Frankenstein Giant RRS

Transcription

1 Irene Zhou Alex Bae Johnathan Chiu Period 4 April 23, 2018 Frankenstein Giant RRS Title: Frankenstein Publication Date: January 1, 1818 Author: Mary Shelley Nationality: British Author s Birth/Date Dates: August 30, February 1, 1851 Distinguishing Traits of Author: Mary Shelley is an English novelist best known for her Gothic novel Frankenstein. She drew inspiration to write the novel near Geneva, Switzerland and was influenced by 18th century natural philosopher and poet Erasmus Darwin, who was said to have animated dead matter. Her mother was a well-known feminist, Mary Wollstonecraft, and so Shelley was familiar with the fight for women s rights. Her novel Frankenstein lacks strong female characters, likely suggestive of the difficult struggle for women in that society. Her husband, Percy Shelley, was criticized for wanting to donate large amounts of the family fortune to help the disadvantaged. The last decade of her life was dogged by illness and when she died, it was discovered that Mary Shelley kept a box which contained a notebook which she shared with Percy Bysshe Shelley locks of her dead children, a copy of the poem Adonais with a silk parcel containing the ashes and the remains of her husband s heart. Setting: Geneva Frankenstein takes place in many different locations throughout the duration of the novel. In the beginning, Victor Frankenstein lives in Geneva, Switzerland with his family. Geneva is home to protagonist Victor Frankenstein for its considerable seclusion and is also where he met his best friend Henry Clerval (30). Growing up in the semi-secluded town of Geneva, Victor did not form many close bonds over the years and thus formed only one distinctly strong friendship with Clerval. Victor also discovers his thirst for knowledge in the schools of Geneva, where he eventually becomes self taught with regard to [his] favorite studies (32). Geneva is where Victor feels the greatest familial love and also where he first becomes intrigued with education. Ingolstadt Victor s parents later send him off to school in Ingolstadt to further his education. At the university of Ingolstadt, Frankenstein discovers his passion for natural philosophy and began his work to observe the natural decay and corruption of the human body to learn how to defy it and create life (40, 41). Once he is sent to Ingolstadt, Victor is completely isolated from his friends and family back home in Geneva and throws himself fervently into his work. Since Victor is physically away from his home and lacking any close friends nearby, there is no one around to advise him to take a step back from his work. When Victor completes his creation, he does not feel joy and success over his accomplishment but rather horror and regret over what he has done. Though Ingolstadt is where Victor discovered and further solidified his passion for and knowledge of natural philosophy, it is also where Victor ultimately brings about his own downfall by creating, rejecting, and neglecting his monster.

2 Arctic Sea The novel begins and concludes in the Arctic Sea, where Captain Robert Walton is exploring lands unknown to man. Walton is excited by the prospect of pioneering and adventure as the cold northern breeze blowing on his cheeks braces [his] nerves, and fills [him] with delight (13). The harsh cold of the icy Arctic environment is indicative of the alienation of Victor and Walton. In the Arctic, they are literally stuck in sheets of ice in undiscovered territory, where the warmth of human contact is far behind them. The frigid desolation of the Arctic Sea showcases the isolation that can result from an obsession with scientific advancement and the repercussions that they must bear. The insatiable desire to discover and innovate does not always lead to positive results, especially if precautions and limits are not taken. As the story starts and ends in the Arctic Sea, Victor and Walton both suffer the consequences of over-eagerly pursuing knowledge. Brief Synopsis: Exposition The story begins with Captain Robert Walton on an expedition to the North Pole. His ship becomes stuck in ice and he finds Victor Frankenstein, who is in a sled. Captain Walton nurses Victor back to health and Victor tells Captain Walton the story of his life. Rising action Victor recounts to Captain Walton how he grew up in Geneva and his early childhood. Following a happy and memorable childhood with his cousin Elizabeth Lavenza and his best friend Henry Clerval, Victor s father sends him off to the university of Ingolstadt to study. At the university, he meets an influential professor, M. Waldman, who inspires him to study chemistry and natural philosophy and figure out the secret of life. Climax After years of hysterical research, Victor succeeds in creating life by stitching together dead remains. Victor is terrorized when he sees the monster that he created and immediately banishes the creature. He falls ill and Clerval arrives to nurse him back to health. Victor travels back to his hometown of Geneva to discover that his younger brother William has been murdered. While in the forest where William was killed, Victor catches a glimpse of his monster and is sure that his creation was the murderer. Justine, an innocent girl who took care of William, has been accused in his death and is convicted and executed. Wracked with guilt and despair, Victor takes a trip to the mountains where he comes across his monster. The monster tells Victor about his life and how lonely and dejected he is because all humans rejected him. The monster then asks Victor to create him a female counterpart so that he will no longer have to be alone. Against his better judgment, Victor is convinced and returns to Geneva and travels to England with Henry and later to Scotland alone to create the female. One night, Victor fears the consequences of his actions and destroys the incomplete creation. Enraged, his monster vows revenge on his wedding night. Victor takes a boat to rid of the remains and is lost at sea. His boat washes ashore in Ireland and he is immediately arrested for the murder of a man who turns out to be Henry. Victor falls ill again and is held in prison until he is acquitted. Victor then returns home to Geneva and is married to his love Elizabeth. Paranoid about his monster s threat, Victor spends their wedding night worrying for his life only to discover that the monster has killed his new wife. Falling action

3 He returns home to Geneva and, after his father dies of grief, vows to destroy his creation. He pursues his monster northward into the Arctic Sea as his health fails drastically, which is when Captain Walton finds him and nurses him back to health. Denouement Victor dies and shortly after, Captain Walton finds the monster looking over Victor s body with remorse and suffering. The monster states that he too can now die because his creator is dead and travels to the North Pole to die. Captain Walton then decides to end his expedition and turn around to go home, as he realizes that some risks are simply not worth the consequences. Brief Description of Characters: Victor Frankenstein Victor Frankenstein is the protagonist of the novel and struggles with the boundary of scientific knowledge and pursuit. In the beginning of his studies at Ingolstadt, Victor is a fervent student, eager to discover the secret of bestowing animation upon lifeless matter (41). Victor plunges forward to create such a creature without hesitation or even consideration of the consequences that might follow.yet, even after he succeeds as his monster opens its eyes for the very first time, Victor is terrified and immediately rejects him. As the creator, Victor takes no responsibility whatsoever for his own creation and instead leaves the monster to approach life on his own. Even though Victor sees his monster as evil and cruel, he is quite oblivious to the fact that his creation may be justified in feeling angry and wanting to seek revenge. Victor, the only real family member of the monster, has alienated him and left him alone to die in the world. However, Victor is only able to recognize the malicious crimes that the monster has committed but fails to realize his reasoning for doing so and the role that Victor himself may have played in driving the monster to become self-loathing and angry. After the monster convinces Victor to create a female counterpart so that he will not be lonely, Victor eventually changes his mind as he fears that she might become ten thousand times more malignant than her mate (126). The second time around, Victor exercises more judgment as he considers the true repercussions of creating another creature like his first monster. Victor is fully aware that if he does not satisfy the monster s request, he may harm or kill Victor or his other family members. Yet, even with the knowledge that his family may be in danger in the future, Victor still opts to destroy his half-finished creation of the female monster because he is willing to sacrifice for what he believes is the greater good of humanity. Already wracked with guilt over the deaths of William and Justine as a result of his monster, Victor cannot bear having to feel the same remorse and anxiety over more innocent deaths should he bring another monster into creation. The Monster Throughout the novel, Frankenstein s monster is typically seen as the grotesque and villainous monster. However, the hardships and alienation that he endured do not excuse his malicious acts, but do offer an explanation and sympathy. The monster first sought to and expected to have Victor s love, as he followed his creator to his bedroom and [grinned] (46). However, when Victor denounces him and turns away from his own creation, the monster still clings onto the hope of finding love and tolerance elsewhere. As the monster recounts his life story to his creator, he tells of his fascination with the De Lacey family and his innocent and innate desire to first win their favour, and afterwards their love (89). From the very start of his creation, the monster has been a creature only seeking love and belonging. Though he may be deformed and have a horrific demeanor, the monster, as every other human being, desires a family to love and accept him. During the years he spends watching the De Lacey family and learning language, communication, and altruism, the monster begins to believe that the family will be able to look past his physical appearance and see his pure heart. Yet, humans continually disappoint the

4 monster as everyone is only able to see his deformation, as they have no clue of the intense alienation and self-hatred that he feels. When Victor destroys the monster s last hope for a companion, the creature flies into a rage and laments that Shall each man find a wife for his bosom, and each beast have his mate, and [he] be alone? [He] had feelings of affection, and they were requited by detestation and scorn (128). As the monster again faces the prospects of living out his days in complete solitude from all contact for fear of disdain from the humans that he seeks the love of, the monster is no longer able to control himself and vows to ruin Victor s life. Since Victor is now the only person left in his life, the monster still seeks to maintain this relationship, even if it is harmful, because his unusual creator-creature relationship with Victor is better than no relationships at all with any human being. Though the monster believes that Victor does not love him and actually loathes him, the creature cannot help but still harbor a love for his creator as he has no one else to love. Even though the monster was originally created by Frankenstein as an innocent and loving creature, only seeking love, he is gradually hardened by humans cruel treatment towards him and this anger towards humanity eventually destroys his soft character when he vows to destroy his creator s happiness. Elizabeth Lavenza Elizabeth is the classic example of a passive woman who waits around for her husband to return to her. She is a soft and trusting woman, always supportive of Victor. When Victor s health fails as he must bear the guilt of the deaths of William and Justine on his conscience, Elizabeth alone had the power to draw [Victor] from these fits (145). Elizabeth offers endless support, care, and love for Victor as she frequently checks up on him by writing him letters. However, Elizabeth does not take greater control of her life as she allows Victor to dominate and make all of the decisions. When he wishes to postpone the wedding to create the female monster, she seemingly has no choice but to follow along with whatever he wishes. Elizabeth does love Victor and sacrifices herself for his happiness, yet she never stands up speak her mind. Henry Clerval Henry Clerval is Victor s reliable friend who always sympathizes with him and supports him by nursing him back to health. Henry s company is able to relieve Victor from his stress and anxiety from creating the monster as Victor forgot [his] horror and misfortune and felt calm and serene joy when in the presence of Henry (47). While Victor is passionate about natural science, Henry s interests lie with fine arts and English. The two are opposite foils as Victor prefers to isolate himself to work fervently, Henry is more open and caring of his good friend. He never stops trying to take care of Victor as Henry nurses him back to health multiple times and always seeks to support and accompany him, even through Europe as Victor was seeking to create the female monster. Victor is able to find himself again as Henry brings joy and light into the cold, dark, and reserved world Victor has trapped himself in. Though Henry is eventually killed by Victor s monster, Victor never forgets his friend s good and loving heart and willingness to always extend a helping hand. William Frankenstein and Justine Moritz Justine Moritz is a friend of the Frankenstein family who is accused of murdering Victor s innocent younger brother, William Frankenstein. Though Victor is quite certain that Justine is innocent and his monster is the true murderer, executed for a crime she confessed to but did not commit. The monster later reveals that he killed young William out of spite for his creator, Victor. After Victor does not speak up regarding the true murderer of his brother, Justine suffers the consequences and is executed and Victor expresses sorrow upon the graves of William and Justin, the first hapless victims of [his] unhallowed arts (70). Victor fears telling the jury and town who the true culprit of the crime for fear of looking like a madman, and instead allows Justine to bear the ramifications for his mistake.

5 William and Justine s unrighteous deaths take a great toll on Victor s physical and mental health as he feels personally responsible for the deaths of his family members and friends. The innocence of William and Justine further expose the true cruelty of Victor s creation as he is willing and capable of killing everyone in Victor s life just to destroy his happiness. Captain Robert Walton Captain Robert Walton is similar to Victor Frankenstein in that both are seeking to push the boundaries of knowledge and discover more about the realm of the unknown. He is exploring the Arctic and the North Pole when he encounters Victor Frankenstein stuck in the sheets of ice. Walton writes to his sister in England that he wants to discover a country of eternal light and satiate [his] ardent curiosity with the sight of a part of the world never before visited (13). Victor and Walton are both desiring the knowledge previously unbeknownst to man. However, their difference lies in that Victor became obsessive over his need for knowledge and pushed the limits of science too far whereas Walton is much more practical and logical, able to recognize when it is appropriate to keep pushing and when it is appropriate to turn around go home. Both foster the same insatiable desire for a breakthrough, yet Walton is able to learn from Victor s mistakes and make the sound judgment to return home instead of pioneering forward towards the North Pole. Symbols: The monster The monster epitomizes the need for every human being to feel accepted and loved in this world. After spending so much time observing and admiring the De Lacey family, the monster finally shows himself to the old man and begs for his protection, exclaiming Save and protect me! You and your family are the friends whom I seek. Do not desert me in the hour of trial! (104). The monster has devoted so much of his time and energy to trying to win over the De Lacey s family love by chopping down their wood for them and leaving it by the door, learning their language in the hopes of being able to communicate with them, and familiarizing himself with their family history to be able to better consider himself a prospective member of their family. Since his creator, Victor, rejected and neglected him, the monster has never found love from anyone else anywhere he has gone. Everyone he meets scorns him for his hideous appearance and want nothing to do with him. The monster represents the innate desire of every person to feel welcomed and loved. Though the monster is never able to achieve this love, he never stops seeking human interaction to alleviate his overwhelming loneliness. Fire One of the main symbols is the fire that the monster first encounters in the wilderness. Fire is symbolic of knowledge. When the monster burns his hand, yet at the same time receives warmth, it foreshadows that knowledge of the world will bring him happiness and comfort, but at the same time it will hurt him and bring him misery. As the monster relates his life experiences with Frankenstein, he mentions how he discovered that fire gave light as well as heat and would be able to heat his food and improve his life (81). The monster s discovery of fire is what first prompts his realization that he is too an affectionate being longing for familial relations and intimacy. With the knowledge of how to start a fire and how to use this discovery to his benefit, the creature is able to progress rapidly from a monster unaware of his senses to being able to understand language and process emotion. Fire symbolizes the more dangerous side of a relentless pursuit of knowledge as the monster only grew more dejected and lonely as he discovered more about other human relationships and his lack of a companion. Fire and symbolizes knowledge and enlightenment and the danger that can follow when chasing either without precaution. Lightning

6 Another recurring symbol is the lightning that seems to accompany tragedy caused by the monster. The lightning symbolizes a sort of divine punishment, as if the heavens are punishing Frankenstein for his ambitious creation. After toiling for months trying to create an animate form from dead body parts, Frankenstein [infused] a spark of being into the lifeless thing and saw the creature come to life by the glimmer of the half-extinguished light (45). Victor s original goal in undertaking this project to create the monster was to discover the knowledge of the secret of life; every scientist s goal was to push the limits of discovery and expand their own knowledge. When Frankenstein s monster came to life, lightning flashed and a spark was infused (45). This spark as his monster came to life shows that Frankenstein has pushed the boundaries of the pursuit of knowledge too far. Moon Another symbol is the moon, which always seems to accompany the appearance of the monster. The moon shines light amidst the darkness of night, and thus represents the virtues and pure heart that is buried within all the malicious that seems to surround itself around the monster. Beneath all the violence and his murderous actions ultimately lies an originally pure heart that was tainted by misfortune and misery. In other words, the moon was a symbol for the monster s heart. Young Buds Another one of the symbols in the novel are the young buds that Victor notices outside his window during spring. Prior to this moment, Victor had fallen ill from his project. The budding flowers represent Victor s renewal of both vitality and spirit as he has been nursed back to health by Henry over the winter. Ice and coldness Ice and coldness represent the desolation and death in these alienated environments. As Victor climbs to the summit of Montanvert and takes in the sights of the magnificent view, the tremendous and ever-moving glacier filled [him] with a sublime ecstasy (75). Even though Victor is isolated from all of his friends and family, he is able to feel joy in the frigidly cold mountainous environment. The ice and snow of the mountains embody the emptiness and frostiness of being separated from all. Victor and the monster both spend much time in cold and unwelcoming environments as both of them are somewhat alienated from society. Though Victor has isolated himself by turning away all help and solely focusing on his own work at the time, the monster actually sought interaction but was rejected by all humans for his hideous demeanor. Snow and ice are among nature s purest features as they are white and often untainted. As the novel begins and concludes with Victor and Frankenstein stuck in the ice sheets of the Arctic Sea, the two both had pure and untainted original intentions for seeking discovery, until Victor pushes the boundaries too far and creates a monster that eventually destroys his life. The ice and cold symbolize not only the overwhelming loneliness of each and every person, but also the harmful consequences that can follow in pursuing the quest for knowledge without deep consideration of its benefits. Justine Justine is the symbol of innocence and her death is a representation of injustice. Elizabeth describes her as the most amiable and benevolent of human creatures (56). When Justine is first accused of the murder of William, everyone is shocked that such a sweet girl would even be considered as the culprit. However, Justine is still found guilty because of general want to put the blame of William s death on someone tangible. Shelley exposes the dangers of recklessly searching for justice, and the innocence that may be crushed in the process.

7 Motifs: Nature Throughout the novel, nature plays an exceptionally important role in determining Victor s state of mind and highlights the loneliness or elation he feels. While the guilt over Justine s death consumes him, Victor decides to leave his home and journey to Mont Blanc, where the sublime and magnificent scenes afforded [him] the greatest consolation (75). Victor already feels isolated from his family and unable to accept Elizabeth s comfort because he feels personally responsible for the deaths of Justine and William. When he takes his trip to the icy cold mountains, a literal isolation from the rest of society, Victor is able to see and feel the physical alienation and take a temporary distraction from his guilt. When Victor is upset, the nature he sees further fuels his emotions as he then sees the very negative and frightful side of nature. The novel is filled with scenes of majestic nature views as Victor contemplates his life and the consequences of his monster. The motif of nature shows how alienated Victor is from all of his loved ones as he often turns to nature as a source of comfort instead of another human being. The motif of nature is important in the novel because it illustrates Frankenstein s emotional change. Initially, he would be able to calm his feelings and discomforts by simply looking out at a view of beautiful scenery or the effects of a spring season. He finds peace and comfort through these sights. However, as the novel continues on, the actions of the monster become increasingly more violent, and this affects Frankenstein emotionally as well. Even with the view from on top of the summit of Montanvert, Frankenstein cannot ease and calm himself the way he used to. Ultimately, the motif of nature illustrates the progression of Frankenstein s emotional changes before and after his creation. Acts of kindness The monster s acts of kindness throughout the story are deeply contrasted with the consequences he is given. When the monster was hiding nearby the cottage of the De Lacey family, he provides a pile of wood in front of their door and admiration of human interaction. Also, he saves a girl from drowning in the river one day while going through the woods. Ultimately, the monster s benevolent acts are not appreciated by society. He is simply judged by his appearance and shunned by the humans. These images throughout the novel emphasize the monster s efforts to be accepted and the rejection that society gives him in return. Passive women Frankenstein contains a couple of female characters, yet the story focuses more on dominant male characters and less on the passive women. Caroline Beaufort, Victor s mother, was the self-sacrificing woman who died nursing her adoptive daughter back to health. Elizabeth Lavenza is Victor s love interest and does not take a stronger role in the story except as the submissive wife-to-be waiting for Victor to come home. Justine Moritz is executed for a crime she confessed to but did not commit. When the jury declares Justine guilty of murdering William Frankenstein, she does not fight back but rather passively accepts her fate as she confessed a lie that [she] might obtain absolution (68). Victor was afraid to speak up regarding the true culprit of the crime for fear of looking like a madman, and allows Justine to suffer the consequences for what was really his doing. Justine, a passive woman, is subjected to death because Victor chooses to prioritize his own sanity and reputation over her life. She never fights the wrongful conviction and instead simply confesses to the murder so as to not cause any more trouble. The motif of passive women throughout the novel exposes the greed and self-centered mindset of Victor, a dominant male, who does not consider the well-being or opinions of others but rather focuses solely on his own goals and situation. Rejection

8 The motif of rejection is significant because it illustrates the monster s main struggle throughout the novel. He is constantly being rejected by society, as well as his own creator, Victor. The first time the monster experiences rejection is immediately after he comes to life. Victor is disgusted at the monster s grotesque appearance and immediately abandons him. Soon afterwards, when he presents himself in front of the villagers, the monster is rejected by them as well. Finally, the creature is most disturbed when he is even rejected by a pure and innocent young child, William, who he later murders. This is especially significant to the creature because the child s mind has not yet been contaminated by societies judgmental views. It is at this point when the monster realizes that nobody is willing to accept him because of his physical appearance and his loneliness leads him to desire a companion. Archetypes Creator and creation The archetype of creator and creation is demonstrated through the relationship between Frankenstein and the monster he created. Frankenstein plays the role of God, giving a body and life to the monster. However, Frankenstein abandons his creation because of fear. This abandonment is the cause of the monster s unhappiness indirectly causes the deaths of Frankenstein s family members. The consequences of irresponsibility are shown through the evils the monster is capable of accomplishing. The lover Elizabeth is represented as the lover or the character who wants to be with loved and ones and making them happy. She is the epitome of this image as she constantly wishes to be the caregiver of her family and the lover of her dear Victor. Even as a benevolent character, she also worries about being abandoned or left alone, such as when she believes that Victor is not interested in marrying her anymore. The outcast The monster is represented as the outcast in the novel by being abandoned by his creator and also from society. Even though he tries his hardest to be accepted, he fails to succeed. The explorer Walton is an explorer trying to find a new discovery in the Northern Ice. He is also an explorer trying to find something he never had before a friendship. He is successful in achieving this role as he is able to somewhat be a confidante to Frankenstein while he tells his story as well as with the monster at the end of the novel. The rebel Victor Frankenstein is the rebel in this novel because he tries to accomplish the impossible by bringing the dead back to life. He goes against the morals of religion and nature and tries to pursue this goal through the studies of science. The companion Henry Clerval is represented as the companion character of Victor Frankenstein. He never leaves Frankenstein s side even when he is ill or when he travels to England and Scotland. The mad scientist

9 Victor Frankenstein represents the mad scientist archetype as his fascination with natural science leads him to conduct experiments and ultimately create the monster. Victor has always had a fervent passion for scientific experiments and began his work to discover the secret of life in which he pursued [his] undertaking with unremitting ardour until his cheek had grown pale with study and his person had become emaciated with confinement (43). Victor completely isolates himself from his family and friends in Geneva and the rest of society as he focuses all of his time on trying to succeed with his experiment. His obsession with discovering the secret of life leads him to go too far and create a monstrosity that he immediately regrets after seeing. By trying to play God and not recognizing the limits of scientific advancement, Victor does succeed in his goal to create life but his creation is what ultimately brings about his downfall. Victor slowly begins to lose his sanity and lives a miserable life after his monster forsakes him by killing all of his loved ones. Though he originally had good intentions for trying to create his monster, Victor loses his morals along the way as he becomes obsessed with his work. Allusions: Prometheus The full title of Frankenstein, the Modern Prometheus, is a reference to the greek myth of a titan called Prometheus, who is known for having given fire to man. During his studies, a sudden light (Chapter 4) sparked in Victor, allowing for the acquirement of knowledge (Chapter 4) on reanimating the dead. This would pour a torrent of light into our dark world (Chapter 4), which alludes to how Prometheus granted man the gift a fire. Paradise Lost Shelley alludes to the creation of Adam and Eve and John Milton s Paradise Lost when the monster is recounting his past to Victor. The creature compares himself to Adam and Satan as he laments that [he is the fallen angel, whom [Victor] drivest from joy for no misdeed (78). In Paradise Lost, Satan is originally an angel who is later cast out of heaven by God. God first creates Adam and later Eve when Adam longs for a companion. The monster compares himself to Adam to try to evoke sympathy from Victor that he needs his own Eve to keep him company in the dark world. He is also compared to Satan because the monster initially had a kind character with good intentions but later becomes cruel and cold because of Victor s neglect and humans rejection of him. This allusion to Paradise Lost is suggestive that this entire tragedy could have been avoided if Victor had taken responsibility for his creation and accepted instead of rejecting him. Like Adam, the monster is longing for a partner to alleviate his loneliness; like Satan, the monster was not originally evil and vicious but eventually became so because of the hardships and isolation he endured. Themes: Alienation and loneliness Mary Shelley's emphasis on the Faust legend, or the quest to conquer the unknown at the cost of one's humanity, forms a central theme of the novel. The reader continually sees Victor favor his ambition above his friendships and family. Created by a German writer named Johann Wolfgang von Goethe, the Faust myth Frankenstein: Themes 49 suggested that the superior individual could throw off the shackles of traditional conventions and alienate himself from society. English Romantic poets, who assumed the status of poet-prophets, believed that only in solitude could they produce great poetry. In Frankenstein, however, isolation only leads to despair. Readers get the distinct feeling that Victor's inquisitive nature causes his emotional and physical peril because he cannot balance his intellectual and social interactions. For instance, when he leaves home to attend the University of Ingolstadt, he immerses himself in his experiment and forgets about the family who lovingly supported him

10 throughout his childhood. Victor actually does not see his family or correspond with them for six years, even when his father and Elizabeth try to keep in touch with him by letters. Shelley's lengthy description of Victor's model parents contrasts with his obsessive drive to create the creature. Margaret's correspondence with Walton at the beginning of the novel also compares with Shelley's description of Victor's home life; both men were surrounded by caring, nurturing individuals who considered the welfare of their loved ones at all times. Not surprisingly, Walton's ambition to conquer the unknown moves him, like it does Victor, further away from civilization and closer to feelings of isolation and depression. The creature, too, begins reading novels such as Goethe's The Sorrows of Werter and John Milton's Paradise Lost, claiming that an "increase of knowledge only [showed] what a wretched outcast I was." For the creature, an increase in knowledge only brings sorrow and discontent. Victor and Walton ultimately arrive at these two states because of their inquisitive natures. Nature vs. nurture The theme of nurturing, or how environment contributes to a person's character, truly fills the novel. With every turn of the page, another nurturing example contrasts with Victor's lack of a parental role with his "child," the creature. Caroline nurtures Elizabeth back to health and loses her own life as a result. Clerval nurtures Victor through his illness when he is in desperate need of a caretaker after the creature is brought to life. The De Lacey's nurturing home becomes a model for the creature, as he begins to return their love in ways the family cannot even comprehend. For instance, the creature stopped stealing the De Lacey's food after realizing their poverty. In sympathy, he left firewood for the family to reduce Felix's chores. Each nurturing act contrasts strongly with Victor's gross neglect of the creature's needs. And by showing the affection between Caroline Frankenstein and her adopted daughters Elizabeth and Justine, Shelley suggests that a child need not have biological ties to a parent to deserve an abundance of love and attention. Appearances and reality Victor's inquisitive probing causes him to delve beneath the appearances of "acceptable" science and create an animate being from inanimate materials. Nevertheless, he forgets to extend this inquiring sensibility toward his creature. The creature's physical appearance prompts Victor to flee from his creation; Victor never takes the time to search beneath the creature's ugliness to discover the very human qualities that the creature possesses. While Victor easily manipulates nature and natural laws to suit his own intellectual interests, he lacks an understanding of human nature, as proven throughout the novel. In addition to the importance of the creature's appearance, Shelley emphasizes the magnificent landscape throughout the novel. This demonstrates her loyalty to the Romantic movement of her time, which often glorified nature. Although Victor often turns to nature to relieve his despondent thoughts, Clerval notices the intimate interaction between nature and humans in Switzerland. He says to Victor, "Look at that... group of labourers coming from among their vines; and that village half-hid in the recess of the mountain." Clerval looks beyond nature's surface appearance, drawing Victor's attention to the harmonious interaction between nature and a productive society. Victor praises his friend as having a "wild and enthusiastic imagination [which] was chastened by the sensibility of his heart," a sensibility Victor ironically lacks. In the isolated Arctic, when Walton's ship is trapped by mountains of ice, he respects nature's resistance to his exploration and eventually leaves the untamed region. Like Clerval, Walton experiences life by interacting harmoniously with nature and people, as he proves when he honors his crew members' request to return home. Duty and responsibility Victor's inability to know his creature relates directly to his lack of responsibility for the creature's welfare or the creature's actions. The role of responsibility or duty takes many shapes throughout the

11 story, but familial obligations represent one of the novel's central themes. Whether Caroline nurses Elizabeth or Felix blames himself for his family's impoverished condition, Victor's dismissal of his parental duties makes readers empathize with the creature. Victor only feels a sense of duty after the creature says the famous line, "How dare you sport thus with life. Do your duty towards me, and I will do mine towards you and the rest of mankind." The creature compares himself to Adam thus comparing Victor to God and claims that Victor owes him a certain amount of happiness. Even though the creature temporarily convinces Victor to grant him his rights, Victor never really learns the virtues of parental or ethical responsibility. Justice vs. injustice By showing how Victor ignores his responsibilities while those around him do not, Shelley invites the reader to judge his character. Themes of justice and injustice play a large role in the novel, as the author develops issues of fairness and blame. Usually those characters who take responsibility for others and for their own actions are considered fair and just. For example, Elizabeth pleads Justine's case in court after Justine is accused of William's murder. Victor knows the creature committed the crime, yet he does not or cannot reveal the creature's wrongdoing. However, the most important aspect of the trial is Justine's confession. Elizabeth claims, "I believed you guiltless... until I heard that you had yourself declared your guilt." When Justine explains that she confessed after being found guilty because that was the only way to receive absolution from the church, Elizabeth accepts her at her word and tells her, "I will proclaim, I will prove your innocence." Making confessions, listening to others, and offering verbal promises all signal the highest truths in this novel. Elizabeth accepts Justine's guilt only if Justine says she is guilty; never mind the facts or evidence, never mind intuition words reveal true belief. Except for Victor, every character listens to others: Mr. Kirwin listens to Victor's story, the creature listens to the De Lacey family, Felix listens to Safie's father, Margaret listens to Walton, and Walton listens to Victor and to his crew. Listening helps all of these characters distinguish fair from unfair. Victor's refusal to listen impartially to his creature says much about his character. Shelley suggests that Victor not only played God when he created the creature; he also unfairly played the role of judge and accuser. Forbidden knowledge One thing that connects Victor Frankenstein and Robert Walton, perhaps the most important thing, is the fact that they seek to gain knowledge of the forbidden, whether it is a science that is closer to witchcraft or a region covered with impassable ice. In Mary Shelley s time science was just beginning to make powerful strides alongside the beginnings of industrialization; she feared that these strides were somehow inhuman, that there were things Man was not meant to know. She created the tandem characters to show the two paths the pursuit of forbidden knowledge creates. Victor s pursuit of a way to create life in the end only destroys lives, including his and the monster s; nevertheless, he continues his pursuit. He even metaphorically pursues the monster, the result of his experiments, to end the destruction he himself created. Victor has no one but himself to blame, Shelley might be telling us, because he violated the boundaries of what Man needs to know. Once violated, those boundaries fall behind, leaving disaster in their wake. Walton takes the path Victor refuses. Through Victor s example, Walton surveys the sheets of ice surrounding his ship and backs out of his dangerous quest for the North Pole. He wants to be the explorer, but not to the degree that Victor is, with nothing but heartache to show for his efforts. This wisdom can only come through his encounter with Victor. Mary Shelley uses Walton as a frame narrator because only through his eyes can we see that Victor is really the monster, and that he allows himself to be because he stretches human knowledge further than it was meant to go.

12 The destructive effects of the pursuit of knowledge Oftentimes, there is a limit on scientific advancement in which overreaching and excessive ambition can actually bring more harm than good. When he just arrived at the university of Ingolstadt, Victor was a fresh young student only seeking to gain more knowledge about natural philosophy. However, as he threw himself more and more into his work while communicating with the outside world less and less, he soon lost perspective of the fine line between ambition and overreaching. By pushing beyond the limits of the ethical experimentation, Victor creates a monstrosity that he immediately regrets, rejects, and loathes. This passion for science that is taken too far often results in severe and irreparable consequences. If one is not careful and aware of the intoxicating effects that the power of knowledge can grant, the pursuit of knowledge can quite easily evolve from a simple interest to learn more to an all-consuming obsession to gain every last piece of knowledge about the subject and then push the boundaries just to learn more. The potential sense of self-accomplishment for figuring out the unknown and pioneering a new path clouds the judgment of these people and causes them to overlook the repercussions of their actions. Science and the pursuit of knowledge must be treated delicately and conducted in moderation so as to avoid the potentially detrimental effects of overreaching into the realm of knowledge. Science vs. nature The Romantic period produced many naturalist writers who praised the beauty and the perfect system of nature over man-made substitutes. Mary Shelley s husband Percy and his colleague Lord Byron were such poets, and Mary found herself agreeing with them. As science began to make a foothold in their time, some writers ignored it while others railed against the change. What better way to protest the encroachment of science than to tell the story of a man whose science lurches out of control, producing two literal monsters? Victor Frankenstein is symbolic of this science gone mad, and he represents the new establishment that preferred test tubes to sonnets. The monster represents the results of this science more amoral than immoral, not necessarily bad but dangerous to all around it. The monster roams through lakes and forests and grasslands to bring the contrast between science and nature into full focus try as he might, the monster doesn t fit into these natural settings. Mary Shelley s disdain for the New Science prompts us to think about similar issues in our own lives is science for its own sake good science, or is it bad if it disturbs a natural balance? What exactly is a natural balance, and what constitutes science? The novel raised these questions during the Romantic period, and we are still trying to answer them today. The innate desire to seek connection and feel loved Everyone has an innate desire to be loved by someone else, be it a family or a companion, and have a sense of belonging and community in this otherwise rather lonely and desolate world. During his time with the De Lacey family, the monster spends all of his days observing the family and striving to connect with them, even though they have no clue of his existence. He sacrifices his own food so that they will not be hungry and works hard chopping the wood for them so that they will not have to struggle through it. The monster is willing to help the De Lacey family with anything as he perceives that family and companions should always be willing to extend a helping hand. By performing all of these good deeds for the family, the monster hopes that they will recognize his good heart and pure love for them and accept him into his family. The monster s biggest wish is to have a family: a group of people tolerant of his appearance, completely aware that his ugly exterior does not define his character, and willing to love him despite his looks. Everyone on this earth, including the monster, seeks connection. Connection to other human beings is what distinguishes a fulfilling life from a desolate and pointless life. This natural desire to interact and form connections with others is the only means by which a person can lead a happy life amidst a dark and lonely world.

13 False fear and misinterpretations Mary Shelley s Frankenstein presents the ideas of themes of false fear in correlation to misinterpretation of appearances to convey messages about human nature and how they interact with one another. In suggesting her thematic interpretations, Shelley uses the monster s his inability to be accepted by all other humans he approaches even when in good manner due to his outward image. Overall, Mary Shelley highlights how humans draw interpretations of one another based off superficial appearances. Morals in Science In Frankenstein, author Mary Shelley incorporates the themes of morals in science as a response to the limitations of what man should draw upon with the increasing yet ever-present knowledge of mankind. Within the novel, the deaths of Frankenstein s relatives caused by his own creation is a statement to the consequences of man abusing knowledge in the realms of science. Importance in effective communication The importance in language and communication can be found in Mary Shelley s Frankenstein. Within the novel, the monster s failure to effectively communicate with not only Victor Frankenstein, but also all the other humans he encounters results in eventual consequence of death. This idea conveys an explanation of how failure to communicate can cause misconceptions and ultimately the demise of humans. Memorable Quotes: "I ought to be thy Adam; but I am rather the fallen angel." (Chapter 10) "Accursed creator! Why did you form a monster so hideous that even you turned from me in disgust? God, in pity, made man beautiful and alluring, after his own image; but my form is a filthy type of yours, more horrid even from the very resemblance. Satan had his companions, fellow devils, to admire and encourage him, but I am solitary and abhorred." (Chapter 15) "Farewell! I leave you, and in you the last of humankind whom these eyes will ever behold. Farewell, Frankenstein! If thou wert yet alive, and yet cherished a desire of revenge against me, it would be better satiated in my life than in my destruction. But it was not so; thou didst seek my extinction that I might not cause greater wretchedness; and if yet, in some mode unknown to me, thou hast not ceased to think and feel, thou wouldst not desire against me a vengeance greater than that which I feel. Blasted as thou wert, my agony was still superior to thine; for the bitter sting of remorse will not cease to rankle in my wounds until death shall close them for ever. (Chapter 24) What may not be expected in a country of eternal light? (3). How dangerous is the acquirement of knowledge and how much happier that man is who believes his native town to be the world, than he who aspires to be greater than his nature will allow. (53). Satan had his companions, fellow-devils, to admire and encourage him; but I am solitary and abhorred. (155). If I cannot inspire love, I will cause fear! (175). I, the miserable and the abandoned, am an abortion, to be spurned at, and kicked, and trampled on. (275). Distinguishing Traits of Novel: Language

14 Frankenstein itself is a novel within a novel ; within this inner novel we see many other types of language - letters, notes, journals, inscriptions, and books whether physically present or alluded to, appear time and time again. Each document is an attempt to preserve a particular kind of language. Walton s language is that of the sea bold, strong words that resist the flowery style of a great deal of prose of the period. His letters to his sister are relatively simple and straightforward, telling of his time on the sea and his time spent with Victor; it is almost as if he is speaking to her directly rather than writing. Victor s language, on the other hand, is expressed in his journals mathematical formulas, charts and graphs, sketches of machines and fragments of sentences. His prose in his journals is more flowery than that of Walton s letters, but Mary Shelley s depiction of him as a madman scribbling scientific text is undeniable. We have a hard time feeling anything for Victor as he writes down the results of his experiments. The monster has no language, and he must learn one for himself. He learns some from Victor, some from the townspeople who briefly befriend him, and some seems to come from within. At the end of the novel the monster uses his language to punish Victor, leaving messages cut into trees and rocks to taunt him. It is a language of anger and of grief, as incomplete as Walton s is clear and Victor s is superior. In the end the only language that survives to speak another day is Walton s, again underscoring the idea that the simplest view of the world is often the best. Narration Instead of beginning with Victor's point of view, Shelley introduces us to Walton first. Using a frame device, in which the tale is told to us by someone who reads it or hears it from someone else, Shelley invites readers to believe Victor's story through an objective person. Shelley also uses an important literary device known as the epistolary form where letters tell the story using letters between Walton and his sister to frame both Victor's and the creature's narrative. Before the novel's first chapter, Walton writes to his sister about the "wretched man" he meets, building suspense about the "demon" Victor mentions at the beginning of his narrative. Once Victor begins telling his story, we slowly learn about his childhood and the eventful moments leading up to his studies at the University. Then, the creature interrupts Victor, and we get to hear all the significant moments leading up to his request for a partner. Since the theme of listening is so central to this novel, Shelley makes sure, by incorporating three different narratives, that readers get to hear all sides of the story. Walton's letters introduce and conclude the novel, reinforcing the theme of nurturing. Style Shelley wrote Frankenstein in a Gothic style with long, complex sentences filled with emotion to better form her characters. Characters often sorrowfully lament or express elation in long, eloquent paragraphs. The heavy focus on emotion and feelings in Shelley s writing distinguishes her work from others to suggest that emotions are important as well as logic and rationale. Another distinctive stylistic feature that Shelley incorporates is her attention to detailing nature scenes. From beginning to end, Frankenstein is filled with descriptive scenes of mountain or forests or countrysides. This imagery paints a crystal clear picture of exactly what the characters were experiencing at the time. Often, the way the character perceives the nature surrounding him is indicative of his mood that day. For instance, when he is happy, Victor finds nature to be beautiful and majestic but when he is depressed, Victor sees nature as dark and oppressive. Romanticism Spanning the years between 1785 and 1830, the Romantic period was marked by the French Revolution and the beginnings of modern industrialism. Most of the early Romantic writers favored the revolution and the changes in lifestyle and sensibility which accompanied it. After shaking off old traditions and customs, writers experienced the newfound freedom of turning inward, rather than