a. a J. Paul Hunter. New York: W. W. Norton, 1996.
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Mary Shelley’s Frankenstein is a nineteenth century literary work that delves into the world of science and the plausible outcomes of morally insensitive technological research. Although the novel brings to the forefront several issues about knowledge and sublime nature, the novel mostly explores the psychological and physical journey of two complex characters. While each character exhibits several interesting traits that range from passive and contemplative to rash and impulsive, their most attractive quality is their monstrosity. Their monstrosities, however, differ in the way each of the character’s act and respond to their environment.
Shelley, Mary. Frankenstein or the Modern Prometheus. The 1818 Text. New York: Oxford UP, 1998.
Shelley, Mary. Frankenstein or the Modern Prometheus. Edited with an Introduction and notes by Maurice Hindle. Penguin books, 1992
Burns, Alisa. “Frankenstein of the Future.” Frankenstein Commentary. N.p., Sept. 2002. Web. 24 Apr. 2011. .
Mary Shelley’s Frankenstein or The Modern Prometheus, published in 1818, is a product of its time. Written in a world of social, political, scientific and economic upheaval, it highlights human desire to uncover the scientific secrets of our universe, yet also confirms the importance of emotions and individual relationships that define us as human, in contrast to the monstrous. Here we question what is meant by the terms ‘human’ and ‘monstrous’ as defined by the novel. Yet to fully understand how Frankenstein defines these terms, we must look to the etymology of them. The novel however, defines the terms through its main characters, through the themes of language, nature versus nurture, forbidden knowledge, and the doppelganger motif.
Shelley, Mary. Frankenstein or the Modern Prometheus. Edited with an Introduction and notes by Maurice Hindle. Penguin books, 1992