Frankenstein The Monster Analysis

“‘we are unfashioned creatures, but half made up, if one wiser, better, dearer than ourselves— such a friend ought to be—do not lend his aid to perfectionate our weak and faulty natures…’”(Shelley 12).

After over 40 years since the release of the original “Frankenstein”, Mel Brooks shot a movie on his own. However, it still carried on some of the original set of some basic settings. Those elements being followed can let audience find the connection with the old version easily, while with a number of new funny points as well. It is a well-known classic Parody after all.

Fictionally, the greatest-written villains in history possess attributes that give them cause for their behavior, with the most universal and essential of these core traits being a deep, personal backstory behind their acts. For instance, in classic stories like Mary Shelley’s Frankenstein, the Monster presents thorough reason to its Creator in terms of why it has turned to wickedness. The Monster does not kill purely for the sake of being evil, its actions are resulted from its desire to be loved by man, yet failing at every attempt to achieve it. Motivation behind monstrous acts is necessary in works of fiction because non-fictionally, people labeled as monsters by society possesses motivation behind their actions as well, whether it be

Throughout Frankenstein, Mary Shelley uses a ‘framed narrative ' using three different characters who tell their story at different times of the novel. In the beginning of the story, the audience receives Captain Walton 's point of view, who primarily writes letters to his sister Margaret Saville, in England. Secondly, the audience comes hand in hand with Victor Frankenstein 's point of view and within his narrative, they receive the indomitable Creature 's point of view. The major theme portrayed in Frankenstein is how Mary Shelley conveys the impression that technology changes the authenticity of how people live, people become self-absorbed and obtain a pompous personality because they feel the need to always be the best and catch up with what society has to offer. Personal freedom is lost because technology forces people to explore more than needed and it 's a controlling force. Thus, Victor becomes a lost soul when he tries his distasteful experiments on the dead and loses his moral boundaries because he becomes so fascinated in trying to find a way to revive the dead. The overindulgence Victor has in science takes away his humanity, and he is left with the consequences. He never thought about what negative effects could come about, and by ignoring an important essential, he created his own deadly hole. Mary Shelley takes a unique stand when she keeps the Creature 's whereabouts out of the eyes of the audience until about halfway throughout the story, this act gives her

Throughout the novel, Frankenstein, Walton and the monster each yearn for a true friendship to either fall back on during times of misery, to console with, or to learn from. Indeed, the significance of the friendship in Shelly’s novel is the balancing and completing agent of life. With friendship, blessings are multiplied and misfortunes are minimized. Without friendship, life is just a chain of desolation.

When children trip and fall on the ground, they learn how to get up and avoid falling again. Similar to this, people adjust to their life situations and learn from their previous mistakes. Frankenstein, by Mary Shelley, exemplifies this attribute through Victor Frankenstein, who is an intelligent and hardworking scientist. His curiosity and passion drives him to create life out of death, but he becomes hubristic and winds up creating a monster. This creation results in Victor’s great suffering as it eliminates his family and friends. The monster makes its intentions clear and Victor is aware of its supernatural powers. Likewise, Victor realizes that his excessive pride caused all these miserable outcomes. Despite this, Frankenstein still maintains the same mentality, even after the monster’s warnings and the horrific events. Although Victor seems to have learned from the consequences of making the monster, he still fails to change from his arrogant mindset since his ego misleads him towards outcomes that are more dreadful.

One is defined by various categories. Whether one’s identity is delineated by race, gender, or social status, one may ask themselves “Who are you?” In the play Othello by William Shakespeare, the protagonist Othello struggles with his status as an outsider. Even the closest of his friends and loved ones are questioned. His right hand man Iago manipulates, confuses, and mentally tortures Othello to the extent that he questions the fidelity of his partner, Desdemona. Self-identity for Othello becomes murky as the waters are tainted with lies and deception. In Frankenstein by Mary Shelley, a state of perplection is palpable with regards to the question “Who are you?”. The main character, Victor Frankenstein, creates a “monster” using parts of unearthed corpses. Once conscious, the monster struggles with who he is as he is forced unnaturally into society. In this case one is not questioning loyalty, but the mere fact of humanity: What makes someone a human being? The interpretations of “Who are you?” is multifaceted, as the characters in both novels reflect inwardly on what defines them and what others think they are. Individual's’ self-identity fluctuates throughout their lives due to varying circumstances.

Magnus Carlsen is a spectacular person, whilst able to get in contact with Benjamin Ree, a Norwegian film director, to film his documentary on his backstory and how he became the current world chess champion title holder. He then began a life long journey where he ended up, was well explained by the film of his backstory as current events about him are relevant towards his past life and how he made it here. While the film may be in fact very philosophical, since chess is, hidden introductions towards psychological terms are present and help identify current motivations and moods towards the film as it is executed. Magnus the Movie proves to be both extraordinary and well presented as both the psychology concepts and well proven plot helps establish great presentation, and is extremely recommended to watch for individuals whom play and learn about the well-established ideas that are hidden in chess.

Victor Frankenstein abandons his creation shortly after it awakens, which causes all the tragic events to take place. Instead of taking care of it and being a friend to the monster, Victor is “[unable] to endure the aspect of the being [he] had created, [he] rushed out of the room” (Shelley 45). Victor admits the creature filled him with horror and disgust, but he was the one who made it that way. Each time Victor addresses the monster, he calls it a fiend, devil, or daemon as if it is the monster’s fault for its appearance. The monster knows “[its] form is a filthy type of [Victor’s], more horrid even from the very resemblance” (Shelley 100). Victor does not seem to realize that because he made the monster ugly other humans would also be terrified by it and ostracize it from society, forcing the monster into evilness. In the same fashion, Ambrosio blames Matilda and Antonia for his lust instead of holding himself accountable. He calls Matilda a prostitute for “[glutting him] with enjoyment even to loathing, forces [him] to her arms, apes the harlot, and glories in her prostitution” (Lewis 209). After he rapes Antonia, he asks her who he has to blame for this. He curses her, demanding “[what] seduced me into crimes, whose bare remembrance makes me shudder? Fatal witch! Was it not thy beauty?” (Lewis 330). He continues his interrogation, blaming Antonia for his soul being damned and for becoming “a perjured hypocrite, a ravisher, an assassin” (Lewis 330). He uses the classic

In the United States, there are approximately 10,900 registered births every day according to the Centers for Disease Control and Prevention (CDC). Each of those new breaths of life is unique and exceptional, however, they are also identical to their creators in their temperament and nature. This reflects the belief inherited by many religions, that God sculpted humans, essentially his children, in his own divine image. Yet, when humans strive to assume the role of God, as in the case of Dr. Victor Frankenstein in Mary Shelley's world-renowned Gothic novel, Frankenstein, the consequences prove to be traumatic. Frankenstein’s abuse of the “elixir of life” results in a revolting fiend that although does not particularly resemble Dr. Frankenstein in its appearance, mirrors the mentality of its creator. This demonstration of irony is highlighted within the final chapter of Shelley's novel when Frankenstein confesses his youthful ambitions, which are coincidentally identical to the innocent aspirations of his creation. Moreover, the Creature’s final proclamations reveal how his mutual desire for vengeance with his Creator, drives them closer together; this supports the overall message of the piece which portrays the significance and capability of one's disposition in contrast to physical appearance.

Victor Frankenstein is a vivid scientist who has easily conquered everything he has been taught by his professors. When Mary Shelley wrote the novel, Frankenstein, there was innovation in doing scientific discoveries. Some of the discoveries of human anatomy came from the use of dug up corpses. Many refer to the monster as Frankenstein while it remains unnamed in the story. In the novel Mary Shelley uses characterization to suggest the universal idea of the story is, judging others based on appearance can cause hatred and vengeance.

Victor reflects on his creation and notices the patterns of the monster’s revenge. Victor understands the potential damage that the monster could bring because of his supernatural abilities and previous actions. He also becomes aware that the monster is targeting the people close in his life after undergoing the murder of his brother William and hearing the monster’s story. But even with this knowledge, Victor is still confident in his own ideas and

Victor notices the patterns of the monster’s revenge and understands the potential damage that the monster could bring because of his supernatural abilities. He is also aware that the monster is targeting his close family and friends after undergoing the murder of his brother William and hearing the monster’s narrative . But even with this knowledge, Victor is still confident in his own ideas and abilities, which blinds him from the monster’s real

Mary Shelly’s Frankenstein has characters that exemplify the Freudian psychoanalysis. The creature made by Victor embodies several aspects of his analysis: id, repression, displacement, and sublimation. The creature absorbed his surroundings and reflected them with how he ultimately felt about himself and his creator; the cultural surroundings of the creature best influenced his character.

Once someone is entirely alienated from culture, they can revert to anger and vengeance as a coping method, because there is nothing else for them to live for. The Creature’s continual rejection by humans, especially its creator, has made it a threat to society. In a successful attempt to scare Victor, the Creature says “...I shall be with you on your wedding night,” (Shelley 156). The Creature’s attitude toward humans has changed tremendously since the beginning of his life due to continuous rejection and cruelty. It has reverted to vengeance and anger, mostly because Victor has refused to give it what it desires. Mellor informs readers of other reviewers’ opinions on the nature of the Creature, stating, “Lavater's treatise on physiognomy argued that the innate soul or character of the individual manifested itself in the person's physical appearance” (Mellor, 1). This argument further conveys that humans base one’s appearance on nearly every aspect of their disposition. The reason for the Creature’s outrage is not a display of its innate qualities, but a change of heart at mankind's expense. Bok’s opinion coincides with Shelley’s as she states that “The Monster may also be despised because he is actually an inaccurate imitation that is perhaps all too accurate: a living mirror of the monstrosity within man,” (Bok, 8). Shelley and Bok both agree that society is at fault for being overly cruel and judgmental. Everyday, people are alienated from culture because of how they