In the case of the monster, he desperately wants to end his own life, and also, to seek revenge against the one who brought him this misery. Homicides followed by suicides are seen mainly in the type of relationship that exists in families and other close partnerships (Liem, Postulart, & Nieuwbeerta, p. 99). Once the person has committed murder, they know that inevitable dire consequences are likely to follow. Rather than face these consequences, they will often commit suicide. The hopelessness that led to the homicide becomes even more hopeless once the act is committed.
The positive correlation between homicide and suicide is a well-documented phenomenon (Bills & Li, p. 837). Major depression is present in a majority of suicide attempts following a homicide (Barber, Azrael, & Hemenway, p. 285). Mental illness is present in most fratricide cases, these symptoms are accompanies by a tendency towards impulsiveness, and family stress and strife (Bourget & Gagne, p. 531). Much more is known about the connection and pathway that leads to homicide and suicide than was known in Shelley's time. However, she managed to paint a classic case of an at-risk person for committing such acts.
The monster and Victor both demonstrate the key hallmarks that are precedents to homicides and suicides. In a sense, the guilt that Victor feels for creating the deformed "child" will eventually lead to a similar depression and despair that are seen in the monster. Victor demonstrates maternal feelings when her "child" misbehaves and commits a heinous act. Victor expresses guilt for the actions of his "child." Both Victor and the monster sink into homicidal/suicidal depression. The only difference is that Victor sees a way out. If he kills the monster, he will be in the clear. The monster never sees a way out, he will always be a monster that will be persecuted and hunted like an animal. Victor sees homicide as a way out, but the monster sees it as a means to seek revenge before the end of his own life. The monster knows that he will be hunted and probably killed for his actions, he may see homicide as an eventual means to suicide, thus ending his misery.
Another factor in Victor's psychology is that during the time of Shelley, the birth of a disfigured child, stillbirths, or children that were not otherwise seen as 'perfect' was seen as a sign of God's punishment for a sin. To have a disfigured child was viewed with contempt, accusation and disdain by the whole of society, as it was a sign of sin and internal impropriety (Warnicke, I Hoak, p. 31). To purposefully create a disfigured child, such as the monster was unthinkable. It was to play God and any consequences suffered by Victor would only be regarded as his "just punishment" for his acts. He could expect no mercy or pity from society, but rather contempt and rejection for his actions. He realized this as soon as the monster came to life. He felt that the only way to rectify the situation and to restore his own sense of morality was to kill the monster, thus "fixing" his earlier sins. As long as the monster still walked about the earth on a murderous quest, he would be morally responsible for them, along with the monster. In Victorian eyes, this would be his eternal punishment for attempting to "play God."
The Nameless Beast Within
Another facet of the monster's psychology is that he is never given a human name. A person's name is seen as sacred, a representation of their place within humanity. To be denied the gift of a name is to be denied acceptance into the human race. For the monster, it was the ultimate symbol of his destiny and the lonely life that he would live. Without a name, he would always be destined to a place lower than human. Even animals had names, but the monster would never have a name, setting him aside from all other life on the planet. To have a name is to have value and to be recognized among humanity for the being within. A person considers the utterance of their name to be the most beautiful song in the world. The monster would never hear this beautiful song.
The monster remaining nameless also has an effect on the rest of the world around them. To kill another human being is a sin, an unthinkable act for a moral person. However, to kill a nameless animal for human consumption or use is acceptable, for the most part. One of the key distinguishing features between an animal that is considered livestock and one that is considered a "pet" is whether is has a name or not. Pets are typically afforded some of the same privileges as humanity, living in the house, love, attention, affection, and other more human...
Women on the Verge of a Nervous Breakdown presents a more modern landscape with women being in charge of their own lives and being less vulnerable to being exploited by men. Pepa, the film's protagonist, expresses her lack of interest with what happens around her and is solely concerned about telling Ivan, her boyfriend, that she is pregnant. The woman enters a state of despair as she discovers that Ivan
Frankenstein and Enlightenment The Danger of Unregulated Thought in Frankenstein Mary Shelley's Frankenstein; Or, the Modern Prometheus, considered by many to be one of the first science-fiction novels written, is rife with anti-Enlightenment undertones. Shelley's novel, first published in 1818 and republished in 1831, examines the roles of science and religion, and provides a commentary on the dangers of playing God. Considering that Mary Shelley was the daughter of two prominent Enlightenment
Her list includes the following: culture / Nature reason / Nature male/female mind/body ( Nature) master/slave reason/matter (physicality) rationality/animality ( Nature) human / Nature (non-human) civilised/primitive ( Nature) production/reproduction ( Nature) self/other At first glance, this list seems to capture the basic groupings and gender associations that are at work in Mary Shelley's novel. The Creature exemplifies animality, primitiveness, and physicality, whereas Victor represents the forces of civilization, rational production, and culture. Victor is part of a happy family
Frankenstein & Romanticism How Romanticism is Demonstrated in Frankenstein In less than six years, Mary Shelley's Frankenstein will be 200 years old. This novel, indicative of the romantic period, is a compelling narrative with numerous themes and vivid imagery to consider. In the context of romanticism, Frankenstein is a worthwhile piece of literature to examine. Literature and art of the romantic period is characterized with an emphasis on intense emotional reactions, specifically
However, he also chooses isolation in his desire to explore the North Pole. And yet, to Brannstrom, the character of Robert Walton balances Victor Frankenstein who deliberately chooses to isolate himself from society and the creature who longs to belong to society. According to Brannstrom, "Walton is someone who can strive for distinction but at the same time turn back when his actions might harm others." Tied to the theme
Thus Shelley's novel provides a third solution of sorts, an acknowledgement of the imperfect and estranged nature of humanity that is not comforting, but seems more realistic to modern readers, perhaps, as the monster seems like a modern anti-hero, from a 21st century point-of-view. Even to 19th century readers, Shelley's ambiguous views of science and religion were likely to resonate. The analogies of creator and created are deliberately ambiguous in
Our semester plans gives you unlimited, unrestricted access to our entire library of resources —writing tools, guides, example essays, tutorials, class notes, and more.
Get Started Now