Frankenstein and Blade Runner
Frankenstein and blade runner essay Which text do you feel better represents the values of the composer? You must refer to both texts in detail Mary Shelley’s Frankenstein and Ridley Scott’s Blade Runner are two texts from different centuries, but they both share the same values, themes and issues including; the natural world, scientific advancement, morality of humans and responsibility. Both texts use a variety of techniques to represent their values, themes and issues. The techniques used in both texts are reflective of their context and are able to strongly represent the values of both Frankenstein and Blade Runner.
Mary Shelley’s Frankenstein was written in 1818. This was a period where romanticism was developing, a time which focused on the sublimity of nature and on the individual. This theme is evident throughout the novel and is used to emphasise the emotions of the characters and to suggest the power of nature for both beauty and destruction. Shelley often uses the sublimity of nature as an invigorating device for victor, “when happy, inanimate nature had the power of bestowing on me the most delightful sensations.
A serene sky and verdant fields filled me with ecstasy.
The present season was indeed divine; the flowers of spring bloomed in the hedges, while those of summer were already in bud. ” Vivid imagery is used here to illuminate the peacefulness and contemplation of the sublime nature that is constantly surrounding victor. Shelley has also illustrated this notion further by the use of alliteration, “serene sky”, to capture how perfect the world is at that time, which reinforces the peacefulness of nature and how victor feels when he is surrounded by the natural world. Ridley Scott’s Blade Runner is set in a corrupted 21st century world.
Similarly to Frankenstein, the natural world is evident but in Blade Runner it is seen as the unnatural world. In the first panoramic shot, the audience sees a destroyed world, a dark industrial urban wasteland which is heavily polluted. Visual irony is created here as it is meant to be Los Angeles, which means “city of angels”, but we see that it looks more like hell. We see that nature has been destroyed. Animals are rare and are presumed extinct, although the unicorn is seen as a natural creature in a natural setting.
The unicorn symbolises the ambiguity of hope, freedom and spirit. There is no sign of any trees or plants except for a miniature Bonsai tree symbolising mans inherent desire to control nature to conform to what humanity believes is a better version. We also see constant darkness and rain, which is known as film noir and are the only aspects the audience sees when in an outside scene. The panoramic shot and film noir speculate the natural is now off world, that there is nothing natural, which creates a post apocalyptic tone.
Shelley’s world was moving forward into the direction of industrialisation, exploration and scientific research. This is conveyed through characters such as Victor, Walton and Clerval who are all searching, exploring and attempting to make a discovery. We see in the start of the book Victor has an interest for natural philosophy, “natural philosophy is the genius that has regulated my fate. ” The use of personification suggests that natural philosophy is a person that Victor idolises and wants to know everything he possibly can about it causing his interest to turn into an obsession. i became dizzy with immensity of the prospect which it illustrated, as surprised, that among so many men of genius who had directed their enquiries towards the same science, that i alone should be reserved to discover so astonishing a secret. ” This quote establishes that Victor is intelligent and is able to intellectually break barriers beyond those that have ever been broken and discover the source of life. Hence, now being able to create his ‘monster’. Similarly in Scott’s film we see that 21st century L.
A is all about scientific activity and advancements in technology. It is a world based on commerce, as we can see throughout the entire film through the blimp that promotes going off world and big wall signs i. e. the Asian lady taking pills. Technology is also used to detect what is and isn’t human i. e. the Voight Komph test. Disembodied voices are used on the street i. e. when crossing roads it says “walk” and “don’t walk”. All these aspects of technology are a way of controlling the population of L. A.
Scientific activity is seen through Tyrell, a scientist, who is the creator of all replicant things i. e. humans and animals. “Commerce is our goal here and our motto is more human than human”, this quote was said by Tyrell and reflects on Tyrell’s attitude towards life. He takes the role of God, creating life trying to make the replicants smarter and stronger than real humans, feeling as though he is dominant over everyone else in the world. This is shown through upwards tilt of the camera on Tyrell’s building, making him appear larger and above everybody else.
Victor Frankenstein does not truly contemplate of foresee the consequences of his scientific quest to create life, nor does he take the moral responsibility for his creation afterwards. Victor continually justifies why he refuses to take responsibility for his creation, which is solely because he doesn’t want to incriminate himself and be punished, although he stated “ a new species would bless me as its create and source; many happy and excellent natures would owe their being to me. This shows Victor’s lack of morality and reveals his ego through the use of unreliable narrator. Scott’s film raises concerns of scientific advancements and its lack of morality and responsibility for those it affects. Blade Runner represents its values through ambiguity. Blade Runner leaves it up to the viewer’s own judgement of morality and responsibility within the film. An example of this is through the use of cinematography in the scene where Deckard ‘retires’ Zhora. Passersby walk past without showing any concern or emotion to what has happened.
The lack of morality and responsibility arouses deep emotions of anger and dislike. Scott is not as assertive in representing his values as Shelley is. Through the use of camera shots, cinematography and irony he easily represents his values but through the use of ambiguity he leaves things for interpretation from the viewers. Due to the ambiguity present in Blade Runner, some viewers may be unable to identify the values that are present, so therefore the values stated in Mary Shelley’s Frankenstein are better represented.
Frankenstein Analysis ; Essay
I. The pursuit of knowledge is at the heart of Frankenstein. In the letters at the beginning of the novel, Robert Walton had been writing to his sister of how he longs to travel the seas and attempts to surpass previous human explorations by endeavoring to reach the North Pole. Due to his pursuit of knowledge, he finds himself in a dangerous position trapped between sheets of ice. Victor’s pursuit of knowledge started from when he was just a child.
The narrator begins to pick apart and identify the aspects of his personality that will eventually lead to his downfall.
He possesses what he calls a “thirst for knowledge. ” Thirst, of course, is a fundamental human need, necessary to one’s very survival. Victor’s desire to learn, therefore, is driven by nothing so insubstantial as curiosity. It is instead the precondition of his very being. The fascinations of the human soul and how the body works, intensifying his thirst by reading the books of Cornelius Agrippa, Paracelsus and Albertus Magnus.
As Victor attempts to surge beyond accepted human limits and access the secret of life, his creation ends up destroying everyone that he had care for.
Although the two had a thirst for knowledge, one quickly realized that they had chosen a dangerous path, Robert Walton. “You seek for knowledge and wisdom, as I once did; and I ardently hope that the gratification of your wishes may not be a serpent to sting you, as mine has been. ” ( letter IV pg 39)From the wise words of Victor, Walton ultimately pulls back from his treacherous mission, having learned from Victor’s example how destructive the thirst for knowledge can be. The theme of the pursuit of knowledge leads into the theme of secrecy. Victor keeps his studies and his experiment of his creation a secret.
He also keeps the knowledge of Williams killer a secret because it was his creation of the monster that murdered the innocent boy. II. In chapter two, Victor witnesses the destructive power of nature when, during a raging storm, lightning destroys a tree near his house. “ It was not splintered by the shock, but entirely reduced to thin ribands of wood. I never beheld anything so utterly destroyed. ” (pg 48) Therefore Victor had witnessed the destructive powers of nature and was astonished that something so beautiful could be destroyed so abruptly.
The world of nature that is expressed in the book can be argued that it affects the moods of characters in the novel. The sublime natural world, embraced by Romanticism as a source of unrestrained emotional experience for the individual. It initially offers characters the possibility of spiritual renewal. Mired in depression and remorse after the deaths of William and Justine, for which Victor responsible, Victor heads to the mountains to lift his spirits. The harsh winter that Victor endured symbolised depression and remorse. As well, after a the hellish winter of cold and abandonment, the monster feels his heart lighten as spring arrives.
The influence of nature on mood is evident throughout the novel, but for Victor, the natural world’s power to console him wanes when he realizes that the monster will haunt him no matter where he goes. By the end, as Victor chases the monster obsessively, nature, in the form of the Arctic desert, functions simply as the symbolic scenery for his primal struggle against the monster. III. Victor has been in a stage of secrecy since he was a child. Because of his interests and ambitions that no one could understand, he stayed in secrecy.
Victor conceives of science as a mystery to be examined and discover its secrets, once discovered, must be jealously guarded. He considers M. Krempe, the natural philosopher he meets at Ingolstadt, a model scientist: “an uncouth man, but deeply imbued in the secrets of his science. ” Victor’s entire obsession with creating life is shrouded in secrecy, and his obsession with destroying the monster remains equally secret until Walton hears his tale. Whereas Victor continues in his secrecy out of shame and guilt, the monster is forced into seclusion by his bizarre appearance.
Walton serves as the final confessor for both, and their tragic relationship becomes immortalized in Walton’s letters. In confessing all just before he dies, Victor escapes the stifling secrecy that has ruined his life; likewise, the monster takes advantage of Walton’s presence to forge a human connection, hoping desperately that at last someone will understand, and empathize with, his miserable existence. IV. The way Mary Shelley wrote the novel Frankenstein is in first person point of view. By having the book in first person the reader is able to witness Victor’s life story on a different level.
This helps the reader have a better understanding of what’s going on in the novel. If the novel was written in another form, the reader would probably have great difficulty understanding Victor’s story. Other pieces of works were also mention in the novel such as Paradise Lost. The texts and languages strongly associate with the story as well with other themes in the novel. “It moved every feeling of wonder and awe, that the picture of an omnipotent God warring with his creatures was capable of exciting. I often referred the several situations, as their similarity struck me, to my own.
Like Adam, I was apparently united by no link to any other being in existence; but state was far from different from mine in every other respect. He had come forth from the hands of God a perfect creature, happy and prosperous, guarded by the especial care of his Creator, he was allowed to converse with, and acquire knowledge from, beings of a superior nature, but I was wretched, helpless and alone. ” (Ch. XV, page 116) As stated in the quote, the monster is comparing himself and the relationship of him and his creator to the story that he reads in Paradise Lost.
The reader can relate to the monster and can see his point of view of how he is mistreated by his creator unlike Adam in the Story. V. In Victor’s case, his isolation comes from pursuing his ambitions, choosing his ambition over the people around him. Even when Victor finishes creating his creature, his feelings of melancholy and guilt overwhelm him so that he cannot have solace from those around him. Though Victor is alone once the Creature has killed his family, this isolation could also be considered brought upon by Victor himself.
Victor’s isolation, then, should create in him a sense of guilt or atonement for his creation of a Creature who stripped him of those friends and family surrounding him; however, Victor only seeks vengeance and his continued state of melancholy. The Creature, on the other hand, is isolated because of Victor. Victor was the Creature’s creator and should have provided and taught the creature, taking responsibility instead of running away. He also is isolated by society because of his appearance, which is, again, not the Creature’s fault.
Compared to Victor, the Creature is far more isolate, and we can see that this isolation is superior to that of Victor because of the drastic measures the Creature takes in order to be with people. Victor does not really consciously attempt to engage with those around him, but the Creature does, craving companionship and a way to release himself from his isolation. Ultimately, the Creature cannot become part of any community so this isolation creates rage inside of the monster and leads him to commit the acts that ultimately isolate Victor. VI.
In the novel Frankenstein by mary shelley there is a clear comparison between the creature and Victor to God and Satan. Victor and the creature are mostly compared to God and Satan. Victor was so blind by his determination to recreate that he was too late to realize exactly what he was creating. He saw that he wasn’t creating life but he was just twisting death. God also regretted his creation after it was too late. In the novel, Frankenstein, Mary Shelley intertwines the relationships between her characters through their insatiable desires for knowledge.
The actions of these characters, predominantly the monster, allude to Satan, in John Milton’s epic poem, Paradise Lost. Both the monster and Satan are fixated on vengeance because of the parallel rejection they are faced with in their respective works. Vengeance becomes the principal theme during the course of both works and it fuels the fire for the consciences’ of the monster and Satan’s every judgment. Rejection by creator plays a vital role in the plots of both the monster and Satan. Victor’s creature, born innocent, tried to fit in the world that he was put into.
But the constant rejection and isolation from the very beings that he longed to interact with caused him to evolve into a self-acknowledged Satan, from Paradise Lost. The monster immediately upon setting eyes on the world is abandoned and rejected by Victor Frankenstein. The monster states, “It is with considerable difficulty that I remember the original era of my being; all the events of that period appear confused and indistinct. ” (Shelley 194) VII. Throughout the novel, Victor has been struggling with his identity. He was isolated because of his interests in philosophy that no one else had.
“ When i was thirteen years of age, we all went on a party of pleasure to the baths near Thonon:… i chanced to find a volume of the works of Cornelius Agrippa…I communicated my discovery to my father. My father looked carelessly at the titlepage of my book, and said, “Ah! Cornelius Agrippa! My dear Victor, do not waste your time upon this: it is sad trash. ” ” ( pg 46 chap II) Victor’s interest were not accepted therefore he kept to himself and became non social. Thus hindering the aid of finding his identity. The creature also struggled with his quest to find his identity.
His creator was filled with disgust at the first sight of him. Without hesitation he shunned his creation and ran away from him. The monster was left with no one to teach him how to love, no one to teach him social skills, how to live, the creature had to fend for himself in every case. This left the monster to question his identity, “Was I then a monster, a blot upon the earth, from which all men fled, and whom all men disowned. ” This leads him to doubt himself, and actually contemplate suicide. Not knowing one’s identity can be troublesome for someone.
It can make one question everything they do, every move every thought questions. This can put a strain on ones life and cause them to feel depressed and suicidal. We can see this in the monster and Victor throughout the novel. Although the creature starts to realize that he is alone, there is no other like him. This helps him create an identity for himself. He can characterize himself as an outsider. The theme of identity helps the reader to have a stronger understanding of the characters. In the novel of Frankenstein it can be argued that the theme of religion has been illustrated within the book.
While many people view Mary Shelley’s “Frankenstein” as a horror novel, it is also to be believed it has more of a religious background due to the insertion of “Paradise Lost” into the story. The story of God creating Adam is a popular topic in this story and is also believed that Shelly had intended for “Frankenstein” to be an allegory for the story of creation. In the instructional novel of How to read Literature Like a Professor, chapter five and seven can be used to make a connection with the novel of Frankenstein.
In chapter five of the instructional manual of How to read Literature Like a Professor, the author explains how stories overlap in a way. Book are never totally original. They all use similar characters with similar personalities. Authors use other authors to influence their style of writing and what they write about. In the novel, Mary Shelley introduces the story “ Paradise Lost”, to make a comparison and difference between the creature with Adam. “ But ‘Paradise Lost’ excited different and far deeper emotions.
I read it, as i had read the other volumes which had fallen into my hands as a true history… I often referred the several situations, as their similarity struck me, to my own. Like Adam. ” This quote can prove that the creation referred to the story of “Paradise Lost” and used it as a comparison to its own situation. Therefore stories indeed did overlap in a way. In chapter seven of the instructional manual of How to read Literature Like a Professor, it is mainly about how every piece of literature is somehow related to or referring to the Bible. They all involve things such as temptation, betrayal, denial, etc.
Also, writers refer to the Bible because almost everybody knows at least some of the stories from the Bible. The novel Frankenstein expresses religion because Victors obsession with recreating life. He takes a place as God and the creature takes the place of Adam. The story of God and Adam was used in the novel to draw out the use of religion. Chapter seven also connects to Frankenstein because he felt the temptation of knowing the secrets of nature. ” The world was to me secret which i desired to divine. ” As quoted, Victor had temptation for knowledge. Therefore temptation was involved in the novel.
Therefore, the instructional manual of How to read Literature Like a Professor and the novel Frankenstein are relatable. The manual is solely based on teaching rising students like me how to think, and change my perspective in order to get the deeper meaning behind a piece of literature. In Frankenstein the Monster, who is thought to be illiterate, watches the Frankenstein family and teaches himself to eat, sleep, and hold himself like them. He teaches himself to be a more sophisticated human being by watching this family similar to the way millions of students are teaching themselves to be more sophisticated by reading this manual.
Another “wayfarer” is Victor Frankenstein, who is striving for “eternal light,” but in another aspect. He is the “Modern Prometheus,” longing to “pour a torrent of light into our dark world,” while creating a human being – a deed, which is intrinsic to God (26). His creation is the third participant in the “journey” to “eternal light. ” He is unnamed, or more often called the creature, the monster, the wretch, or the one with “unearthly ugliness” (55). Victor’s creation also dreams for “eternal light” in the meaning of pure love or happiness, but he is compelled to follow the contrary direction – to “darkness and distance” (134).
The three meet each other at the “land of mist and snow,” where their “journey” ends, where the border between possible and common lies, between dream and reality, between genius and mankind, between God and mankind, between “a country of eternal light” and “darkness and distance. ” The character, accountable for the novel’s drama, is Victor Frankenstein, a student in humanities.
“A possible interpretation of the name Victor derives from the poem Paradise Lost by John Milton, a great influence on Shelley (a quotation from Paradise Lost is on the opening page of Frankenstein and Shelley even allows the monster himself to read it).
Milton frequently refers to God as ‘the Victor’ in Paradise Lost, and Shelley sees Victor as playing God by creating life” (Wikipedia). As a god Victor is determined to endow mankind: “Yet my heart overflowed with kindness, and the love of virtue. I had begun life with benevolent intentions, and thirsted for the moment when I should put them in practice, and make myself useful to my fellow-beings” (50). Moreover, as Prometheus, he gives the world “a spark of being” (28). Furnishing the world with such extreme power Frankenstein should take the responsibility of creator and help his gift be useful not destructive.
However he mishandles it. When he is fifteen, he witnesses “a most violent and terrible thunderstorm,” which “utterly destroys” an “old and beautiful oak” (18). This event could be interpreted as an allusion to how pestilential this “spark of being” could be. As Miglena Nikolchina contends, the “serious ailment” is “in the man alone, undertaking the ‘godlike’ function to be a creator, but in many respects immature for it” (57). The concrete reason for the creature being “spurned at, and kicked, and trampled on” is his physical ugliness (133). Why Frankenstein’s creation is ugly?
According to Cvetan Stoyanov, “Ugliness is in fact alienation, drifting away from the vital principle – organic could not be ugly, transgressing and killing it is ugly” (206). Something, often cited in connection to Shelley’s work is a sentence in which the perfect artist is described as a morally perfect man, as a “second creator, faultless Prometheus under the sky of Jupiter” (Shaftsbury 207). In this respect Miglena Nikolchina considers Frankenstein as an untalented artist, because he is not “morally perfect” and shows this as a reason for the monster’s ugliness.
She claims that the Frankenstein’s morality is not one of a creator, but one of an ordinary man. “Frankenstein has not even fancied that love – namely love and only love his creation wants – is the first characteristic of creator. ” “Ugliness turns out the sign, left behind by the creator who infuses life, but does not manage to come to love it and thus calls forth death, for it is not possible the fated for living to be made without love, and has no vitality what is deprived of the mercy to be loved” (Nikolchina 79-82). Victor’s blindness about the monster’s innocent nature is more harmful than the physical blindness.
The blind De Lacey is the only man who perceives the monsters good resolutions. About the structure of the novel Nikolchina offers an interesting definition. It is “constructed as if of concentric circles of ice. The sailing to the North Pole is the outer circle, which serve as a frame of Frankenstein’s story. The conversation between the monster and Frankenstein among the sea of ice near Chamounix is the frame of the monster’s story, which is the core of the novel” (Nikolchina 86). The central part of his story is when after burning down the cottage of De Lacey he wonders: “And now, with the world before me, whither should I bend my steps? (80). Hereafter he starts hunting for his creator and begins alienating from his natural innocence.
The creature wends his way toward “darkness and distance. ” The changing nature corroborates his moral collapse: “I travelled only at night, fearful of encountering the visage of a human being. Nature decayed around me, and the sun became heatless; rain and snow poured around me; mighty rivers were frozen; the surface of the earth was hard, and chill, and bare, and I found no shelter” (81). “Advancing into experience,” Miglena Nikolchina explains, “is entering into a core of cold as well” (87).
She suggests two aspects in analysing the role of ice. First it could be seen as “a supreme, unapproachable, unsusceptible to changes reality. It elevates Frankenstein ‘from all littleness of feeling,’ it fills him with ‘a sublime ecstasy that gives wings to the soul, and allows it to soar from the obscure world to light and joy’” (Nikolchina 87). Such an eternal and infinite is the picture before Robert Walton too: “…the region of beauty and delight. …the sun is for ever visible; its broad disk just skirting the horizon, and diffusing a perpetual splendour. The explorer’s hopes are so great that they turn out fantasies – he imagines an absolutely unreal North Pole: “…there snow and frost are banished; and, sailing over a calm sea, we may be wafted to a land surpassing in wonders and in beauty every region hitherto discovered on the habitable globe” (2). The Modern Prometheus chooses the “wild and mysterious regions” to “the tamer scenes of nature” (11). He goes beyond the potentialities of ordinary people, however, aiming not at admiring of the Great Nature, but at gaining the divine secrets.
While Elizabeth contemplates “with a serious and satisfied spirit the magnificent appearances of things,” Victor delights “in investigating their causes. ” Elizabeth follows “the aerial creations of the poets” and “in the majestic and wondrous scenes” she finds “ample scope for admiration and delight,” while Victor is “capable of a more intense application,” and is “more deeply smitten with the thirst for knowledge” (15). He elevates his intellect, but not his soul. He does not realize that new born (for his creation emerges in a completely unfamiliar world) needs love and attendance. Striving to eternal light,” he encounters “impenetrable darkness. ”
Night is closing around,” ”dark are the mountains,” “heavens are clouded” (40-41). The “spark of being” turns out a hideous abortion. “Thick mists hide the summits of the mountains” (54). Frankenstein falls into “deep, dark, deathlike solitude” (50). Suffering “the eternal twinkling of the stars weighed upon him,” instead of delighting “eternal light,” he exclaims: “Oh! stars, and clouds, and winds, ye are all about to mock me: if ye really pity me, crush sensation and memory; let me become as nought; but if not, depart, depart, and leave me in darkness” (87).
The magnificent scenes give way to appalling “dusky plain” (124). The other aspect of the ice, according Nikolchina, is “something barren and lifeless; like a power, which is hostile to life; like muteness” (88). Longing revenge, Victor departs from land and “pursues his journey across the sea in a direction that leads to no land,” “…the snows thicken and the cold increases in a degree almost too severe to support… The rivers were covered with ice and no fish could be procured” (123).
The nature seems to be inspirited and acts against Frankenstein: “Immense and rugged mountains of ice often barred up my passage, and I often heard the thunder of the ground sea which threatened my destruction” (124). It seems he has stepped on some unseen border that can not be crossed. “When he appears almost within grasp of his foe, his hopes are suddenly extinguished, [… ]. The wind arises; the sea roars; and, as with the mighty shock of an earthquake, it splits and cracks with a tremendous and overwhelming sound.
The work is soon finished: in a few minutes a tumultuous sea rolls between him and his enemy, and he is left drifting on a scattered piece of ice, that is continually lessening, and thus preparing for him a hideous death” (124). “Walton is also surrounded by mountains of ice which admit of no escape and threaten every moment to crush his vessel” (127). The situation with the “unearthly” creature is however different. The stream of his spiritual development is contrary to the ones of Frankenstein and Walton.
Through the epithet “unearthly” Shelley differentiates him from mankind. While Walton and Victor aim “wild and mysterious regions,” the creature seeks an intimacy with common world. The monster is “immaculate in a quite literal meaning – he is empty, tabula rasa” (Nikolchina 72). Every scene and every feeling he touches to are admirable for him. Everything is for the first time. He is a child. The monster meets the civilization, for the first, through the agency of fire, which is an allusion to a new Promethean deed. However he encounters some strangers’ fire.
The “new born” learns everything from the outside world, from accidental circumstances. There is no one to guide him, no one to show him what is worth learning. According to A. A. Belskee, Shelley displays “the destructiveness of individualism, the tragedy of compulsory desolation, the intangibility of happiness without associating with others” (Belskee 303). Every approach to human society brings a lot of suffering to the creature, notwithstanding he sees “the future gilded by bright rays of hope and anticipations of joy” (65).
Despondently speaking to Walton he describes himself as “the miserable and the abandoned, […] an abortion, to be spurned at, and kicked, and trampled on” (133). The only possible interrelation with the surrounding world is violence. His crimes are a natural reaction, a rebel against the complete solitude. Otherwise the monster “could not conceive how one man could go forth to murder his fellow, […] when I heard details of vice and bloodshed, my wonder ceased, and I turned away with disgust and loathing” (68). He clearly declares: “I was the slave, not the master, of an impulse which I detested, yet could not disobey” (132).
The wretched interprets his lot as worse than Satan’s from Milton’s Paradise Lost, for “Satan had his companions, fellow-devils, to admire and encourage him; but I am solitary and abhorred” (74). He is the only one of the tree, the only one in the world, who completely rejects society with its gall, the only one who crosses the “border,” laid by society, and fades in “no land. ” He fades for there will be no one to see him. The “eternal frosts” have frozen all the hatred into his “ice-raft” and he is “soon borne away by the waves and lost in darkness and distance” (143).
The hopes of “poor” Frankenstein also fade with his death. He remains at the icy border, between “eternal light” and “darkness and distance. ” The only thing he succeeds in is revealing these two possibilities for the future human nature: “Seek happiness in tranquillity and avoid ambition, even if it be only the apparently innocent one of distinguishing yourself in science and discoveries. Yet why do I say this? I have myself been blasted in these hopes, yet another may succeed.
Emotional Turmole in Frankenstein
Emotions are the energy that undermines people’s actions; while their mind is irrational and lucid, everyone is subjected to emotions. In Mary Wollstonecraft’s novel Frankenstein, she displays how Dr. Victor Frankenstein and the Monster experience a variety of emotions , feelings of Shame, Happiness, and Pain are all felt by the two main characters as they venture throughout the story. Victor Frankenstein and the monster both experience shame.
For example when Victor illustrates shame is when he decides to create an animated monster but was cared of his own creation, once his monster sprung to life.
Victor saw the monsters pale yellow skin and monstrous eight feet high and was disgusted by it and was shamed of what he created. He abandoned his creation hoping it would disappear. Another example of when Victor shows shame was when Victor’s life was threatened by the monster because the monster wanted a female friend and forced Victor to create another monster.
Victor starts to build on the monster in a remote island in Scotland but is ashamed his own selfishness; building another monster to save imself when the monster could case destruction and death on other humans Just like how his original creation killed his brother, William Frankenstein died.
In anger at himself he tears up his half created monster. The monster also shows shame. The monster shows shame when he looks into the water of the pond and sees his own reflection and exclaims in agony “Why did you form a monster so hideous” (93).
The monster realizes that he is hideous and is ashamed of himself. He is then struck with anger and seeks revenge on Victor for giving him a repulsive face. Another example when he demonstrates shame was when he passed by the town and the people would shriek and hit him. Learning from that experience he did not go into town again and became ashamed of himself so he hid in the forest, sheltering himself in the dirt hovel that was next to the cottage of the DeLacey family. Victor and the monster also experienced happiness but it doesn’t last long.
The first time Victor was ever truly happy was when he was a child and he was also content when he was with his girlfriend and soon to be wife, Elizabeth Lavenza. Another moment of happiness for Victor was when he finished his creation that he has been working on for two years. He describes it as “Beautiful! -Great God!… his teeth of pearly whiteness… ” (35). The monster shows happiness too when he is around nature, he appreciates and is happy with nature because nature is the only thing that doesn’t make insult him for his looks.
His was also blissful when he demanded Victor to make him a mate and Victor agreed. Victor and the monster additionally feel pain; emotionally and physically. Victor first feels emotional pain when his mom and his best friend Henry died. Victor undergoes emotional pain when Justine was executed and Victor becomes increasingly melancholy. He considers suicide but restrains himself by thinking of Elizabeth and his father. Another example is when Felix DeLacey hits the monster Molently with a stick” (97) in fear that the monster will harm his family .
The monster suffers pain when he is like a newborn, still clue less to the new world he is in and decides to touch he tire that is warm and soothing. He soon discovers the tlames could burn his hands. The monster also goes through emotional pain when Victor Frankenstein dies and the monster cries for him because the monster has no purpose in life and is emotionally frustrated. Both characters experience a series of emotions and have each changed emotions in comparison this are very similar yet they are very different. As both characters experienced pain, happiness, and shame it greatly affected their lives and how they behaved to each other.
Critical Evaluation: Frankenstein
Frankenstein Mary Shelley creates strong meaning through her interpretation a monster by the main concept. Bringing something back from the dead is what created the mystery and curiosity for this lost soul. The idea of this impossibility is what has made it recognised today. Mary Shelley had conceived the idea for Frankenstein in a time of wonder. She uses imagery and strategic repetition of key descriptive words to create an atmosphere of horror and gloom in the first part of the chapter, when the monster comes to life.
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. She uses imagery and strategic repetition of key descriptive words to create an atmosphere of horror and gloom in the first part of the chapter, when the monster comes to life.
She uses variations of words such as “dreary”, “horrid”, “disgust”, “miserable”, and “wretched” liberally, and paints vivid images of ugliness and decay. Frankenstein was deeply described as a monster that should not deserve the advantage of having a female companion through his life. The experiences which led Frankenstein understand the way the world perceives those who are different were unfortunately not the way they thought they would be. Within the book Frankenstein has a section where he speaks in first person narrative so that he can present his won perspective of the situation. Harmony was the soul of our companionship,” is an example of personification to the concept. Shelley uses the issues of being different to influence the way the audience feels towards the monster and his brutal murders. Meaning is exposed to the way Frankenstein really feels. His vulnerability is shown when he reveals that “it tortured my heart” when he killed these innocent people. An understanding can also be gathered and influenced by the personalities and wishes of both Frankenstein and Victor. At first Victor’s mistake was to create this being of horror.
It portrayed Frankenstein as the monster when actually Victor is refusing him of the only thing he wants and needs to live through this life which was not his choice to live. Mary Shelley guides you through the life of the creator and the creator’s created. Shelley gives the audience the change to make up their own mind of who caused the wrong doings by giving using different language techniques to give you an explanation on both sides. Why is it Valued? Mary Shelley’s Frankenstein is so very valued because of the imagination which is depicted through the concept of life after death.
Frankenstein is recognised worldwide because of his kind heart in such a sad life. Even though he is seen as positively repulsive Frankenstein still finds joy in seeing others act like a family and learning from their experiences in life. Frankenstein is cherished because of its shocking concept. Frankenstein was brought into the world without a second’s thought to what the consequences would be. It has captured audiences in our generation and generations to come for its passionate personalities and imaginary themes.
Comparison of Shelley's Frankenstein and Young Frankenstein
Comparisons of Two Movies From Young Frankenstein, the movie: “Dr. Frederick Frankenstein: For what we are about to see next, we must enter quietly into the realm of genius. ” No, I am not really writing from “the realm of genius”. First, I will write the fun part which is a comparison of Mel Brook’s Movie, Young Frankenstein, and Marry Shelly’s book, Frankenstein: The Modern Prometheus. There was much more to remember about Young Frankenstein than Madeline Kahn hitting the high note after her fun with the monster.
Mel Brooks’ writes:“[after sex with The Monster]‘Elizabeth: Oh.
Where you going?… Oh, you men are all alike. Seven or eight quick ones and then you’re out with the boys to boast and brag. . Oh… I think I love him. ’” His writing is fresh and hilarious. Gene Wilder as the young Frankenstein is lovable if you love stupid. It is a funny movie with a happy ending while Marry Shelly’s book is a horror story with a horrible ending.
It is the first movie I remember watching while hiding behind my grandfather’s chair. It scared me to death. That was the safest spot in the house. Sarah Martin points out in her article in St.
James Encyclopedia of Pop Culture that what they have in common is the theme of loneliness. In Marry Shelly’s book, loneliness consumes not only the monster, but Victor, Walton, Elizabeth, and Victor’s family also. The monster cannot have friends because of his appearance while Victor is so obsessed with his work that he pushes people away and becomes lonely. Martin says that loneliness is a theme of the movie, Young Frankenstein, also. The monster goes about in the human world trying to find friends. In the movie, the monster is befriended by his creator and they are both happy. However, in the book, Victor is killed by the monster.
Neither of them ever finds happiness or companionship. The movie was much more enjoyable. Searching my memory banks, I find that Jurassic Park by Michael Chricton is still there because I saw it fifteen times with my boys when they were little. This was when I first heard of Steven Spielberg, the director. Jurassic Park is the name of the theme park placed on a tropical island where a millionaire plans to bring fossilized dinosaurs back to life. The terrifyingly realistic dinosaurs, most of which were meat eaters, considered the humans to be groceries and were not discriminating about whom they had for dinner, literally.
The dinosaurs had to be destroyed to keep them from eating everyone, as the monster in Frankenstein had to be killed because of his destructiveness. Both Mary Shelly’s book about Frankenstein’s monster and Jurassic Park challenge us to think about the ethics of the quest to create life out of dead matter. Martin points out that they cause us to consider “What happens when we try to tamper with nature? ” This is very relevant today because of the advances in science, such as stem cell research and organ transplant, that force us to make hard choices. The lines get blurred, especially if you are the one needing a new organ.
Frankenstein A Beautiful Monster English Literature
The particular construction of one’s face and body has an immediate effect on how a person is perceived. Humans develop personalities and social behaviors that are different from anyone else because of the way other humans react to their physical appearances. In the novel Frankenstein two instances stand out in which Victor gives a description of two very different characters who change the dynamic of the novel. When Victor describes his future wife Elizabeth, and when he describes the Daemon he created.
The way Victor describes Elizabeth makes her seem like a heaven sent angel who embodies the only goodness the novel possesses. The Daemon to Victor epitomizes the evil and ugliness in his life. Victor Frankenstein’s responses to other characters and their physical appearances enhance the emotions portrayed on the reader and the reader’s emotions change along with Victor’s.
Victor Frankenstein describes the first time he ever saw his future wife Elizabeth Lavenza. Victor describes Elizabeth as an angel.
Her brow was clear and ample, her blue eyes cloudless, and her lips and the moulding of her face so expressive of sensibility and sweetness that none could behold her without looking on her as of a distinct species, a being heaven-sent, and bearing a celestial stamp in all her features (Shelley 36).
The way Victor describes Elizabeth expresses the beauty he sees coming from her. To Victor a celestial light radiates from her. “Her brow was clear and ample,” implies that Elizabeth is free of worry and inquisitive. “Her blue eyes cloudless,” means Elizabeth possesses innocence. Lastly, “A being heaven-sent,” as said before he characterizes her as an angel who possess so much sweetness she would have to be other worldly. The reader cannot help but see Elizabeth as precious and wonderful because through Victor’s eyes she is described as nothing else. Frankenstein is a dark novel with themes of death and evil more specifically: good versus evil, treatment of the uneducated, and the invasion of technology created on those who created it. Victor loses his entire family at the hands of the Daemon and ultimately goes insane in the pursuit to end his life. In such a dark story a release is needed for the reader not to feel like no hope exists. In Victor’s description of Elizabeth he gives the reader the release that is needed. As proof that she is a release for him Victor’s mood changes for the better whenever he receives a letter from Elizabeth, or is able to see her. Elizabeth becomes the bright spot in the novel or the “light” so to speak for the reader and for Victor.
Another instance where Victor describes a physical appearance in which he relays his emotions is when he first lays eyes on his creation. Victor worked relentlessly for two years to complete his creation; his work consumed his entire life. Victor describes his creation as having, “yellow and too horrible for human eyes, and his limbs while attached proportionally were now over grown and deformed” (Shelley 102). He exclaimed that the sight of him was, “tremendous and abhorred” (Shelley 101). Elaine L. Graham describes the creature’s appearance as a reason for other humans to be terrified of him. Graham says, “The visual monstrosity serves as the rationale of the creature’s marginalization by human society, even as his own voice and human sensibilities contradict such vilification” (64). Graham claims that even though the creature’s voice and learned human social skills are quite acceptable his physical appearance continually scares people away. Victor describes his creation’s appearance as, “abhorred,” which implies loathing and detest so much so it makes the reader feel opposition and objection to his existence. The Daemon after his creation causes the death and destruction that haunts Victor throughout his life and makes Frankenstein such a dark novel. As Elizabeth became the light to the readers of novel the Daemon becomes the darkness.
Victor’s descriptions of Elizabeth and the Daemon’s physical appearances make them what they are. They are the light and dark characters in the novel who give Victor his happy moments and horrific moments throughout his life. But Victor Frankenstein is also a character brought to life by the author of the novel Mary Shelley. Instead of being just Victor’s physical descriptions of Elizabeth and the Daemon that sets the mode in Frankenstein Mary Shelley’s use of expert technique with her writing does also. Shelley had to make characters who would revolve around her main character Victor. Shelley, in other words, had to make an “other” for Victor so what she wrote through Victor’s eyes and actions would have merit, and so she would have a successful story. Diane Negra elaborates on what makes characters an “other,” “Although it is now a commonplace in critical studies to conceive of a monster figure as “Other,” and a commonplace in feminist analysis to talk about the cultural positioning of the feminine as “Other.” Shelley understood that society naturally sees women as the partner or the “other” to their male counterparts. So Shelley gave Victor his counterpart in Elizabeth. Shelley also knew that anything outside the norms of physical appearance would be seen as monstrous and therefore automatically dubbed an “other.” So Shelley has also given Victor his Daemon. Elizabeth and the Daemon can be compared to weapons in Victor’s arsenal. Shelley is able moves them around strategically in order to have a dynamic and powerful story. She succeeds in creating such a story and produces a technically inspirational novel which has become a classic throughout the world.
Nature of Revange In The Novel The Frankenstein
It makes your blood boil. Your eyes see red. Your fists clench so hard that they turn pale. It keeps you up at night, thinking and formulating plots on how to extract it. It flows through your body and mind like an uncontrollable rage, seething to be released. Revenge is toxic. And such a strong, violent emotion is fueled by a single act: an act of betrayal. Yet its effects are so lasting that it inflames wars of all sorts, from between two individuals to between two nations.
But oddly enough, this terrifying emotion has been the focus of many artists and authors, not because of its consequences but because of how intriguing it is. Despite its ferocity, revenge is perhaps one of the most humane emotions, on par with (and often going hand in hand with) love. One such author, Mary Shelley, exemplifies the very essence of revenge in her novel Frankenstein. In her novel, the protagnoist, Victor Frankenstein, is faced with continual conflict with his creation, the creature, creating an obsessive cycle of anger and disgust that inevitably leads both to their demise.
The cycle begins when Frankenstein first abandons the creature out of disgust, as soon as he creates the creature. Once the creature comes to realize this, he is angered. Frankenstein brought him into the world and abandonded him immediately simply because of his physical appearance. In one of his raging fits, the creature says “Frankenstein! You belong then to my enemy – to him towards whom I have sworn eternal revenge; you shall be my first victim” (130). Here, the creature reveals an important aspect of his mindset. He does not think of Frankenstein as the only enemy; instead, he thinks of Frankenstein as part of it. In other words, the creature’s desire for revenge is directed towards all of mankind, to which Frankenstein is a part of, rather than solely Frankenstein. This gives insight into one of the consequences of revenge: cloudy thinking. If the creature could think calmly and logically, he would realize that his misery is a result of solely Frankenstein and no one else’s actions. But regardless, from this point onwards, the creature has an innate hatred of all humanity, especially Frankenstein, that guides all his actions. Frankenstein, getting angered by the creature threats, retorts with his own anger-filled response. “I will work at your destruction until I desolate your heart so that you shall curse the hour of your birth” (134). Like the creature, Frankenstein does not put lucid thought to his words; if he thought from the creature’s perspective, he would have realized that the creature is justly angered. But instead, Frankenstein decides to throw threats back at the creature, illustrating that the emotion of anger brings both of them to the same mental level.
But more than just producing irrational thought, vengeance has an obsessive nature that eclipses other emotions and morals. It can transform a mind that knows nothing but innocence to one filled with hatred and loathing, just as it did with the creature. When first brought to life, the creature knew nothing; he could not speak, let alone have a grasp of human emotion and complex thought. But as he spent time learning how to speak English and adapting to human personalities, he came to realize his state of abandonment. “Cursed, cursed creator! Why did I live? Why, in that instant, did I not extinguish the spark of existence which you had so wantonly bestowed? I know not; despair had not yet taken possession of me’ my feelings were those of rage and revenge” (124). As he realizes this, the creature starts transforming from one that accidentally harms a little girl to one that that willingly kills Victor’s brother William just because of their relation. The creature’s obsession with revenge is further shown when he states that “revenge kept me alive; I dared not die and leave my adversary in being” (189). In other words, the creature has become a being whose sole existence is to extract vengeance rather than to try to fit into the society that fearfully rejected him. Furthermore, he refers to Victor as his “adversary” in life, instead of by his name or as his creator, suggesting the complete lack of respect and the embodiment of hatred the creature has towards him. At this state, the creature has reached his lowest point and gives up on trying to control his life; instead he seeks solace in controlling Victor’s.
Through both the creature and Victor’s quest for vengeance, the two inevitably lead each other towards mutual destruction. The escalating misery the creature causes on Victor’s life eventually leads to Victor breaking down and falling ill. Once he is nursed back to health, the creature confronts him, explaining his loneliness and sadness in the world in a calm, logical manner. He then finishes with the demand that it only be fair that Victor create a female counterpart for the creature, and if he does so, the creature would forgive Victor for his abandonment by leaving him—along with the rest of humanity—alone. As Victor debates it, the creature angrily adds “If you refuse, I will glut the maw of death until it be satiated with the blood of your remaining friends” (86). The creature’s scope for revenge has become so large that he now is willing to kill all of those related to Frankenstein to give him a slow, painful death. In other words, Frankenstein has no option but to comply to the creature or kill him. However, the creature is incredibly strong and agile, so Victor cannot kill him; this leaves him with one option: to comply. But once Victor comes close to creating this female counterpart, he realizes that he cannot bring another “creature” into the world and that one was already too many, so he kills the female. The creature sees this and, as promised, kills Elizabeth on the two’s wedding night. At this crossroad, both of their demises become inevitable. Victor needs the creature’s approval to live a happy life without having to fear for himself and his loved ones. The creature needs Victor if he wants any chance of another being like him to be created. But once both of them kill each other’s potential “wives”, they go down a road of immeasurable hate towards each other. Both of them need each other to live but neither of the two has each other’s approval. Therefore, Victor’s death on the boat, followed by the creature’s acceptance of his own death was unavoidable.
Through escalating acts of violence and hatred, Victor and the creature’s obsessive nature of showing anger led to each’s demise. Both needed each other to survive yet had to go through an incredible amount of pain and heartbreak as a result of the other, so the pair’s end was inevitable. Ironically symbolic, Shelley emphasizes the two’s foil-like nature and cyclic acts of anger by starting the book with the creature’s birth and ending with Victor’s death. Yet it is the creature who ends the novel with humanity as he comes to terms with his rash acts of anger while Victor never could. All in all, vengeance, like a disease, will consume and kill you if left unchecked. As clergyman Douglas Horton once said, “While seeking revenge, dig two graves—one for yourself.”
Frankenstein | Feminist Interpretation
In most 18th century stories, men portray to be the more dominate figure in the story or family. Women in the stories tend to be less important than the males. In Mary Shelley’s Frankenstein: or, The Modern Prometheus, women are mention that much and even if they are, they end up being killed or dying. Feminist interpreters tend to think Shelley has patriarchal man-centered views regarding gender roles. The idea of inactive women in a patriarchal society tremendously impacts the scheme of the novel.
This is a complicated topic because most of her women characters are quiet, content women who, at first, share little similarities with self-confident women. Women did not have many rights as men and they could not stand up for themselves. If a woman were to do so they would be label as impertinent and unthankful. Shelley’s approach on women is more complex than what we know it. She reveals to us that women are ambiguous and conflicting people, without a vast amount of control.
Shelley reveals the injustice discreetly all through the book. All through the novel, Mary Shelley suggests that women are victims in a patriarchal world. In Frankenstein: or, The Modern Prometheus, Caroline Beaufort Frankenstein, Justine Moritz, and Elizabeth Lavenza are examples victims of a patriarchal world, dominated by men
Caroline Beaufort Frankenstein, Victor’s mother is a victim in a patriarchal world. After her father’s death, Caroline is taken in by, and later marries, Alphonse Frankenstein. She ends up marrying Alphonse, a friend of her father. Alphonse later became her protector, “he came like a protecting spirit to the poor girl, who committed herself to his care; and after the interment of his friend he conducted her to Geneva and placed her under the protection of a relation. Two years after this event Caroline became his wife” (18). Alphonse is the dominate figure over Caroline, he is her protector. This shows women, like Caroline are not capable of taking care of themselves. In chapter 1, Shelley portrayal of Alphonse’s care for Caroline sounds as if she is in charge, “Everything was made to yield to her wishes and her convenience” (19). This short description shows that Caroline is cherished by Alphonse, making her more dominate. Shelley tells how Alphonse, “strove to shelter her, as a fair exotic is sheltered by the gardener, from every rougher wind and to surround her with all that could tend to excite pleasurable emotion in her soft and benevolent mind” (19). Shelley seems to portray women as a delicate person they needs to be care for by a man. Women, like Caroline appears to being incapable of taking care of themselves. This implies that women are victims in a patriarchal society, dominated by men.
Justine Moritz lives with the Frankenstein family as their servant after her mother pass away. She is a victim in a patriarchal world, dominated by men. After William is murdered, the creature puts an image of Caroline, William’s mother, that William was carrying in Justine’s pocket and she is blame of murder. She later confesses wrongly to the crime out of trepidation of going to Hell. Victor did not believe that she has murder William saying, “Justine Moritz! Poor, poor girl, is she the accused? But it is wrongfully; everyone knows that; no one believes it surely, Ernest?” (62). Even after this she is still guilty of the murder and is executed. This reveals that Justine is a victim because even though she did not actually murder William, she was found guilty. The murdered was actually a male, the creature, yet Justine was punished. She is wrongfully executed for an action of a man. Justine is an innocent girl; she would rather face the consequences of a murder conviction than be excommunicated by the church. Justine, a pure innocent soul, has no one defend her in trial. Yet, when Victor, a men, accused of killing Henry Clerval, has many people to defend him, a much more corrupt soul. For this reason Justine is put to death, therefore she is also a victim of a male dominate world.
Elizabeth Lavenza is an example of women being victims in a male dominated world. Elizabeth is an orphan taken in by Victor’s parents. She is passive, waiting for Victor’s return. She is a victim is a man’s whole because all she does majority of the time in the novel is wait for him to return. After receiving the news that Victor has fallen deeply ill she immediately writes him a letter, “My dear Friend, It gave me the greatest please to receive a letter from my uncleâ€¦my poor cousin, how much you must have suffered! I expect to see you looking even more ill than when you quitted Genevaâ€¦My uncle will send me news of your health, and if I see but one smile on your lips when we meet, occasioned by this or any other excretion of mine, I shall need no other happiness” (165-166). Elizabeth seems obsess with Victor, Shelley’s portrayal of her seems to be as if she is in need of Victor, as if she would die without him. Elizabeth models the Victorian “angel in the house.” Victor describes her as “a being heaven-sent.” “bearing a celestial stamp in all her features,” “fairer than pictured cherub” (20). Victor’s description of Elizabeth makes us think that she is an angel. Victor is very fond of her, this show that Victor treasures her greatly, hence her being dominate over Victor for a moment. Victor’s action is the cause of Elizabeth’s death, because of the promise Victor broke to the creature he vows to take revenge on Victor. The creature ends up murdering Elizabeth on her honeymoon night with Victor. Even though at times Elizabeth appears to be dominating over Victor, he still surpasses and controls her, thus Elizabeth being a victim of a patriarchal world.
Throughout the story Shelley suggests that women are victims in a patriarchal world, dominated by men. Frankenstein: or, The Modern Prometheus is an embodiment of Shelley’s concern for feminine position and importance in the 18th century patriarchal society. Shelley’s approach on women tells us that women are ambiguous and contradictory, lacking power. Shelley reveals the inequality inconspicuously all through the story. Throughout the novel, Mary Shelley suggests that women are victims in a patriarchal world. Caroline Beaufort Frankenstein, Justine Moritz, and Elizabeth Lavenza are victims of a patriarchal world, dominated by men. Men are the reasons why these women were punished. The novel exemplifies the unfairness of women in the 18th century and in the novel.
Mary Shelley’s Frankenstein viewed from a feminist lens
Elizabeth Lavenza is a woman who is constantly commodified throughout Shelley’s work. Elizabeth is objectified by Shelley as an object of Victor’s, since she is only ever discussed in terms of her significance to others. To Victor, Elizabeth is “the beautiful and adored companion of all [his] occupations and…pleasures” “mine, mine to protect, love, and cherish…since till death she was to be mine only”(37). Never within the chapters is it discussed about how Elizabeth feels about exposed and forced to a new family and home.
To Caroline Frankenstein, Elizabeth is “a pretty present for my Victor” (37). The objectification by Caroline Frankenstein is extremely telling, as Caroline is directly comparing Elizabeth to an object that is defined in and of itself as an object of value for others. Through this commodification Elizabeth, who is without her own feelings is made into an object for the Frankensteins to revere and esteem over. Despite her objectification by the Frankensteins in the novel, she is very loving and caring towards everyone.
Because of this love and care that Elizabeth provides, the commodification that is brought upon her is partly her own fault. Elizabeth’s inability to defend herself in crucial situation leads Victor to constantly see her as a mere object for his own pleasure and nothing more.
The female monster is a character that is commodified by the the societal reject known as the monster as an object that will ensure his euphoria and jubilation. Her entire existence is morphed into an object for the pleasure of the monster. The monster demands “you [Victor] must create a female for me, with whom I can live in the interchange of those sympathies necessary for my being” (147). The way the monster describes her as “necessary for my being” is very telling towards the attitudes of the dominant male figures in society. Shelley uses these words to show the monster herself does not matter, only the companionship that she will provide for the monster. She is also commodified as a bribe. A bribe in which the monster will abandon the violence and destruction he is causing in the world of Victor Frankenstein, if Victor makes him a female.
Safie is a character who is commodified by Shelley as a token of negotiation not only through the concrete agreement between Felix and Safie’s father, but also the abstract agreement of acceptance between the DeLacey family and the monster. In the gothic novel, Safie is used by her father as a reward for his freedom from prison, but really his freedom from the rejection of his European identity because he is casted out as an “other”. Safie’s father promises Felix “her hand in marriage so soon as he should be conveyed to a place of safety”(126). Safie is objectified as an object of bribery through her father’s reward of his underserved freedom and the loss of Safie’s deserved freedom. Similarly to Elizabeth, Shelley commodifies Safie as a treasure without ever distinguishing her opinion, therefore making her a mere object of a man. Safie is also representative of what the monster wants but cannot achieve because of the societal hierarchy.
This societal hierarchy in which only the females are commodified and the males who do not fit the Eurocentric character are casted out as “others”. The monster thus becomes socially casted out of society, and literally casted out of the DeLaceys home. Through her commodification