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Knowledge comes from experience. Since birth, Mary Shelley’s Monster from her acclaimed epistolary novel, Frankenstein, has been assaulted by all of the difficulties of life, yet he has faced them completely alone. The Tabula Rasa concept is completely applicable to him. The Monster begins as a child, learning from mimicking and watching others. He then educates himself by reading a few books which help shape his personality and give him an identity. Following Maslow’s hierarchy of needs the Monster searches for and accomplishes the basic human necessities but feels alone, and needs human interaction and companionship. “My heart was fashioned to be susceptible of love and sympathy, and when wrenched by misery to vice and hatred, it did not endure the violence of the change without torture such as you cannot even imagine,” (Shelley 115). As the book progresses, the Monster ceases to be a one-dimensional and flat watcher of humanity. Through his numerous experiences and education, the monster instead morphs into a participator of humanity with the ability to achieve goals, broaden his personality and create himself an identity.
The Monster, created by Victor Frankenstein out of carefully selected corpses, is a round, dynamic character. Born as a tabula rasa, the creature is accosted by all the natural elements of our ordinary physical world as an adult with no guidance. He experiences light and sight, cold and hunger and immediate rejection by his creator. His mind is intellectually capable of this awareness very quickly. In the beginning of Chapter 11, the Monster recounts the ‘oppressive light’, insatiable thirst and extreme tiredness which he experienced shortly after becoming alive. “I was a poor, helpless, miserable wretch; ...
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...ces and the reactions he chose to have. The book serves as a moral, if the monster had been given proper attention and guidance he could have been accepted and become ‘good’ but since society chose to outcast him and treat him cruelly, he mimicked those behaviors and likewise in turn treated humanity with cruelty. The development of the monster was extensive in the emotional, psychological and intellectual areas, the dualism of his personality gives him a double-identity which leaves us to question whether he truly became like Adam or Satan.
Works Cited:
Lancaster, Ashley Craig. "From Frankenstein's Monster To Lester Ballard: The Evolving Gothic Monster." Midwest Quarterly 49.2 (2008): 132-148. Literary Reference Center. Web. 12 Mar. 2014.
Shelley, Mary Wollstonecraft.Frankenstein. Charlottesville, Va.: University of Virginia Library, 1996. Print.
Frankenstein by Mary Shelly is an old classic that has been enjoyed by many generations. Despite the fact that the novel was written over a hundred years ago, it is not only beautifully written but also enthralling and well composed. At the young age of eighteen, Mary Shelly raises questions about education and knowledge to which are answered through the well written characters in the novel. The Monster, who is a creation of another character, is highlighted as an individual who goes through an intellectual change.
Certain needs must be fulfilled for one to achieve a life of tranquility and fulfillment. As we see the relationship between Abraham Maslow’s hierarchy of needs with the treacherous creature from Mary Shelley’s “Frankenstein”. There are many connections between the two as for the creature’s life of continuous hell from his outcast from human society and civilization due to his abandonment at birth from the creature’s creator, Victor Frankenstein. As we interpret and show the connections between the hierarch of needs and the creature, you will ultimately see the main reason for the creature’s terrible life, is the hideousness of his physical appearance. Human nature is shown to be one of evilness and misunderstanding due to the popular
Mary Shelley’s Frankenstein tells the story of Victor Frankenstein, a scientist who decides to play God and creates his own human unorthodoxly. Unfortunately, Frankenstein rejects his creation and forces it to live in fear and obliviousness of the world. Throughout the book, the reader is able to witness the character development within the Creature; he grows from a benevolent and benign man to a spiteful and ravenous murderer. In spite of this, I have great compassion and sympathy for the Creature. In order to understand this reasoning, we must take three factors into consideration. Firstly, we have the realize the aspects that drove the Creature into becoming an angry person. Second, we must acknowledge how human nature is. Lastly, we must consider who is to be blamed for the Creature’s actions.
What is a monster, really? Is it really a Creature that has three eyes instead of two, with pus seeping out of every crevice in his face and an abnormally large form? Or is it someone with a mind so corrupt it rivals that of Satan? Mary Shelley’s Frankenstein is a story within a story that centers on the tale of a man with an immense thirst of knowledge and a fetish to imitate the Creator. Mary Shelley’s Frankenstein is a lot like the Greek mythological tale of the Greek God, Prometheus, and his brother, Epimetheus, who were assigned the task of creating man. The story captivates the theme of monstrosity. Mary Shelley wrote the novel in a form so the reader’s opinions never stray far from sympathy for the monster and apathy for Victor Frankenstein. The novel looks at “Monstrosity” and “Humanity” in a deeply analytical way.
Humans are seen by many as the exemplary species on earth, intended by God to dominate and take control of others. Humanity cannot be characterized as a physical trait; for one can appear to be human on the outside but within are nothing near a human. Within Mary Shelley’s Frankenstein, humanity can be considered an emotional experience; an experience where one is always longing for acceptance and naturally conforms to avoid being ostracized or different. The monster is made from human parts and in human likeness, but is not seen as a human being by many. Such is a question raised by many; is the monster human, or is he a filthy demon to which Victor Frankenstein had given life? Although a clear definition of humanity is not expressed in Mary Shelley’s Frankenstein, the monster is in fact human due to its ability to adapt and utilize the human culture and lifestyle in many ways including longing for a companion, discovering its soul and yearning for acceptance.
...ctor Frankenstein, while Victor gains monster-like traits, Frankenstein gains human-like traits, this journey is particuallary evident in the early development of the two characters and their acquirement of knowledge. While the reader generally gravitates towards the monster, through empathy they experience disappointment in Victor Frankenstein, this leaves the reader is left in confliction. The reader is unsure whether in today’s appreance focused society it will be viewed as appropriate to feel empathy towards a ugly monster. This confliction ultimately results in the reader reflecting upon the extent of which they wish to conform to society.
The monster “Frankenstein” is thought of as a horrible, evil creation. One informant thought of him as frustrated, loud, and uncommunicative. Some others remember aspects from the many different movies such as the monster having “the mind of a killer and the heart of a kind man.” One informant recalled the monster having a “soft spot for children” when he helped a little girl kill all the evil monsters in one of the movies.
The monster of the novel is often misattributed with the name, “Frankenstein.” However, Victor Frankenstein can ultimately be considered the true monster of this tale. His obsession would lead to the corruption of his soul and the creation of two monsters—one himself, and the other, the creature. In attempting to take on the role of God, nature would become a monster to Victor and destroy his life. These elements of monstrosity in Frankenstein drive the meaning of its story.
The doppleganger that is the monster takes on many forms in terms of what it represents. One of these is the fear of science and its role in relation to God. As scientific advancements were made in the field of medicine, questions arose as to whether or not man should try to perform acts that only God was previously capable of performing. This moral issue is initially ignored by Frankenstein, overshadowed by his zeal for accomplishing his impossible feat of reanimation. After he animates the creature and shuns it for its horrible appearance, it acts on its impulses for revenge. As the story progresses, Frankenstein realizes that he should have thought more carefully before acting, and the repercussions of his dark deed eventually lead him on a self-destructive quest to ultimately attempt to annihilate his own creation. By trying to ascend past his place in God’s universe, Frankenstein, in the end, destroys himself and all that he ever loved....
“I now hasten to the more moving part of my story. I shall relate events that impressed me with feelings which, from what I was, have made me what I am” (Shelley 92). Frankenstein’s Creature presents these lines as it transitions from a being that merely observes its surroundings to something that gains knowledge from the occurrences around it. The Creature learns about humanity from “the perfect forms of [his] cottagers” (90). Mary Shelley’s Frankenstein offers compelling insights into the everlasting nature versus nurture argument. Her husband, Percy Bysshe Shelley wrote, “Treat a person ill, and he will become wicked.” Shelley believes that the nurture of someone, or something, in the Creature’s case, forms them into who they become and what actions they take. While this is true for Frankenstein’s Creature, the same cannot be said about Victor Frankenstein.
Tragedy shows no discrimination and often strikes down on those undeserving of such turmoil. In Mary Shelley’s Frankenstein, a creature more repulsive than one can imagine is brought to life by a young scientist. Although this creature is horrifying in sight, he is gentle by nature. Unfortunately, the softer side of the creature is repeatedly overlooked and the so called “monster” is driven to a breaking point. Even though the Creature committed many crimes, Mary Shelley’s Creature was the tragic hero of this story because of his efforts rescue the life of a young girl and helping destitute cottagers.
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. Throughout Frankenstein, one assumes that Frankenstein’s creation is the true monster. While the creation’s actions are indeed monstrous, one must also realize that his creator, Victor Frankenstein is also a villain. His inconsiderate and selfish acts as well as his passion for science result in the death of his friend and family members and ultimately in his own demise.
knowledge is found at the heart of the novel, Frankenstein by Mary Shelley. Mary Shelley constructs her novel in a form of tripartite that consists of three speakers Victor, Victor’s Creature, and Robert Walton. The pursuit of knowledge is conveyed by the alluring antagonist Victor in his endeavor to go beyond human adeptness and discover the elixir of life. The pursuit of knowledge is shown through another character, Frankenstein’s Creature whose pursuit of knowledge prompts him to become aware of himself. Robert Walton through the pursuit of knowledge learns that his own strive for success leads him to learning that his selfish pursuits are effecting the people around him. The pursuit of knowledge is proved to be dangerous to all three speakers Victor, Victor’s Creature, and Robert Walton and all three prove to the reader how destructive knowledge can be.
In Mary Shelley’s Frankenstein we are introduced early in the story to one of the main characters Victor Frankenstein and subsequently to his creation referred to as the monster. The monster comes to life after being constructed by Victor using body parts from corpses. As gruesome as this sounds initially we are soon caught up in the tale of the living monster. Victor the creator becomes immediately remorseful of his decision to bring the monstrous creation to life and abandons the borne creature. Victor describes his emotions and physical description of his creation as follows:
When one thinks of what families do for each other, they will most likely think of care. More specifically they think of the care that a parent has for their child. Parents have to meet certain “needs” for the child in order for the its healthy survival. Children must be fed and clothed. Parents must also watch over the safety of and be the friends of the children. Cheering on in good times and making their child the best it can be are also responsibilities of parents. The family metaphor is used when describing the Human Relations method of management. In this the management of a company is seen as the parents and the employees are seen as the children. Employees, as seen as the children also have certain needs as well. These needs are very similar.