Examples Of Superego In Frankenstein

Frankenstein puts the monster into a situation that causes him to be one of a kind. The monster had no one to whom he could relate. Victor thrusts the burden of existence upon the monster by creating him, leaving no route for escape from the situation. Frankenstein causes the monster to live a life in solitude, and the monster realizes the contempt others have for him. The monster feels as if he is no different, and believes he “deserved better treatment”(Shelley 114). Through his observations, the fiend ponders whether his existence is truly that of humanity or rather of “a monster, a blot upon the earth from which all men fled and whom all men disowned”(Shelley 119). By creating him, Victor forces these hardships upon the monster.

Throughout these chapters, he talks about his “upbringing of life” and how and why he created the monster. In chapter 12 it zooms into the monsters perspective, while he meets new cottagers. Throughout his narrating, he “learned and applied the words; fire, milk, bread, and wood. Victors perspective and narration is important to inform the reader how and why the monster was created. In my opinion, his part is the most valuable/important because the whole story is based off of his creation, the monster.

When the monster is betrayed by Victor the only thing that comforts his hurting is the thought and idea of revenge. The monster goes after Victor's brother, little William. When Victor finds out about his loss, he knows it was the monster which had made him feel devastated about what has occurred. This broke Victor emotionally because the relationship he had with his brother was robust. Victor cared about his brother more than his owned wife Elizabeth. The mindest the monster had was knowledgeably because of the way he knew taking the closest person away from Victor will harm him the most.

She was later executed for the crime that she did not do. Victor has so much guilt inside knowing what is happening to the people he cared about the most. This guilt drives Victor insane to pressuring himself into suicide. Though he does not commit it for the love of his father and primarily for the love of his Elizabeth that keep him strong. Victor than decides to leave town and go on a special trip to ease and relax his mind at Montanvert. When he is on the mountain, he realizes that the monster had followed him and was coming at a full speed upon him. Victor yells to the monster to leave him alone but the monster only wants to talk and explain to him of his life experiences after he came to life and fled from Victor’s home. The monster speaks of how the people have reaction of fear towards him. The monster ends up spying on a family, stealing their food, and understanding how they talk to each other. He learns their language and their names to help progress in his understanding of the people. The monster realizes that they are living in poverty and decides to do the right thing and stop stealing their food and actually help them by bringing them wood late at night for their

The monster is forced to develop a neolithic mindset as opposed to modern day ideals after its maturation occurs in the wilderness. His savagery can be seen when he “silenced” Frankenstein’s son after realizing he “[belonged] to the enemy” (102). The daemon also “discovers” a fire for the first time, drawing a parallel to cavemen (72). Unfortunately, due to the lack of contact with the outside human world, the monster is unable to

In the novel, the readers learn that the main antagonist, Victor Frankenstein, is trying to reanimate life and create a “new generation” of advanced humans. Despite being successful in creating the monster, Victor would abandon his creation which forces it to have and conceive different identities and creates conflicting perspectives for the readers. This technique of giving the monster different identities is used by Shelley to portray the monster as a complex being. In the book, Victor abandons his creation because he is horribly terrified as he sees his creation is dreadful looking and says, “I beheld the wretch

According to modern psychologists, Sigmund Freud is considered the father of modern psychology; Freud’s idea of the three zones of the psychic apparatus play a heavy influence in Mary Shelley’s Frankenstein. The three zones are Id, Ego, and Superego. The Id is natural instincts, Ego is the influence of the Id caused by society, and the Superego is acting based off of adopted morals taught to you. The Monster’s personality traits in Frankenstein are examples of Freud's idea of Id, Ego, and Superego. Throughout the novel, each trait is developed with the Id being first ; and alternating back and forth between all of them on which one becomes the dominant trait.

The monster is in need of help from his creator, for he is new to the world and does not know anything about living yet, but instead, he has nobody and is forced to figure life out by himself. Readers understand the monster’s emotion because he says “I sat down and wept”. By understanding his emotion, it will cause readers to feel sympathy for him. This also proves one of the larger themes of the novel, that people should treat others with empathy, because as his creator, Frankenstein should have been able to understand and share his feelings, for he was often alone and left to teach and fend for himself during his studies. Frankenstein’s reject to his creation is what caused the monster to feel so alone, and ultimately, what led to both of their destructions.

When the monster returns, he learns of the family’s sudden plans to move away. With no other direction, the monster seeks out answers from his creator. He comes across Victor’s papers, which reveal his identity and residence. With his newfound information, the monster decides to find his way to Victor. Throughout his journey his curiosity begins to turn into hatred and rage towards his creator. As he treks across the continent he discloses, “the spirit of revenge is enkindled in my heart” (119). This shows the monster’s capability of harboring dark emotions; it shows his benevolence quickly slipping away.

The monster is not faultless for the awful things that he has done. He kills three of the people that his creator was very close to including his adopted sister Elizabeth. Losing these people is very hard on Victor. The loss makes Victor so distraught that, “he calls the spirits of the dead” (179) to help him make the monster feel the pain of loss that he feels. In addition to killing those close to Victor, the monster destroys the house of the De Lacey’s with fire and then “dances with fury around the devoted cottage (123). Additionally, the monster appears to like the trouble and anguish that he is able to trigger in Victor: “your sufferings will satisfy my everlasting hatred” (181), the monster writes

Who is the real monster?” acts as the dominant question throughout the novel “Frankenstein” written by Mary Shelly as the reader explores the protagonist Victor Frankenstein and his nameless creation. As the novel progresses, the reader notices how the relationship between the two characters goes far beyond a neglectful creature and resentful creation, for the two influence the thoughts, actions and emotions of each other. Furthermore, the creature’s physical appearance acts as his purpose throughout the novel as well as a mirror of Victor Frankenstein’s true identity. Additionally, the creature’s lack of identity begins to initiate Frankenstein’s shame towards his own identity, revealing the flawed character of Frankenstein and determining the resolution to the question “Who is the true monster? Who is the true catalyst of destruction?” During the novel, the reader is able to identify the creature as the most effective foil for Victor Frankenstein because the creature causes: Frankenstein to view the action of the creature as his own work, the shift between pride and shame in Frankenstein, and his physical appearance demonstrates his purpose to reveal the true character of Victor Frankenstein.

"rules are made to be broken. Core desire: revenge or revolution". (Goldon). The monster had to face the wrath of many humans. he had many bad experiences with humans so he finally goes and does the one thing his anger allows him to do which is harm people. He knows he's not welcomed so he goes and kills everyone that his creator liked. He knew that it was the wrong thing to do but he was angry and he wanted to get revenge. "Persona: designed to make a particular impression on others, while concealing out true nature" (Handout on Carl Gustav Jung). The monster wasn't really evil. He had to show that he was evil because there was no other way to get what he wanted. He would always be mistreated due to how he looks, so he became a separate person instead of the peaceful creation he was at the beginning. The second person he was was a very unforgiving and harmful monster. He killed to get what he wanted. He seen no boundary and did whatever it took to get what he wanted. He broke many laws and many lines of morality, but all he wanted was another creation so that he can be with it. After Victor dies, he become the innocent monster he was before hand and decides that the only thing he can do now is kills

He describes the monster as an ugly when it is simply a hopeless lifeless monster, but when it finally comes to life, the monster is uglier than Victor thought possible. This is the time when Victor realizes the burden of exactly what he has done. The monster gets to the point where he is lonely and isolated. He seems to go analyze the reason and he thinks to himself, "I was dependent on none and related to none. The path of my departure was free, and there was none to lament my annihilation.

Sigmund Freud’s theory containing the id, ego, and superego play a big role in Robert Louis Stevenson’s The Strange Case of Dr. Jekyll and Mr. Hyde. Sigmund Freud’s theory clarifies the personality traits that were expressed through the main characters, Dr. Jekyll and Mr. Hyde. The id stands for a character who has no control on his or her impulses. The ego stands for a reconcile personality within a character.