The Monster learns how society behaves through the observation of the family, and through the reading of books. Much like Frankenstein, the Monster is greatly influenced by what he reads including Plutarch's Lives, Sorrow of Werter, and Paradise Lost. The Monster's innocence and ignorance, at this point, does not allow him to fully understand or relate to any of the characters in the books (166). The Monster eventually relates to Adam in Paradise Lost, not considering himself a monster, because even "Satan had his companions, fellow devils, to admire and encourage him" (169). As Adam was created in God's own image, the Monster is a "filthy type of [Frankenstein's image], more horrid from the very resemblance" (169). The Monster is the embodiment of Frankenstein's monstrous, creative, and destructive nature. The Monster resolves to make Frankenstein as miserable as he, following him to the ends of the Earth, and being there at the time of his death. Dracula, on the other hand, the Count, much like both monsters in Frankenstein, has become ostracized from society, in part to the passage of time, and because of his vampirism. In addition to superstition, much of the "monstrous nature" of the Count is derived from Victorian fears of sexuality and sexual freedom. In the story, the Count is repeatedly penetrating and exchanging bodily fluids with others, including men. The Count also "seduces" Lucy Westenra, taking advantage of her and turning her into a vampire in the process. Death and the disease of vampirism follow the Count wherever he goes. It is unclear what drives the Count to action, though he vows revenge for an unnamed offence (271). The Count claims to long for the days in which brave races "fought as the lion fights and how "the warlike days are over. Blood is too precious a thing these days of dishonourable peace, and the glories of the great races are as a tale that is told" (30). Because of his vampirism, he must consume...
"The blood is the life," at first dismissed as the maniacal ranting of Renfield proves to be the secret to the Count's longevity (Stoker 133). The Count, first feeds upon Renfield, driving him to madness, and subsequently feeds upon Jonathan Harker, whom imprisons within his castle (29). Furthermore, Jonathan is subjected to the Count's three vampiric brides (39). It important to note the role of blood in the story; blood is the source of life, as well as, death. Almost everyone that has been fed upon by the Count is doomed to death. The Count targets Mina, and attempts to destroy all that is good in her life. The Count almost succeeds, boasting that "their best beloved one," Mina, is now "flesh of my flesh; blood of my blood; kin of my kin…and shall later be my companion and my helper" (255). The Count not only seeks to destroy that which everyone holds near, the most innocent and upright of women, but seeks to eternally have her in his power.
Mary Shelley's Frankenstein and James Cameron's Terminator 3: Rise of the Machines have come to occupy similar positions in American popular culture -- largely, for their iconic appeal -- but they are also comparable in more subtle ways. Specifically, each tale depicts the emergence of human nature within entities that superficially seem nonhuman. Frankenstein's monster and the T-101 both come forward as compelling and sympathetic characters because they learn and
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
Finally, it is worth briefly mentioning that even if there were some inherent quality to human beings that existed prior to experience and influenced their personality and behavior, then the monster's experiences would seem to suggest that this human nature is inherently violent, cruel, and petty, rather than representing the kind of pure ideal suggested by Victor. In Mary Shelley's novel Frankenstein, the idea of nature vs. nurture is explored
Links can be made to Shelley's own life - her mother died shortly after her birth. Both the lack of a mother and a fear of natural childbirth are attributes of Victor's character in Frankenstein and ideas close to the author's own life. Through her literature Shelley demonstrates the need for both men and women to be present and willing to carry out different tasks for the well being
Frankenstein in the Work of Mary Shelley FRANKENSTEIN BY MARY SHELLEY The focus of this study is to summarize chapters 16 through 20 in Mary Shelley's and to choose two to three particularly meaningful quotes or quotes that are provocative or significant. work entitled 'Frankenstein'. Chapter 16 opens with the exclamation of "cursed, cursed creator! Why did I live?" (Shelley) This exclamation importantly sweets the scene for the dilemma in this story
It has "… taken on a life of its own independent of Mary Shelley's text, and indeed even independent of certain parts of her narrative." (Goodall 19) This has resulted in film and stage play versions of the novel. The reason for this continuing popularity lies largely with the relevance of the themes; particularly with regard to the theme of man 'playing God' through his application of scientific knowledge and
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