Narrative Voices in Shelley's Frankenstein and Fathers and Sons by Ivan Turgenev
I have chosen to compare the narrative voices of Frankenstein and
Fathers and Sons, as the perspectives in these two novels differ from
one another. Frankenstein’s narrative voice contains tales of three
characters within one narrative, none belonging directly to the
author, whereas the narrative voice of Fathers and Sons, is that of
the author alone.
Examples I will be using are taken from ‘The Realist Novel’ (TRN),
and from the novels of Frankenstein (F) and Fathers and Sons (F&S).
Mary Shelley’s novel Frankenstein is an example of first- person
narrative, with Walton describing his encounters in letters to his
sister Margaret, in England. He includes his meeting Victor
Frankenstein, of Victor’s experiences with his creation of
Frankenstein the monster, and the monster himself and his experiences.
This narrative is written in the form of letters, with the use of this
epistolary style of writing novels giving verisimilitude to the
events, as Walton writes of them as he is told. He is the narrative
voice of the whole novel; enveloping the characters of Victor and the
monster, the characters of whom, develop as the story progresses. This
narrative perspective structures the novel, portraying events as true
to life, resulting in its realistic theme. The confession of Victor
nestles within Walton’s narrative, with that of the monster nestling
within that. This technique of having one story nestling within
another follows a Gothic convention, (P.63 TRN). There are many
narrative perspectives, which make it a Gothic novel, another example
showing this is the atmosphere of mystery and horror, when Victor is
creating his mo...
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... sharp towards the tip, with large greenish eyes and
sandy-coloured droopy sideburns,’ (p.7) and of the monster as
described by Victor in Frankenstein, ‘His yellow skin scarcely covered
the work of muscles and arteries beneath; his hair was of a lustrous
black, and flowing; his teeth of a pearly whiteness.’ (P.56).
In Fathers and Sons, Turgenev reflects the theme of fatherhood, with
love and affection shown between Bazarov and his father Ivanovich,
Arkady and his father Nikolai and also Nikolai and his small son
Mitya. In comparison, Shelley in Frankenstein labours on the
abandonment of the monster by his creator. In effect, Victor is the
father of his ‘son’ the monster and he has abandoned him at his
‘birth’. This showing of paternal love in Fathers and Sons and the
abandonment of it in Frankenstein shows an important comparison
between the two novels.
Mary Shelley's Frankenstein as a Complex Character "Frankenstein" is a gothic horror novel which was written by Mary Shelly in 1818. It was inspired by a biological scientist named "Luigi Galvani". He had experimented with electricity and deceased frogs, and discovered that a charge passing through a inanimate frog's body will generate muscle spasms throughout its body. Frankenstein is about a man on a pursuit to create a perfect being, an "angel" however his experiment fails and his creation becomes an atrocity compared to an "angel". The creature is created using Luigi Galvani experiments of electricity and dead corpses of criminals, stitched together to form this creature.
Victor Frankenstein may be the leading character in Mary Shelley's Frankenstein, but a hero he is not. He is self-centered and loveless, and there is nothing heroic about him. There is a scene in Chapter twenty-four where Captain Walton is confronted by his crew to turn southwards and return home should the ice break apart and allow them the way. Frankenstein rouses himself and finds the strength to argue to the Captain that they should continue northwards, or suffer returning home "with the stigma of disgrace marked on your brows." He quite obviously has alterior motives and if he were not the eloquent, manipulative creature he so egotistically accuses his creature of being, he might not have moved the Captain and the men so much that they are blind to the true source of his passion. Unfortunately for Frankenstein, the crew, (however "moved") stand firm in their position. Yet the things he says in his motivational speech are prime examples of the extent to which Frankenstein is blind to his own faults and yet will jump at the chance to harangue others. He is so self-centered that his lack of interaction and love for others after his experiment has been completed, would barely qualify him as a person, if the difference between being human and being a person lies in the ability to have relationships with others.
The Concepts of Creation and Nurture in Mary Shelley's Frankenstein. When Mary Shelley wrote Frankenstein in 1818 she had lost her own. mother and three children. It is against this background of loss that Many chose to explore the possibility of bringing the dead back to life. It is a good thing.
The obsessed search for knowledge, fame and fortune can often undervalue one’s life and become the main focus of their existence. In Mary Shelley’s novel Frankenstein, she proves that obsession is a dangerous aspect of the human behavior, which always results in a negative outcome, this is mainly portrayed through the protagonist of the story Dr. Victor Frankenstein, because of Dr. Frankenstein’s obsessive personality he fails to recognize the affects of his scientific experiments which eventually lead to his and his family’s death.
Though told through the triple narration of Frankenstein, the monster and Robert Walton, the bulk of the novel is told from Frankenstein's point of view as he relates his life story to Walton, so that he can learn from Frankenstein's mistakes. His narrative reveals to the re...
Analysis of Mary Shelley's Frankenstein. Analyzing a book can be a killer. Especially when it contains tons of subtle little messages and hints that are not picked up unless one really dissects the material. Mary Shelley's Frankenstein is a prime example.
The idea for the novel of Mary Shelley’s Frankenstein came to her one night when she was staying in the company of what has been called ‘her male coterie’, including Lord Byron and her husband, Percy Shelley. Mary Shelley’s whole life seems to have been heavily influenced by men. She idolised her father, William Godwyn, and appears to have spent a good part of her life trying very hard to impress both him and her husband. There seems to have been a distinct lack of female influence, her mother, Mary Wollstonecraft, having died weeks after her birth, being replaced by a neglectful step-mother. These aspects of her life are perhaps evident in her novel. The characters and plot of Frankenstein were perhaps influenced by Shelley’s conflicting feelings about the predominately masculine circle which surrounded her, and perhaps the many masculine traits that we see in novel were based upon those of the male figures in Shelley’s own life. In this essay I will attempt to show some of these traits.
...econd reason for the lack of stylistic means to convey the narrators persuasiveness is probably more important and has to do with the frame structure of the novel. Frankenstein offers a reversal of an older novel structure, in which a written document is at the center of a novel surrounded by an oral narrative. In Frankenstein the Monster’s and Frankenstein’s originally oral reports are not only framed by Captain Walton’s written story, but also transformed into written language. This technique is used to exclude Captain Waltons’s sister and the reader from the horror of the narratives, building a barrier to the seductive power of the spoken narratives that does not work any more in the medium of written language. Thus the domestic tranquility of Walton’s sister and her family is saved and not destroyed like the one of Frankenstein’s family in the center of the novel.
Frankenstein, although well-educated himself, is a very closed-minded individual. He soaks in the information that he first learns from a young age and refuses to examine the perspectives of other scientists or educators. A later omitted text from Mary Shelley’s original draft of Frankenstein states that (when Frankenstein visited Oxford) “We found that the regulations of this university were much improved since the days of Gibbon, but there is still in fashion a great deal of bigotry and devotion to established rules that constrains the mind of students and leads to slavish and narrow principles of action” (Bugg 657). Not only does this briefly touch on Shelley’s belief that discrimination was actively being taught at universities in England,
Mary Shelley’s Frankenstein, a truly famous novel that has been revisited by many, as well as revised by the author in the many years since its original publication. Within this novel Shelley conveys the tragic fictional story of Victor Frankenstein and his monster that he thoughtlessly brought to life, as well as the lives of those affected by his hideous creation. Throughout the novel it is made quite apparent that the monster was not inherently evil, in fact the monster was quite benign, however through its interactions with society the monster is slowly shaped into a being that can truly be called just that, a monster. All of the aforementioned change to the monster are brought about in part by the societal standards of the time period
Victor Frankenstein: The Real Monster. & nbsp; Science is a broad field that covers many aspects of everyday life and existence. Some areas of science include the study of the universe, the environment, dinosaurs, animals, and insects. Another popular science is the study of people and how they function. In Frankenstein by Mary Shelley, Dr. Victor Frankenstein is an inspiring scientist who studies the dead. He wants to be the first person to give life to a dead human being. He spends all of his Frankenstein is to blame for the tragedy, not the monster he has created, because he is the mastermind behind the whole operation, and he is supposed to have everything under control, working properly as a good scientist should. & nbsp; Although some critics say that the monster Victor has created is to blame for the destruction and violence that followed the experiment, it is Victor who is the responsible party. First, Victor, being the scientist, should have known how to do research on the subject a lot more than he had done. He obviously has not thought of the consequences that may result from it such as the monster going crazy, how the monster reacts to people and things, and especially the time it will take him to turn the monster into the perfect normal human being.  something that would take a really long time and a lot of patience which Victor lacks. All Victor really wants is to be the first to bring life to a dead person and therefore be famous. The greed got to his head and that is all he could think about, while isolating himself from his friends and family. In the play of Frankenstein, when Victor comes home and sets up his lab in the house, he is very paranoid about people coming in there and & nbsp; I had worked hard for nearly two years, for the sole purpose of infusing life into an inanimate body. For this I deprived myself of rest and health. I had desired it with an ardour that far exceeded moderation; but now that I had finished, the beauty of the dream vanished, and breathless horror and disgust filled my heart. (156) & nbsp; Victor is saying that he has isolated himself for two years and in the end, he is not at all happy because of the bad outcome. He also adds, "Winter, spring and summer passed.so deeply was I engrossed in my occupation" (156). By spending most of his time inside on his experiment, never going out, but mostly worrying about his success, he has got himself crazier. This has made him lose sight of his surroundings and judgment & nbsp; Moreover, the monster should not be held responsible for killing Victor's family members and friends as shown in the book and movie, because it is Victor who has brought a dead creature back to life. He expects the monster to know everything when he wakes up cool, calm, and collected. But when the monster is awakened, he does not know anything. He sees a world different from what he is used to, which makes him get nervous and scared, so he&nb has removed him from dead. With the dawning of life, the monster has to learn about his new environment. In the play of Frankenstein, the monster starts to gradually get used to things. The problems he encounters are with Victor's assistant, Peter Krempe, Victor's friend, Henry, and other family members, including Elizabeth, and these are reactions to how these people treat him. These reactions are clearly shown in the movie of Young Frankenstein, where Victor tries to teach the monster how to live like to show off the monster to an audience in a dance routine of sorts. But then people start to scream, panic and throw things at the monster, so he reacts by attacking them to defend himself. In this case, it is clear that Victor tries to push the monster too hard because he wants to be famous.
A predominant theme in Mary Shelley’s Frankenstein is that of child-rearing and/or parenting techniques. Specifically, the novel presents a theory concerning the negative impact on children from the absence of nurturing and motherly love. To demonstrate this theory, Shelly focuses on Victor Frankenstein’s experimenting with nature, which results in the life of his creature, or “child”. Because Frankenstein is displeased with the appearance of his offspring, he abandons him and disclaims all of his “parental” responsibility. Frankenstein’s poor “mothering” and abandonment of his “child” leads to the creation’s inevitable evilness. Victor was not predestined to failure, nor was his creation innately depraved. Rather, it was Victor’s poor “parenting” of his progeny that lead to his creation’s thirst for vindication of his unjust life, in turn leading to the ruin of Victor’s life.
Although “Frankenstein” is the story of Victor and his monster, Walton is the most reliable narrator throughout the novel. However, like most narrator’s, even his retelling of Victor’s story is skewed by prejudice and favoritism of the scientist’s point of view. Yet this could be attributed to the only view points he ever gets to truly hear are from Victor himself and not the monster that he only gets to meet after he comes to mourn his fallen master.
The Sorrows of Young Werther by Johann Wolfgang von Goethe is one of the literary texts interwoven in Mary Shelley’s novel Frankenstein. It talks of a story about a girl Lotte and a boy named Werther. The two fell in love although the girl was already engaged to an older man Abert. When Lotte marries the older man, Werther commits suicide because of rejection. The creature in Frankenstein finds this book and teaches himself to read from it. Shelley makes a reference to the novel The Sorrows of the Young Werther and Victor’s creature gets hold of the book and reads to practice language skills and pass time. Through this book, the creature learns a lot about feeling and emotions. The creature says "As I read, however, I applied much personally to my own feelings and condition" (Shelley 114). This shows how much the creature leant from the book because Victor created it and left it all alone without any teachings on how to speak and act like a woman.
“His yellow skin scarcely covered the work of muscles and arteries beneath; his hair was of a lustrous black, and flowing; his teeth of a pearly whiteness; but these luxuriances only formed a more horrid contrast with his watery eyes, that seemed almost of the same color as the dun-white sockets in which they were set, his shriveled complexion and straight black lips,” would be classified as a monster.