The Relationship Between Frankenstein and His "Monster" in the Novel by Mary Shelley | Owlcation
Write a coherent and clearly organized paragraph examining why both Frankenstein and his monster, two tormented souls, retreat to Nature at. The Gothic Doppelgänger: An Analysis of the Relationship Between Frankenstein and his Creation in Mary Shelley's Frankenstein; or, The. Psychoanalytic Criticism of Relationship Between Victor Frankenstein and His Creature. - In Mary Shelley's novel, Frankenstein, the relationship between Victor .
I also made much use of the tools of psychological and feminist criticism in my writings. Biased gender-consciousness is strongly influential in shaping the dynamics of the creator-creature relationship.
In the end, creation appears as work rectified to only men.
Describe the relationship between Victor Frankenstein and his monster.
Lastly, a discussion of the motives for creation is of use in analyzing this problematic inter- dependence. If art is no purpose, then how can creation have any purpose? The aimless of creation lead to the dilemma about whether people create for egotistical reasons. If we examine the second chapter of this study which deals with egotism and narcissism as motives for creation, we answer that question in the affirmative.
The chapters report on both the physical and spiritual situations of the creator and creature. Since it is a mutual inter-dependence, comparisons and contrasts are the best methods to explore its dynamics. Duality in Frankenstein Every kind of creation artistic, scientific, or divine is a self-reflection of the creator. In both the both the physical and the spiritual sense, there is an interwoven relationship between the creator and his creation. This relationship takes us to problem of duality.
If we examine the concept of duality closely, we see that a sine qua non opposition lies in the center of this concept.
Although the creator and his creation are one in the deep underlying structure, this opposition leads them into two different beings on the surface structure. In this context, creator-creature relation in which creator found a way of self-expression in his creature, and vice versa, presents us a problematic mutual dependence.
In Frankenstein, we see how the monster, the creature falls victim to the uncontrollable madness of his creator and gets to resemble him morally. First of all, the way Victor brought the monster into being is quite unethical. By bringing the remains of dead bodies together, he creates a living body. In other words, through death he brings forth life.It's Alive! - Frankenstein (2/8) Movie CLIP (1931) HD
So in this respect, we also see the duality and interaction of life and death apart from the duality in creator — creature relationship. Victor continues his initial and unethical behavior with his irresponsible acts among which we can mention his denial of his own creature and his escape from him.
In the long run, the monster becomes, in a way, the moral counterpart of Victor Frankenstein. If, as Lacan suggests, the I is an Other, then on some level Victor is the monster, and the monster in turn is Victor. Most people, event today, believe that Frankenstein is the name of monster although Victor never gave a name to his creation. As a result of this namelessness the monster is always mistaken for Frankenstein and he is mentioned together with the name of his creator. Frankenstein thus becomes the name of the monster.
Therefore, Victor is also mentioned together with the name of his creature. This duality can also be seen in the monster-slave relationship in Frankenstein.
Jameson defines this relationship as one in which two parties struggle with each other for by the other. As soon as this recognition is fulfilled, two dialectically ironic reveals take place: Quoting from Hegel, Jameson adds to this: Being desperate in his loneliness, the monster wants Victor to create a female partner for him, and Victor promises to obey But when he disobeys him, the monster reminds him who the real master is with the utmost ferocity: Remember that I have power; you believe yourself miserable, but I can make you so wretched that the light of day will be hateful to you.
You are my creator, but I am your master; obey! Here although the monster admits that Victor is his creator, he regards himself superior to him as we can infer from both the choice of vocabulary, and the way he addresses him. There is no end in the dialectical master-slave relation which is another aspect of creator- creation relation.
As Smith states, Caught in this relation to the double, each sees the other as his reveal self, attacking the other and getting revenge in an endless spiral of violence… rivalry becomes a directly destructive force, reducing everything to the opposition between the imaginary pain an opposition that is never resolved but which expires at last only with their deaths.
According to the first interpretation, we examine the interaction between Basil and his portrait. As an artist, Basil Hallward sees the portrait like a creature which has come out of himself. This notion leads Basil not to exhibit the portrait. When he is asked by Lord Henry Wotton why he is doing so, he answers: I have to put too much of myself into it… Every portrait that is painted with feeling is a portrait of the artist, not of the sitter. The sitter is merely the accident, the occasion.
It is not he who is revealed by the painter; it is rather the painter who on the colored canvas, reveals himself. The reason is that I am afraid that I have shown in it the secret of my own soul 72, 74 In this respect, the portrait is the reflection of the artist, or the creator.
On the other hand according to the second interpretation, the portrait is the reflection of Dorian Gray, or the object. From this point of view, in the novel we observe how the portrait of Dorian Gray reflects his corrupt nature. In a way, the portrait becomes the mirror-image of the innermost recesses of Dorian Gray.
The Relationship Between Frankenstein and His "Monster" in the Novel by Mary Shelley
As he commits vile crimes and lead a decayed life, the expression of his face on the portrait deteriorates mysteriously, Dorian himself is also aware of the signs of deterioration on the portrait: Having to face his counterpart every day, Dorian Gray can neither embrace nor deny him.
He cannot embrace him because he is the physical representation, in a way emblem, of his corrupt soul which he refuses to confront.
On the other hand, he cannot deny him because he is part of himself, a part which resembles Dorian Gray in his entirety, no matter how unpleasant it is for him to admit. In the long run of endless discord, Dorian Gray found the solution in putting an end to the exercise of the portrait. The following passage, taken from the story William Wilson which depicts exactly the same theme, is striking to show us the underlying oneness of the surface of the surface duality of the portrait and Dorian Gray: He stabbed the picture is also true because by this stage Dorian is the picture-the-false-semblance, and the painting, with its ghastly image, is the reality as McGinn suggests qtd.
Unless there is reconciliation with self; death, the unavoidable intervenes each time. Although the second interpretation is more commonly accepted in literary circles, the first interpretation is also vital in clarifying the dynamics of the creator-creation relationship which problematize itself with duality. Man, who is created by God in His own image Gen: Eating of the tree of knowledge, man commits his first sin; a sin which will from then on be the motive problematizing all the creator-creation relationships.
The first question to be asked is: The answer is quite simple: The Monster, symbolizing the evil, malign side or, alter-ego of Victor, becomes projection of the hidden monstrosity of Victor. In his long confession to Walton, Victor admits his consciousness of this fact in a bitter tone: Picard, To given an example, yielding to the completed, the human side of Victor disappears and this time his inhuman side takes control.
When we look at the other novel, this time we see how the soul, represented by matter, gets to signalize the traces of corruption whereas the matter, which is normally supposed to change, keeps its form and beauty. Underlying this self- reflection, egotism, narcissism, and desire to have immortality can be considered as three main motives.
Although these are divided into three different categories, they are quite interrelated with each other. Egotism As a Motive in Frankenstein Egotism, a kind of self-obsession, leads people to take actions which will provide them with tools to satisfy their egos.
Creative action, in this context, can be defined as nothing but self-satisfaction of the creator. In Frankenstein, Victor, talking about the superiorities of being a creator, explains his motives to create the monster: In other words, necessity of self-assertion finds a way of expression in the creative act.
Egotism as a motive brings forth selfishness inevitably. In this sense, creation motivated by egotism can be seen as selfish act. When we think of the Promethean spirit which is yearning to assert itself, we understand the parallelism between egotism and selfishness better.
They do not love another but themselves through another. At the same time, his ignorance of the monster just after the task of creation verifies the claims upon the selfishness of Victor as a creator. Narcissism As a Motive in The Picture of Dorian Gray If we now turn from egotism to the other motive, narcissism, although it sounds similar, it presents a different perspective for the interpretation of creator-creation relationship.
Narcissism, a type of self-indulgence, emerges as self-love as we can see in the case of Dorian Gray: This self-indulgence looks for ways of expression and his portrait becomes the embodiment of it. Long hours of spectation, adoration of the portrait, even jealousy about it are all suggestive of narcissism.
When Basil understands that Dorian feels upset because of his own jealousy of the portrait, he decides to rip up the canvas. It would be a murder! This interjection of Dorian helps us to understand how much he identifies himself with the portrait. I am in love with it, Basil It is part of myself. In this sense, creation of the portrait is a narcissist act. In addition to its emergence as self-love, narcissism sometimes brings forth love for the similar, if reduced to gender, homosexuality.
Transcendentalism of Mortality Along with egotism and narcissism, the desire to be god-like and to achieve immortality can also considered as other important motives which will help us in the interpretation of creator-creation relationship.
Mrs. Mineau's AP Lit : Relationship with Nature: Frankenstein and his creature.
Actually, these two motives are quite intermingled: Both motives require the accomplishment of a divine act. In this aspect, scientific creation of Victor Frankenstein can be seen as an attempt to imitate the divine act of creation through which he will achieve immortality.
Just like God who points to the immortality of himself by pointing out the mortality of man through his creation, Victor also aims to achieve immortality through parthenogenesis by siring the monster and thus precluding death Picart Some film versions of the novel, carrying this creative act to the furthest extreme, added and extra scene in which Frankenstein uttered the following words upon seeing the first signs of life in his creature: Now I know what it is to be god-like! Just at this point, Picart draws our attention to the myth of self-birthing which becomes emblematic of the absurd dream of male Ego-as-God Together with self-birthing which can also be named as an act of creation the male ego extends itself and reaches its peak point.
At this point, since he assumes to have completed a God-like task, he identifies himself with God by having the most prominent divine attribute: Omnipotence, or ability to do everything, in this respect, is embodied in the masculine figure whose ego puts itself forth as God. During his long and exhausting studies on natural philosophy, one day Victor comes up with and unusual discovery: The secret that Victor is talking about is the secret of life which is supposed to be known only by God.
Being aware of the fact that if man eats from the tree life, he will become immortal like Himself, God forbids man to take of this tree. Metaphorically, by finding the secret of life, Victor takes of the tree of knowledge, thus transgressing the divine law.
This transgression of divine law through the attempt at omniscience, which is another divine attribute, is a different revelation of the masculine ego-as God. Having unlimited knowledge will no doubt make man feel God-like. Immortality becomes possible only through the imitation of a God-like act. This desire carries Victor as he aspires to a divine status.
Attempts at the immortalization of human life can also be seen in The Picture of Dorian Gray. This time, instead of immortalization of human life, we have immortalization of beauty. In the novel Dorian is depicted as a figure who is obsessed with the idea of physical deterioration of the body. In this respect, he is very similar to Victor Frankenstein with engages himself on the observation and analyses of this physical deterioration of the body.
Talking about the progress of his anatomical studies, he tells Walton how he was attracted to examine the decay of dead bodies: I became acquainted with the science of anatomy: A churchyard was to me merely the receptacle of bodies deprived of life, from being seat of beauty and strength, had become food for the worm.
Now I was led to examine the cause and progress of this decay, and forced to spend days and nights in vaults and charnel- houses.
I saw how the fine form of man was degraded and wasted; I beheld corruption of death succeeded to the blooming cheek of life; I saw how the worm inherited the wonders of the eye and the brain Although both Victor and Dorian are interested in physical deterioration, their motives are quite different.
Victor, through understanding the cause of bodily decay, wants also to understand the cause of life. On the other hand, Dorian is interested in physical deterioration only because he is upset by this fact.
He, at any rate, had escaped that. It is too painful and dismal to accept this for such a beauty like Dorian Gray. Beauty should be immortalized somehow, and the portrait, in a way, is expected to realize this immortalization. Through his artistic creation, which is the portrait, Basil tries to immortalize the beauty of Dorian Gray.
After the portrait is completed, Dorian Gray looks at it and says: How sad it is! I shall grow old, and horrible, and dreadful. But this picture will remain always young.
It will never be older than this particular day of June… If it were only the other way! If it were I who was to be always, and the picture that was to grow old! For that-for-that I would give everything! Yes, there is nothing in the world in the world I would not give! I would give my soul for that! The immortal portrait marks the inner monstrosity of the outer beauty of Dorian, alluding to his physical mortality. Shelly exposes us to a lot of human insecurities through the characters in the novel.
So how was Mary capable of writing about the human insecurities found in this novel? Shelly's Mother died when she was just a few days old. He on the other hand, was emotionally detached from her, leaving her to her own devices and paying her little attention. She could write about these human insecurities because she experienced them first hand as a baby and as a young child herself.
The Story Frankenstein is a story of a 'monster' who is forcefully separated from his creator because his physical imperfections have made him an abomination. Victor took great care to assemble all the body parts, and only chose those most beautiful. He worked almost like a poet and dreamt of creating a 'thing' of real beauty. However when he assembled the 'creature', his emotions were that of horror and disgust. The 'creature' only wants to be loved and 'it' had child like characteristics when he is first created, however Frankenstein does not see this and his judgement is clouded by the appearance of his creation.
Throughout the book all the 'creature' wants is love. This longing to be first accepted by Victor and then the longing for a fellow creature, a lover created specially for him, leads the monster to acts of murder and destruction.
His longing for love is so great he will destroy Victor if this goes unheeded. The theme of nature versus nurture is explored here. The one who was nurtured, the man who grew up in a loving family, Victor, could not return love to the creature he gave birth to.
From the beginning we read of Frankenstein's disgust and his rapid physical decline mirrors the feeling he has for his creation.
The endless wanderings of his disturbed mind reflect the guilt and horror he feels for the creature he has created. He is in decline while his monster is becoming more eloquent and expressive.
The more he is disturbed by the monster the more humanlike emotions the monster exhibits. However, Victor has no empathy for him as he becomes more and more disturbed by the daemon he sees before him.
The more the monster wants to be accepted, needing his desires fulfilled the more Victor alienates himself from his own family and friends. When the monster approaches Victor in the mountains to ask for a female companion Victor allows himself to feel for a short time a little compassion for the lonely life the monster lives.
Here Shelly's theme of love versus hatred becomes very obvious. The cry from the monster's heart is very moving as he implores Victor create for him some one to love. Victor changed his mind one evening after he had begun collecting body parts for the new female monster and from that moment the relationship changed dramatically.
Remember that I have power; you believe yourself miserable, but I can make you so wretched that the light of day will be hateful to you. You are my creator, but I an your master;-obey! Love turns to hate in the monster as his desires are forbidden. She is setting the tone for the rest of the scene and is foreshadowing the events to come.
The weather is used to dramatise the theme of calm versus turbulence, as good weather reflects calm spirits and turbulent weather reflects madness. The warm weather seems to lift the characters' spirits while the cold ravaging wind, such as when Victor is in the Arctic, seems to conjure up feelings of depression.
The thought of death is never far away. The weather can be seen as a correlation to what the character is feeling at that point in the story. An example of this is when Frankenstein recalls the night he created 'the monster', and he describes it as 'It was a dreary night'. In Chapter 10 Victor finds himself on a dangerous path towards Mont Blanc.
It is raining heavily from the dark sky which matches his mood. However he finds his soul being lifted as he admires the beautiful majestic views once he arrives at the top. The beauty of nature versus what he is next about to see. The monster suddenly appears on the horizon and as Victor follows the monster to the hut the weather changes and the lightness which Victor felt before vaporized with the rain and cold.
In Chapter 20 Victor sets sail in the middle of the night to throw the remains of the bodily parts into the sea. As he rests at the bottom of the boat the reader knows by now the familiar style of Shelley's — the quiet before the storm.
The storm does blow up in reality but it serves to remind the reader of the storm which is going on in Victor's mind. The weather parallels his life. Victor Mirrored in his Creation In the novel there are many parallels between Victor and his creation.
Both seem to have an indescribable hatred for one another.