He realizes that this monster is likely to become just as malevolent as the previous one, and with that thought in mind he proceeds to destroy it. Consequently, the world is saved from having to deal with another daemon, perhaps even a race of daemons, and humankind survives. Therein lies the difference between Frankenstein and the typical apocalypse-esque movie. Frankenstein is cautious when he builds the second monster, he knows that it could wreak havoc upon society, he destroys it, and humankind is saved. Through Frankenstein, Mary Shelley’s opinion is clear: by simply taking the time to be cautious, one can prevent disaster.
Although a quotation from Milton’s... ... middle of paper ... ...fe-giver. However, it could be argued that Frankenstein is better connected to Prometheus the fire-stealer. Frankenstein’s experiments with the two edged sword of forbidden knowledge had the possibility of bestowing great good upon humanity or perhaps the destruction of humankind. Shelley has utilised both versions of the myth to great effect in the development of the main theme. Her character, Frankenstein, effectively destroyed all he held dear as a consequence of his obsession with the pursuit of forbidden knowledge.
In the end Frankenstein’s monster kills Henry Clerval in revenge against Frankenstein. In essence a product of science gone wrong killed nature. Once again Shelley shows us that science brings negative consequences. Clerval who did nothing
The Dangers of Science in Mary Shelley's Frankenstein Mary Shelley's novel Frankenstein cannot merely be read as a literary work of the early 19th century. It represents the workings of young Shelley's mind. Further, it represents the vast scientific discoveries of the time, combined with Mary Shelley's intuitive perception of science. She views science as a powerful entity, but also recognizes the dangers if uncontrolled. Shelley demonstrates this fear in the book as science drives Victor Frankenstein to create his monster.
Shelly demonstrates this newfound drive when Frankenstein claim 's that his determination to kill the monster is "the devouring and only passion of my soul" (Shelley, 148). Much how nature restored Victor earlier in the novel, his newfound passion to destroy his unnatural creation now restores him to health, in his quest to rectify his destruction if
Many people may think that if someone were to create life as complex as humans it would beneficial to humans. In the story Frankenstein, Victor creates an intelligent new species of life. This “monster” is rejected by society and seeks revenge on humans and Victor. Throughout Frankenstein, Mary Shelley uses the theme of the creation and destruction of life to illustrate how the creation of life can be a threat to many other lives. The book Frankenstein shows Victor’s god-like talent of creating life.
In this novel, Victor Frankenstein's passion for scientific progress leads to the birth of a horrific monster that, in turn, seeks revenge upon Victor and his family. This is simply the plot. This plot is used to develop the themes of the potential evil inherent in technological advancement, human prejudice, and the universal desire for love and acceptance. The novel has deservedly been named "the first true work of science fiction," alluding to the inherent absurdity of the theme of the dangers in technological advancement ("Visions of the Future, 5). Moreover, since the novel's introduction in 1808, many writers of this genre have built gripping stories around scientific and technological capabilities and the consequences of misusing them.
Manuel Aguirre states, “Mary Shelley’s Frankenstein has been studied as an instance of science-fiction horror; ….” (“Gothic Fiction….” 3). The science fiction aspect comes from the use of new technology to create the monster, or horror. Gothic horror best describes itself as a multiple step technique that always involves a twist between hero and villain. The best gothic writers never denote the real hero or villain, and Mary makes herself no exception (British Council 332). The real monster gets named by the reader, not the
To the end, Frankenstein breaks through the barrier that separates man from God, and apparently becomes the giver of life, but all he actually can give is death-in-life.4It is Frankenstein who disorders the law of nature and the monster inherits his mistake, abusing knowledge. Originally, the main intention of the creature’s self-education is to learn the skills of survival as well as improvement of life, and the motivation of the learning is basically good. But disobeying the principle of nature makes these self-educators become self-destroyers. The fiction, as a result, ends with a tragic way. All three of the narrators in the novel are self-educated, and fall victim to this problem; seeking knowledge in solitude, they are condemned to find only a more distressing knowledge of solitude.
Mary Shelley typifies this notion in her fiction Frankenstein, in which Victor Frankenstein, a fervid scientist, creates a monstrous creature in his heedless pursuit of knowledge at a cost of a few lives. Although the creature causes several deaths in this novel, he is a victim more worthy of forgiveness and compassion than Victor, whose moral failure as a creator is responsible for this tragedy. Fundamentally, Victor abandons the newborn creature, leaving the helpless orphan to suffer the society’s rejection. Passionate in his benign desire of discovery, Victor outlines his invention of a life from corpses: “As the minuteness of the parts formed a great hindrance to my speed, I resolved … to make the being of a gigantic stature” (Shelley 32). To quickly achieve his goal, he simplifies his work to avoid small parts by building immense features, yet he ignores how the deformities fit in their society.