The Doppelganger By Mary Shelley

Mary Shelley’s Frankenstein tells the tale of a man whose entire life turns to misery after creating what he calls a monster, a demon and a fiend. However, the real monster in this story is pride and the feeling of superiority. This is evident in the novel with Robert Walton’s view of himself and his expedition, Victor Frankenstein’s attitude towards himself in comparison with the creature, and mankind’s perception of the creature and their ignorance towards him.

Frankenstein, a novel first published in the year 1818, stands as the most talked about work of Mary Shelley’s literary career. She was just nineteen years old when she penned this novel, and throughout her lifetime she could not produce any other work that surpasses this novel in terms of creativity and vision. In this novel, Shelley found an outlet for her own intense sense of victimization, and her desperate struggle for love. Traumatized by her failed childbirth incidents, troubled childhood, and scandalous courtship, many of Shelley’s life experiences can be seen reflected in the novel. When discussing the character and development of the monster, Shelley launches an extensive discussion on the

What does a person think holds the most influence; the mistake itself or the actions that fallow after seeing the daylight of their mistakes? Will the mistakes be left to suffer in silence or will that person submit to their fatalities in a humble manner? In the short story “Transformation” by Mary Shelley, the main character Guido recalls his life story and admits all the horrible mistakes he made, despite his shame and embarrassment. He’s a young man who was desperately in love with Juliet; although he was an arrogant and selfish man who disregarded Juliet’s feelings. Even after he realized he had lost Juliet forever, a dwarf convinces him revenge is the adequate reaction. So, Guido trades his appearance and life for the Dwarf’s riches. Guido believes that in order to exact revenge on Juliet and her father he needs money; the catch is this exchange will only last for three days. When he sees the Dwarf inside his own body, he realizes his own faults and his selfless act in response re-paid his debt in the end. The moral lesson of “Transformation” by Mary Shelley is that making a mistake is not the biggest issue; what you do once you realize where you went wrong is what matters. The author developed this moral through conflict and characterization.

Mary Shelley’s Frankenstein has undoubtedly withstood the test of time. Frankenstein’s direct association with fundamental Gothic literature is extremely renowned. However, the novel’s originality is derived from the foundational thematic values found within the relationship (or lack there of) between Victor Frankenstein and the monster he had created, in combination with a fascinatingly captivating plot. Understandably, Frankenstein can often be associated with a multitude of concepts; however, in this particular instance, the circumstances in the book seemed remarkably coherent with Shelley’s Romantic beliefs in preserving the natural world, and one’s natural existence. These values present themselves as metaphorical symbols that

Mary Shelley’s Frankenstein, illustrates an interesting story focusing in on many different themes, but what most readers may miss, is the similarities between Victor Frankenstein and the creature he created. As the story develops, one may pick up on these similarities more and more. This is portrayed through their feelings of isolation, thirst for revenge, their bold attempt to play god, and also their hunger to obtain knowledge. These are all displayed through a series of both the actions and the words of Frankenstein and his creature.

In Mary Shelley´s Gothic novel, Frankenstein, the Monster once claimed, “The fallen angel becomes a malignant devil. Yet even that enemy of God and man had friends and associates in his desolation; I am alone.” Frankenstein, since the 1910 film adaptation, has known a series of several adaptations that changed drastically, not only the plot but one of the main characters, the Monster, from stealing its creator´s name to being portrayed as a cold villain. Though, in the original storyline, the biggest threat to society is the creator itself, the one pretending to play as God, Victor Frankenstein. This essay will discuss the nature of the main characters of the novel and conclude who is the “real monster” in the end.

There is a myth that every creature on this planet is one half of a whole and must be completed by another half. Sometimes it takes that other half coming into their life to make them realize the truth about themselves and to see hidden parts of their unconscious minds that they otherwise would not have noticed themselves. Mary Shelley, an accomplished writer during the Romantic Era of English Literature, is the author of Frankenstein. Victor Frankenstein is a young man with a hunger and passion for knowledge and science. He wants to do what no one has ever done before- create human life all on his own. Victor creates an eight foot tall, grotesquely terrifying monster that after continuous rejection from society, decides to take revenge on the man that gave him life. Shelley shows throughout this novel how two mortal enemies can be surprisingly similar and even act as mirrors of each other.

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.

What purpose does it serve to have multiple narrators telling a story? In Mary Shelley’s gothic novel, Frankenstein, three main narrators tell the story about the creation of a monster and the events that follow. The job of narrator shifts between Robert Walton, Victor Frankenstein, and the monster that Victor creates. As each narrator shares his own recollection of the events that occurred, new facts are introduced to put the pieces of the puzzle together. Although Frankenstein uses multiple narrators to tell the story, it is important to look at the effects it might have on the stories accuracy. In this essay, I will closely examine the motives, differences, and similarities of each narrator to see what influences, if any, they have on the narrative.

The horror classic novel Frankenstein has gathered a great deal of critical and commercial attention since first being introduced in 1818, and naturally there has been many academics who have analyzed many of the novel’s biggest themes, symbols, and motifs. This also includes in analyzing the author herself, Mary Shelley. Marcia Aldrich, who has her Ph.D. in English from the University of Washington, is one of the academics to underline the role of being a female writer in the 19th century and what importance this plays on the novel Frankenstein. In her article, co-written by Richard Isomaki, “The Woman Writer as Frankenstein” analyzes the significance of Mary Shelley being the daughter of a writer and how this contributed to her writing Frankenstein, which they speculate as her, Mary Shelley, envisioning herself as the Monster. Aldrich and Isomaki’s “The Woman Writer as Frankenstein” makes valid and persuasive points, which effectively argues that the novel is semi-autobiographical in the sense that Mary Shelley pictured her as the Frankenstein Monster, for many of the concerns that the authors bring up in their article highlight the insecurities, doubts, and inexorable frustrations of a young woman writing in the 19th century.

In Frankenstein, written by Mary Shelley, the monster which is created by Victor Frankenstein acts as a mirror to reflect and bring out Victor’s hidden thoughts. In a particular study called Frankenstein – A Critical Study from a Freudian Perspective, it argues that Victor on the surface seems to be a “healthy man” (Johnson 1). In fact, he unconsciously has many dangerous thoughts, and the creation of the monster brings out those thoughts and finally leads to his failure (Johnson 2). In specific, present paper will analysis Victor’s characters by examining his intention and decisions toward the monster he creates, and the paper is intended

Nineteen-year-old Mary Shelley didn’t know when she began it that her “ghost story” would become an enduring part of classic literature. Frankenstein is an admirable work simply for its captivating plot. To the careful reader, however, Shelley’s tale offers complex insights into human experience. The reader identifies with all of the major characters and is left to heed or ignore the cautions that their situations provide. Shelley uses the second person narrative style, allusions both to Coleridge’s “Rime of the Ancient Mariner” and the legend of Prometheus, and the symbols of both light and fire to warn against the destructive thirst for forbidden knowledge.

Similarly in Shelley’s Frankenstein, the creature’s identity as the ‘Other’ has been thrust upon him by others and his creator. As a contrast, Frankenstein’s ‘Otherness’ is a self manifestation. It began with curiosity and experimentation, but resulted in terror, paranoia and guilt. However, the reader visualises the acceptance of the creature by the blind De Lacey, who has no choice but to listen to his words to base his character judgement (Shelley 109).

"Doppelganger" is German for "double walker" -- a shadow self that is thought to accompany every person (Wagner. 1). There are a few terms that can relate to doppelgangers like ‘bi-location’. Bi-location is a term that refers to a person that can either spontaneously or willingly project his or her double, known as a “wrath,” to remote location (Wagner 1). In instances, a doppelganger is believed to act as a mimicker to the authentic person. In many other folk stories around the world, like in the mythological story of Apollo and Artemis, there are countless of stories about twins from different genders that are siblings or related. Apollo was adopted as the sun god and Artemis was adopted as the moon goddess. The story of Apollo and Artemis

Playing a significant role in Gothic literature, many authors have made use of the doppelganger motif, just like Mary Shelley in her most famous work “Frankenstein“. Back in that time doubling was one of the key concepts to eerie fiction, as Marshall Brown puts it : “There can be few traditions so beset with second selves and doppelgangers as the Gothic novel“ (Palmer 85).