Frankenstein The Monster Literary Analysis

Mary Shelley’s ability to create such multidimensional characters in Frankenstein proves that writing is a powerful tool that has the ability to provoke vastly different opinions amongst readers. Even though each individual reading the story is reading the exact same words, their interpretation of those words often leads to opposing views in regards to the fate of the characters. The creature, in particular, has been a popular topic of discussion when conducting a close read of the novel due to his arguable versatility as a victim and villain. The concept of the villain has evolved over the years, however its basis still rests upon the simple fact that as a character in the story, their actions are a result of malicious intentions

Friends will determine the direction and quality of your life. Loneliness is a battle that all people will once face at a certain point in their life; it is how they handle it that determines the outcome of that battle. In Mary Shelley's Frankenstein loneliness is the most significant and prevailing theme throughout the entire novel. Shelley takes her readers on a wild journey that shows how loneliness can end in tragedy.

Alienation is a product of society’s inherently discriminatory bias, catalyzed by our fear of the unknown in the realm of interpersonal conduct. Mary Shelley, in her novel, Frankenstein, dissects society’s unmerited demonization of individuals who defy—voluntarily or involuntarily—conventional norms. Furthermore, through her detailed parallel development of Frankenstein and his monster, Shelley personifies the tendency to alienate on the basis of physical deformity, thereby illustrating the role of the visual in the obfuscation of morality.

Shelley addresses romantic conventions in Victor to convey his loss of identity. Victor is impatient and restless when constructing the creation, so much, that he does not think about it’s future repercussions. One of the great paradoxes that Shelley’s novel depicts is giving the monster more human attributes than to it’s creator [p. 6 - Interpretations]. This is true as the monster seeks an emotional bond, but Victor is terrified of it’s existence. The monster later reveals, “I, the miserable and the abandoned, am an abortion, to be spurred at and kicked and trampled on [Shelley, p. 224].” Victor’s lack of compassion is rooted from the inability to cope with his reality. He distances himself from others and is induced with fainting spells [Shelley, p. 59]. From this, the nameless creature exemplifies Victor’s attempt to abandon his creation to escape his responsibilities. His creation is described as, ‘wretched devil’ and ‘abhorred monster,’ eliciting that the unobtainable, pitied identity [Shelley, p. 102]. The act of not naming the creature reveals Victor as hateful, and unnaturally disconnected to his own created victim.

Mary Shelley’s, Frankenstein, symbolized a person’s necessity for acceptance by society. Society labels everything as good or bad, right or wrong, rich or poor. Although some of these labels may be correct, many are misconceptions. The monster, needed to be accepted by society, but instead was scorned, attacked, and shunned because of his outward appearance. The treatment of the monster was on the assumption that he was actually a monster. The only justification of this treatment was his outward appearance.

A little girl screams in fear for her parents as she envisions a green, three-eyed monster lurking under her bed, waiting to get her until she finally closes her eyes. A little boy scares fellow trick-or-treaters as he’s dressed as a vampire for Halloween brandishing his pointy teeth with blood dripping out of his mouth. Both of these examples of monsters focus on the physicality of a creature and undermine the weight which the word ‘monster’ actually carries. In Shakespeare’s play, The Tempest, and in Mary Shelley’s novel, Frankenstein, there are characters that perfectly fit the description of a tangible monster. However, monsters are more than their somatic features. Monsters are created within based on circumstances, decisions that are

“They tend to share certain key characteristics. They're manipulative, cold, and lack what we might call a moral compass--they know right from wrong but are not invested in that distinction. Their only concern with their ‘wrong’ behavior is getting caught, but because they are deceitful, callous and not subject to anxiety, they easily elude capture” (Spikol, 5). These sort of criminals were ones that the Chicago Police Department had never been introduced to before, causing them to change their entire perspective on cases once Holmes’ had passed. According to John Bartlow Martin, a writer for the “Harper’s Archive”, Holmes’ murder castle was filled with trapdoors, gas chambers, secret passageways, and even pits of acid used to get rid of bodies and other pieces of evidence. These were all things that the law enforcers had never even heard of in a story, much less seen or thought of in real life. It’s safe to say that Holmes drastically affected the police’s outlook on the cases in the near, and even far, future of criminals after his mystery; or at least part of his mystery had been

Let us begin with Holmes. Holmes lived in Chicago and owned a pharmacy. He had medical training and loved money and women (Larson 36-37). He was able to smooth talk and gave people a sense of happiness. Holmes could convince people of anything, which he used as a way to sell stories as to why the people he killed had just disappeared. He also used this in constructing his building/hotel. He barely paid a dime because he convinced workers that their job was unsatisfactory (Larson 67). The furniture companies would come looking for H. S. Campbell, the alias he used as the owner of the building, and he would tell them he was out on business (Larson 71-72). A man named Belknap, the uncle of one of Holmes’s three wives, described him as “warm and ingratiating, but also telegraph that some important element of humanness is missing”. For a long time this was known as “moral insanity” and later the term psychopath was used (Larson 87-88). Holmes himself was intrigued by Jack the Ripper (Larson 70).

Like most horror stories, Mary Shelley’s Frankenstein has a wretched monster who terrorizes and kills his victims with ease. However, the story is not as simple as it seems. One increasingly popular view of the true nature of the creature is one of understanding. This sympathetic view is often strengthened by looking at the upbringing of the creature in the harsh world in which he matures much as a child would. With no friends or even a true father, the creature can be said to be a product of society and its negative views and constant rejections of him. Although this popular view serves to lessen the severity of his crimes in most people’s eyes, the fact remains that the creature is in fact a cold-hearted wretch whose vindictive nature

Holmes impulses to experiment with animals did not cease throughout his childhood after those events. He would discover forest animals close to his home in the neighboring woods, and dismember them to learn more about their anatomy and physiology. (Bailin, 2008). This didn’t only provide Holmes the knowledge of how to dismember, but it also provided him the psychological enabler to fuel his delusions. It is quite possible that Holmes obsession with death may have driven him to murder at the young age of 11, disguising it as an accident. Holmes had a friend who was older than him named Tom, and they would sometimes hangout. On one particular occasion, Tom and Holmes were exploring an abandoned home. Holmes recalls during their exploration, seeing Tom Fall off a landing to his death, but many speculate that Holmes may have pushed him. (Schechter, 2003).

The word “knowledge” was recurring many times throughout Frankenstein novel and attracted or forced the reader to find out the true definition of it. Curiously, I decided to look up the definition of knowledge from the Webster 's Dictionary. It defines, “Knowledge: n. Understanding gained by actual experience; range of information; clear perception of truth; something learned and kept in the mind.” (Merriam-Webster Dictionary) I realized this word is very straightforward, but has many useful and different meanings to all of us. It is also powerful tool to determine and control the result of our judgment. “Knowledge consists in recognizing the difference between good and bad decisions”. (Knowledge Intellectual

The human fascination with what makes a man a monster is one of the most prevalent ideas depicted throughout literature. Many periods of literature feature this idea; however, none more than the Gothic period. Within the Gothic period there are two famous works that are centralized around the idea of what makes a man a monster. Frankenstein and The Picture of Dorian Gray are 19th century novels that feature a story of one character negatively influencing the other which leads to the creation of a monster. In both stories one character clearly commits acts of evil; however, the writers, Mary Shelley and Oscar Wilde, force the reader to dig deeper and discover that the creator is responsible for the actions of the creation. Therefore, in both

A family is the most important and fundamental processes of development in childhood. There are many examples of works that deal with family. In Frankenstein by Mary Shelley, the reader sees how neglection from a family setting can invoke horrible events. In The Fifth Child by Doris Lessing, presents how Isolation and dislike can and will lead to unfortunate events. In Macbeth by Shakespeare, shows the betrayal of a family and how it affects the mind by playing with it in several different ways. Before a person can see effects of isolations, neglection, and betrayal of a family he/she must “climb into his skin and walk around in it.”

Frankenstein’s and society’s rejection of the monster, however, drove him to an uneven passionate pursuit for a companion. He forced Frankenstein to create a female monster, and he provided motivation by killing Frankenstein’s loved ones and threatening to kill more of them. The monster recalls in this final scene of Shelley’s novel how his desire drove him to evil. “. . . do you think that I was then dead to agony and remorse?--He . . . suffered not more in the consummation of the deed;--oh! Not the ten-thousandth portion of the anguish that was mine during the lingering detail of its execution. A frightful selfishness hurried me on. . . .” (153) At that point in the novel, the monster has changed from good in nature to evil in nature. His own desires are more important to him than the well-being of others and he is willing to commit murder in order ensure the fulfillment of his desire.

Though the books were published almost seven decades apart the monsters in Frankenstein and Dr. Jekyll and Mr. Hyde share many similarities: They were both created in laboratories by European scientists for somewhat morally suspect purposes, both were outcasts of society, and murdered characters secondary to their creator. Even in their final days they followed a similar archetype by taking the lives of their creators before ending their own. One should ask the question why these stories have stood the test of time while countless others fall by the wayside.