Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Victor Frankenstein change in character
Psychoanalyzing victor frankenstein
Characteristics of monsters in literature
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: Victor Frankenstein change in character
The first moment within Frankenstein where the narration shifted was when Victor allowed the monster to tell him the story about all of his experiences up to that point. He starts by telling Victor about his realization that all humans shared a mutual hatred and fear of him just based off of his appearance. He also told of how he learned the english language by stalking cottagers and how he found Victor’s documents stating that he hated the monster. The monster swore revenge on all mankind, especially Victor, and admitted to Victor that he murdered his younger brother then framed a friend of Victor’s for it. He ended his tale, hoping that now Victor felt some sympathy for him, by asking Victor to create him a female companion so they could run off and live in peace. After the monster’s tale, the formerly uninformed reader was now able to see what the monster was like in actuality and feel pity for him, this idea was greatly opposed when the reader only had Victor’s viewpoint to base their judgements on.
Once the monster finished speaking to Victor in the cave, the mood of the reader took on a huge change. Before, the monster that was only seen as a hideous abomination, was now receiving sympathy. On the other hand, Victor had turned into a monster in the eye’s of the reader. Victor was seen as being cruel and unaccepting of his own creation which only wanted to be accepted by society, this victimized the monster and allowed for this change of emotion (Griffith). With the humanization of the monster, Victor came off as a bully along with the rest of the population that cast him aside. This gave a good insight on how demeaning the human race can be to one another as well as how judgemental they are.
Near the beginning of the tale...
... middle of paper ...
...
Griffith, George V. "An overview of Frankenstein." Literature Resource Center. Detroit: Gale, 2014. Artemis Literary Sources. Web. 15 Apr. 2014.
Blumberg, Jane. "Frankenstein and the 'Good Cause.'." In Mary Shelley's Early Novels: 'This Child of Imagination and Misery,'. Iowa City: University of Iowa Press, 1993. 30-56. Rpt. in Nineteenth-Century Literature Criticism. Ed. Jessica Bomarito and Russel Whitaker. Vol. 170. Detroit: Gale, 2006. Literature Resource Center. Web. 15 Apr. 2014.
Bewell, Alan. "An Issue of Monstrous Desire: Frankenstein and Obstetrics." The Yale Journal of Criticism 2.1 (Fall 1988): 105-128. Rpt. in Nineteenth-Century Literature Criticism. Ed. Denise Kasinec and Mary L. Onorato. Vol. 59. Detroit: Gale Research, 1997. Literature Resource Center. Web. 15 Apr. 2014.
Shelley, Mary. Frankenstein. New York, New York: Penguin Group Inc, 1978. Print.
Previously portrayed through Frankenstein’s letters as the sole cause of both his and society’s despair, the monster’s use of the word “abortion” instead demonstrates Victor’s individual contribution towards his creature’s destructive path. Since the definition of abortion serves as the premediated act of terminating life, Frankenstein’s deliberate decision to desert his artificial creature exhibits society’s lack of sympathy for those with uncontrollable differences such as the monster’s physical deformities. Nevertheless, the textual irony of the monster’s frustrations eventually becomes apparent when the creature exclaims “Was there no injustice to this?”. Setting off a chain reaction of several more questions, Shelly’s text further mirrors the monster’s bafflement with the careless actions of Victor Frankenstein. That is, although Frankenstein gave his creation the “gift” of life, the monster has been perpetually denied every chance to live happily because of mankind’s relentless and inescapable hatred. More so, explained as the abandonment or failure of a process, Frankenstein’s ultimate refusal to love his own creation typifies how the creator’s ironic choices remain accountable for failing both the monster and
in Frankenstein: Contexts, nineteenth century responses, criticism. By Mary Shelley. Ed. J. Paul Hunter. Norton Critical Edition.
Shelley, Mary "Frankenstein". The Presence of Others. Comp Andrea A. Lunsford and John J. Ruskiewicz. New York: St. Martins, 1997 230-235.
Since its publication in 1818, Mary Shelley's Frankenstein has grown to become a name associated with horror and science fiction. To fully understand the importance and origin of this novel, we must look at both the tragedies of Mary Shelley's background and her own origins. Only then can we begin to examine what the icon "Frankenstein" has become in today's society.
As a tragic hero, Victor’s tragedies begin with his overly obsessive thirst for knowledge. Throughout his life, Victor has always been looking for new things to learn in the areas of science and philosophy. He goes so far with his knowledge that he ends up creating a living creature. Victor has extremely high expectations for his creation but is highly disappointed with the outcome. He says, “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” (Shelley 35). Frankenstein neglects the creature because of his horrifying looks, which spark the beginning of numerous conflicts and tragedies. At this point, the creature becomes a monster because of Victor’s neglect and irresponsibility. The monster is forced to learn to survive on his own, without anyone or anything to guide him along the way. Plus, the monster’s ugly looks cause society to turn against him, ad...
Mary Shelley’s Frankenstein, or the Modern Prometheus, explores the monstrous and destructive affects of obsession, guilt, fate, and man’s attempt to control nature. Victor Frankenstein, the novel’s protagonist and antihero, attempts to transcend the barriers of scientific knowledge and application in creating a life. His determination in bringing to life a dead body consequently renders him ill, both mentally and physically. His endeavors alone consume all his time and effort until he becomes fixated on his success. The reason for his success is perhaps to be considered the greatest scientist ever known, but in his obsessive toil, he loses sight of the ethical motivation of science. His production would ultimately grieve him throughout his life, and the consequences of his undertaking would prove disastrous and deadly. Frankenstein illustrates the creation of a monster both literally and figuratively, and sheds light on the dangers of man’s desire to play God.
In Frankenstein, Victor’s monster suffers much loneliness and pain at the hands of every human he meets, as he tries to be human like them. First, he is abandoned by his creator, the one person that should have accepted, helped, and guided him through the confusing world he found himself in. Next, he is shunned wherever he goes, often attacked and injured. Still, throughout these trials, the creature remains hopeful that he can eventually be accepted, and entertains virtuous and moral thoughts. However, when the creature takes another crushing blow, as a family he had thought to be very noble and honorable abandons him as well, his hopes are dashed. The monster then takes revenge on Victor, killing many of his loved ones, and on the humans who have hurt him. While exacting his revenge, the monster often feels guilty for his actions and tries to be better, but is then angered and provoked into committing more wrongdoings, feeling self-pity all the while. Finally, after Victor’s death, the monster returns to mourn the death of his creator, a death he directly caused, and speaks about his misery and shame. During his soliloquy, the monster shows that he has become a human being because he suffers from an inner conflict, in his case, between guilt and a need for sympathy and pity, as all humans do.
Victor’s lack of compassion and sympathy towards the monster causes him to become angry instead of guilty. His cruelness to his creation made the monster kill and hurt the people he did but “when [he] reflected on [the monster’s] crimes and malice, [Victor’s] hatred and revenge burst all bounds of moderation,”(Shelley 325). Without compassion Victor thinks that the only way to stop the monster is to get revenge on him, instead of just giving him the empathy and kindness that monster craved. Victor realizes that "if he were vanquished, [he] should be a free man...balanced by those horrors of remorse and guilt which would pursue [him] until death. ”(Shelley 731).
Works Cited Shelley, Mary. Frankenstein: A Norton Critical Edition. ed. J. Paul Hunter. New York: W. W. Norton, 1996.
It is in the complex structure of the novel that Mary Shelley creates sympathy. We shift from Robert Walton to Victor Frankenstein to the monster and finally back to Walton. With each shift of perspective, the reader gains new information about both the facts of the story and the reliability of the narrator. Each perspective adds pieces of information that only they knows: Walton explains the circumstances of Victor’s last days, Victor explains his creation of the monster, the monster explains his turn to evil. This impact of the change of narration gives us a better understanding of each person, and we see that the monster is not such a monster at all.
Storment, Suzanna. "Frankenstein: The Man and the Monster." Commentary page. October 2002. Washington State University. 8 April 2003. http://www.wsu.edu/~delahoyd/frank.comment3.html.
Baldick, Chris. In Frankenstein's Shadow: Myth, Monstrosity, and Nineteenth-Century Writing. Oxford: Oxford University Press, 1990. Print.
Shelley, Mary. Frankenstein: A Norton Critical Edition. Ed. J. Paul Hunter. New York: W. W.
Smith, Johanna M. Introduction: Biographical and Historical Contexts. Frankenstein. By Mary Shelley. 2000. 2nd ed. Bedford/St.
Mary Shelley in her book Frankenstein addresses numerous themes relevant to the current trends in society during that period. However, the novel has received criticism from numerous authors. This paper discusses Walter Scott’s critical analysis of Mary Shelley’s Frankenstein in his Blackwood's Edinburgh Magazine Review of Frankenstein (1818).