1979; New York: W. W. Norton, 1996. 225-240. Moers, Ellen. "Female Gothic: The Monster's Mother." Reprinted in Mary Shelley's Frankenstein.
Instruments of Darkness: Witchcraft in Early Modern England. Paperback Edition. Philiadephia: University of Pennsylvania Press, 1997. Wills, Deborah. Malevolent Nurture: Witch Hunting and Maternal Power in Early Modern England.
Additionally, Shelley’s creation of the monster in her novel could be seen to reveal the toxic effect of a world without female influences. Finally, Victor Frankenstein’s creation of his monster may have been to reveal the detrimental effects isolation can have on any living being. Thus it is revealed that Mary Shelley’s novel, through the creation of the monster, has many allegories to comment on society’s condition. Firstly, it is significant to observe the initial depiction of the monster and the dialogue with his creator, Victor Frankenstein, to understand Shelley’s comment on the harmful effects of a negative relationship and the significance of the monster’s portrayal. It is understood that the monster’s physical appearance in the novel is created to represent an object of terror, which is an integral element of the gothic genre.
Frankenstein: Creation and Monstrosity. NY: Reaktion Books, 1997. Print. Gigante, Denise. “Facing the Ugly: The Case of Frankenstein.” English Literary History 67.2 (2000): 565-87.
“Haunted Heroines: The Gothic Imagination and the Female Bildungsromane of Jane Austen, Charlotte Brontë, and L. M. Montgomery” The Lion and the Unicorn 34. 2 (2010): 125-147 Richetti, John. The Cambridge Companion to the Eighteenth Century Novel. Cambridge: Cambridge University Press, 1998. Print.
What Witches Do. Blaine: Phoenix Publishing Inc., 1991 6. Russell, Jeffrey. A History of Witchcraft: Sorcerers, Heretics, and Pagans. New York: Themes and Hudson Inc. 1983.
New York: Norton. 2012. 355-368. Print. Shelley, Mary Wollstonecraft, A Norton Critical Edition: Mary Shelley’s Frankenstein: The 1818 Text, Contexts, Criticism.
Hester has openness about the sin they committed together, and it is not eating her up like it is eating up Dimmesdale. Not only has Dimmesdale been beating himself up, literally, over hi... ... middle of paper ... ...d making his condition even worse by not confessing his sin. It was his own choice to keep his sin a secret when he should have confessed it a long time ago. Also, it was his own choice to torture himself. Dimmesdale believed that he should be the one punishing himself because his sin was a secret so therefore he had to deal with it and punish his sin on his own, minus the torturing from Chillingworth.
The entire idea of evilness is a force that cannot be taken away from the nature of humans, it is a part of who we are and helps to define us. It is generally something that most will try to avoid due to the nature of it, but it has been ingrained into society in a way that helps to balance its functionality. It is not a power that is to be ignored or destroyed, but one that is looked at as a form of individuality that helps to call out the reality of a society in which evil is nonexistent. Anthony Burgess and Flannery O’Connor both utilize the theme of the necessity of evil by creating and using characters whose evil acts were necessary in order for them to display the unrealistic idea of having a perfect society or being the perfect person, bringing a powerful balance to their respective societies.