Elie describes that he “dug [his] nails into unknown faces. [He] was biting all around… in order to get air” (Wiesel 89). The dehumanization of others and the keenness for self preservation causes prisoners to act inhumane towards each other. In Frankenstein, the monster describes himself as “benevolent; [his] soul glowed with love and humanity: but [is he not] alone, miserably alone” (Shelley). This thinking quickly changed when he realized no one would ever accept him.
One part in the novel that displays this is when the monster speaks its true feeling towards victor and talks about how “unfeeling [and] heartless” he was for “[casting] [it] abroad” after giving “It” “perceptions” that the world was a “[passionate]” and understanding place (pg 229). Because of this, the monster went in the world thinking that “it” would be accepted. When he failed to connect to the humans, he automatically blamed Victor for his perils. Like when a parent helps a child with their homework but it ends up being wrong, the child then blames the parent for it. Another example is when the creature murders Victor’s younger brother William.
Madigan, Timothy J. “Tampering in God’s Domain.” Readings on Frankenstein. Ed. Don Nardo. San Diego: Greenhaven, 2000.
As a result, the monster can be described as the epitome of the fact that isolation from family and society leads to a pathway of evil and hatred. The catalyst to evil and hatred is isolation from family and society. Shelley successfully proves this in many instances with different characters. With Walton, she showed how his emotional isolation was letting his excessive ambition get the better of him, which ultimately would have resulted in evil and hatred. She evidently proved with Frankenstein that isolation leads to a terrible fate; that being his monster destroyed his family which resulting in him falling onto the roads of evil and hatred by dedicating his last days to seek revenge against the monster.
in Bok 8). The critic herself refers to the Creature as a monster, revealing that she has prejudices against it. As soon as the Creature is given life, it is unfairly rejected by its creator for its deformities. Unfortunately, this reason for rejection is very common in society, and looked down upon by Shelley because of the negative tone that she employs by incorporating disapproving words. Victor conveys his instant thoughts about his creation when he says “...I beheld the wretch--the miserable monster whom I had created,” (Shelley 44).
Such snap judgment based on appearance made the creature snap. The confesses that finding himself misunderstood, prompted him to wreak havoc and destruction on him (Shelley 111) The emphasis on physical attributes triggers negative perception. There are an absolute discrimination and judgment between what society perceives as beautiful and that seen as ugly. Mary Shelley restructured the theme of appearance and attitude in “Frankenstein” to reflect what people face today. Victims become aggressors when the level of perception impacts their livers negatively.
The monster that Frankenstein creates has kind-hearted morals, but because society harms him based on his hideous appearance. Because of his treatment, he transforms into a murderous monster, pointing to the destructive power of societal criticism. Society rapidly judges the monster and forms opinions based on his outside appearance rather than his internal intentions. After creating the monster, Victor reflects on his work: “How can I describe my emotions at this catastrophe...His yellow skin scarcely covered the work of muscles and arteries beneath...formed a more horrid contrast with his watery eyes, that seemed almost of the same colour as the dun-white sockets in which they were set, his shriveled complexion and straight black lips” (Shelley 55-56). Victor’s description of his monster takes on a negative perspective.
Societal Prejudices in Frankenstein Mary Shelley's novel, Frankenstein, sheds light on the importance of appearance through the tale of an unwanted creation that is never given a chance by society. Ironically, the supposed beast was initially much more compassionate and thoughtful than his creator, until his romantic and innocent view of the human race was diminished by the cruelty and injustice he unduly bore. Not only does the creature suffer the prejudice of an appearance-based society, but other situations and characters in the novel force the reader to reflect their own hasty judgment. The semi- gothic novel includes several instances of societal prejudice that include the isolation and outcast of Frankenstein's creation, the creature's biased opinion of the cottagers, and the unbalanced and inappropriate classification of Victor. Throughout the course of the creature's isolated and pathetic journey, he is never given the opportunity to participate in human interaction, as he so deeply deserves.
Emotional isolation in Frankenstein is the most pertinent and prevailing theme throughout the novel. This theme is so important because everything the monster does or feels directly relates to his poignant seclusion. The effects of this terrible burden have progressively damaging results upon the monster, and indirectly cause him to act out his frustrations on the innocent. The monster's emotional isolation makes him gradually turn worse and worse until evil fully prevails. This theme perpetuates from Mary Shelley's personal life and problems with her father and husband, which carry on into the work and make it more realistic.
Pinkie, aware of his amoral actions, persists in his evil ways. While the monster attempts to combat his own wretchedness, Pinkie fosters his malice, and these responses display the amount of humanity left in each after their misfortunes. Although both endure similar adversities of bad family backgrounds and society’s prejudices, the monster’s and Pinkie’s different views on companionship and guilt set them apart. Through their inhumane acts, the monster and Pinkie are metaphorically bloodless. Because of this lack of blood, each monster thirsts for the blood of his enemies.