Imperfections In Frankenstein

The novel Frankenstein is wonderful in various ways, from the provoking portrayal of human emotion throughout the story; to the elements of fantasy that stimulate the imagination. However, as one (anonymous) critic put it, “[T]he work seems to have been written… …on a very crude and ill-digested plan; and the detail is, in consequence, frequently filled with the most gross and obvious inconsistencies.” (The Literary Panorama). While the critic attempts to expose some inconsistencies in the story, the acerbity in his review of the novel is unfair based on the support he provides. The irony of this review is that although he tries to expose the plot’s inconsistencies, he uses a non-issue as backing, and yet misses the most glaring oversight in the novel.

Mary Shelley's Frankenstein use of multiple perspectives allows a more dynamic narrative where the reader can make their own interpretations by seeing the narrative told from multiple angles. This is seen in the juxtaposition of love received by Victor versus the creature, the perspective shift and how that allows for the reader to make their own interpretations, and sequencing of the narrative allows the tone of the text to be more intricate. The result of these narrative techniques is are more compelling and dynamic narrative and it allows the reader to not only make their own assumptions and interpretations but sets the mood for exasperating experience.

Mary Shelley’s Frankenstein has several literary devices- such as structure, imagery, and many intricate details. She perfectly places words and puts them in such a way that the passage has a dual tone. Shelley begins with establishing the monster’s nature as being peaceful, because he wanted to reason with Victor. Him wanting to reason shows the importance of his decision to meet with Victor and shows that even though he has been through a great deal, he is still respectable to others. The audience gets to see the creature’s humble nature and makes the audience feel sympathetic towards him. This creates a peaceful tone to the passage. The monster wants to be loved by “any being and if they showed benevolence to me, I would return them hundred an hundred fold” (Shelley 148). The creature’s begging makes it sound like Victor will answer his plea. Using a broad term like “being”, demonstrates the monster’s need to be loved, putting him in a position with the audience again feeling empathetic towards him. Eventually, Victor’s compassion begins to fluctuate. The desperation the creature has looks like the desperation a human might have. This only gives the readers another reason to relate to him which leads to the other tone, impossible. Victor’s unreasonableness heightens this shared discontent as not only has the build up of the creature’s wistful nature made him an utmost identifiable character, but our views are adjusted in such as way that Frankenstein is seen

In Mary Shelley’s Frankenstein and Kazuo Ishiguro’s Never Let Me Go, alchemy and the science of immortality as well as lies and deceit play an extremely meaningful role in the plot. Frankenstein’s protagonist ruins his life with this physcological obsession of reviving the dead and deceit in form of secrecy. In Never Let Me Go, the characters are clones that live this tragic, short life to help other people become immortal. They live a life of ignorance and order where they’re not really supposed to know what their dystopian life leads to. Lying and deceit are prominent in both novels because this horrific process is not one accustomed to in society nor in contempary society; therefore, it was kept a secret to

Victor, the protagonist, is a Byronic hero who voluntarily isolates himself from society as his obsession of creating a new life-being becomes his main interest. He cuts himself off from all human contact and concentrates on his scientific experiment as he wishes his “thirst for knowledge” (Shelley 38) to be stilled. Additionally, he hides a dark secret inside him, namely the creation of the monster which he irresponsibly abandons and ultimately is forced to accept the consequences of death of his loved ones.

Frankenstein continues to prove his label as a monster in the novel when he makes the sudden decision to abandons his own creation solely because of his physical appearance. The very moment the monster opens his eyes, to Frankenstein, “the beauty of the dream vanished, and breathless horror and disgust filled my heart. Unable to endure the aspect of the being I had created, I rushed out of the room” (Shelley, pg. 59). With no thought to what could happen mentally to his creation due to his abandonment, along with the lack of concern for what could happen to the people in his society letting a monster run loose with no guidance or love from it’s own creator, proves how much of a monster Frankenstein is. He leaves his creation to suffer the scrutiny of the judgemental society he lives in, explaining the root of his anger and the mental state the creature is in when he chooses to get

<center><b>Reliance on Appearance and Dependency upon Acceptance in Mary Shelley's Frankenstein and Today's Modern World.</b></center>

Victor goes to England to create the monster’s mate, taking Henry with him. When he is almost done making his second creation, the monster comes to claim her only to find Victor destroying it. The monster vows to take revenge on Victor’s wedding night and goes and immediately kills Henry. Victor is accused and eventually acquitted and returns home where he married Elizabeth, who the monster kills on their wedding night. Victor begins following the monster to get his revenge and had chased him to the North Pole where Walton finds him. He dies while on Walton’s ship and the monster feels responsible for his death. The monster vows to kill himself and then disappears onto the ice.

In Mary Shelley’s Frankenstein, the author portrays various aspects of human nature and societal norms through the characters and their actions. Although the characters conform to these norms, some of them question inwardly-particularly Victor Frankenstein.

“We make our own monsters, then fear them for what they show us about ourselves.” (Mike Carey). As we mature, we tend to make some mistakes. They help us learn from them and grow to our full potential. In the novel Frankenstein, the main character, Victor, is obsessed with learning how things work. He becomes passionate of galvanism; a procedure where electricity is used in order to create a chemical reaction. In Victor’s case, he goes to study at the university of Ingolstadt where he used this procedure in order to create life from cadavers parts. This leads him through a loop of mistakes, never learning from them and leading him to become a monster. His passion becomes his obsession,and he slowly drifts away from his family. The night he

“Hardships often prepare ordinary people for an extraordinary destiny” (C.S. Lewis). If these words are true, and it is also true nobody is ordinary, does that then mean that hardships are a form of midlife rebirth? Any form of birth is proof that you have survived something, after all nothing is created nor destroyed merely transformed. Although many people do not believe in past lives, it can hardly be denied that everyone goes through rebirth in their lives and that our struggles shape who we are.

The novel Frankenstein, written by Mary Shelley, is a cult classic that was and still is very popular. Many films and knock-off comics have been made of the novel, because of this fact. But, even though we know the story of Frankenstein by heart at this point, can we learn something from it. Lessons have existed since the beginning of man. Lessons have been taught through the Bible, through children stories, and through adult novels. So, what is the lesson Mary Shelley wants her audience to learn? The issue that Shelley is trying to teach us to avoid is ignorance of our mistakes. Everyone makes mistakes, it’s a fundamental trait of every human. So, if nobody’s perfect then own up to your mistakes instead of disowning them and only further damage

Arguably one of the most complex characters in Frankenstein, Victor Frankenstein is a whole mess of things. Victor’s true reason for his downfall is his thirst for knowledge, simple. He was obsessed with reading the works of ancient and outdated alchemists. Specifically, the works of Agrippa, Magnus, and Paracelsus. This, coupled with Victor experiencing a thunderstorm at 15, sparks an interest in Natural Sciences. Even though he was told that alchemy was rubbish, he still continues to study it when he cannot get an answer why. Then, when he his mother dies of scarlet fever, Victor becomes obsessed with conquering death. When he arrives at university in Ingolstadt, his knowledge of alchemy and natural sciences is ridiculed. But when

Frankenstein was a story written by Mary Wollstonecraft Shelley while she was on her vacation in Switzerland with her husband. The story got published in 1818 without letting the public about the author. It was in 1831 when the novel revised edition was out and Mary Shelley name mentioned as an author. The novel focused on social, cultural and political facet of the societies during Mary’s lifetime. The fictional character in the novel clearly shows the battle against the pre-established people’s attitude during that time. Religion and science always create a controversy in the society with religion always differencing from any scientific principles and experiments. Shelley’s tried to addresses the above controversy and showed how science and modern technology is sometimes wrong. She tried to show how scientists and inventors are sometimes selfish only care for achieving their plan without evaluating the end result.

Mary Shelley’s Frankenstein is a literary classic that tells a story of a young scientist Victor Frankenstein who created a monster that tries to live in society but is rejected. The monster will later seek revenge by going after his creator. In this essay I will be evaluating two critiques about the novel. Beginning with Professor Naomi Hetherington’s critique and the second critique written by Professor Sherry Ginn.