FRANKENSTEIN PLANS
LOVE
The creature suffers from a loss of love which results in in it suffering as a result
of societies fear and prejudices. The creature’s tragic narrative begins as Victor
disowns the creature upon its birth, labelling it a 'demoniacal corpse' and
asserting that 'no mortal could support the horror of that countenance.' This
swift rejection by the very creator who should have provided guidance and care,
leaves the creature burdened by the anguish of paternal abandonment.
Moreover, the creature is instantly rejected by society - their instinctive fear and
aggression, exemplified by some fleeing and others attacking, further intensify
his isolation and misery, highlighting the harsh reality of his inability to
assimilate. Even the prospect of familial acceptance with the DeLacey’s is
shattered as their 'horror and consternation' lead to yet another painful
rejection. The creature tells Victor upon their first real meeting that “[he] is
malicious because [he is] miserable. [Is he] not shunned by all mankind?”
Elizabeth Lavenza serves as a foil for Victor by showing her love to her family in
tough times compared to Victor’s obsession with science causing him to
disregard his duty for his family. When Victor becomes consumed by his work,
Elizabeth’s contribution to the family is even more obvious with her being
described as a “saintly soul”. The biblical illusion presenting Elizabeth as an
angel which serves to exemplify the importance of her love on the family. This is
expounded by the use of the simile “like a shrine dedicated lamp” with the light
imagery having connotations of heaven and furthering this idea of Elizabeth as
an angel. The sibilance furthers this idea as the lyrical lulling language connotes
ideas of calmness furthering this imagery of Elizabeth as a saintly figure. Victor
on the other hand completely isolates himself and his family “grow uneasy at the
long silence”. Not only does Elizabeth tend to the family in Geneva she
frequently reaches out to Victor and serves as a stark contrast to Victor’s
selfishness, as she does not neglect her duty to him: “Adieu my cousin, take care
of yourself”. The exclamative phrase emphasises Elizabeth’s worry for Victor and
highlights the importance of their love to her – a stark contrast to Victor. Even in
times when Victor is struggling, she seeks to help him in any way she can –
“Elizabeth alone had the power to draw me out of these fits” which further
highlights the importance of Elizabeth’s love.
Shelley explores the intense suffering and fear of Victor, as a result of shirking
his fatherly responsibility and not loving the creature. Following the creature
Victor instantly feels disgust stating “the beauty of the dream vanished, and
breathless horror and disgust filled[his] heart” with the juxtaposition expounding
Victor’s horror and disgust highlighting the disgust Victor feels towards his
creation. Following the creation, Victor is plagued with gruesome images of his
fiancé turning into his mother and their corpse being eaten by “grave-worms” – a
metaphor for the parasitical nature of the monster in Victor’s mind. He then
comes across Henry Clerval, who spends many months nursing him through a
"nervous fever.” The effect on his physical health is exacerbated as the monster
begins murdering his friends and family. Victor must grapple with his
, FRANKENSTEIN PLANS
consciousness and the notion that the responsibility for the lives lost ultimately
lies with him. This plus guilt, results in intense insomnia and deep isolation from
others floating aimlessly through "two years of exile", unable to enjoy his
existence. At the book's conclusion, Victor dies in Walton's boat, for which soon
after the monster boards and claims responsibility, explaining that he "destroyed
[Victor] by destroying all [he] loved." Yet it is not only the death of his friends and
family that kills Victor, but the remorse that came with being the creator of that
which killed them.
CREATION
Shelley explores the consequences of playing God in creating life, through
Victor's overambition, that results in his deterioration to obsessive monstrosity.
Victor narcissistically sees himself as God, "A new species would bless me as its
creator," this echoes Promethean ambition of Greek mythology. Yet it is this
single-minded obsession with creation that alienates Victor from society, as he
voluntarily locks himself away "in a solitary chamber", shrouded in "darkness",
honed in on his taboo goal of reanimation. Even in the culmination of his dreams,
"the beauty of the dream vanished," giving way to nothing but pain and disgust.
In seeing his creation, he is filled with "breathless horror and disgust" and falls
into a "nervous fever" for months further showcasing the negative consequences
with creation exemplifying Victor’s physical deterioration. His violation of nature
by reanimating life has cataclysmic consequences, resulting in the deaths of all
his friends and family. As a 'Modern Prometheus' like Prometheus, Victor is
doomed to be punished. Ultimately, his obsession of creation leads to ignoring
even his own body to focus on the monster, to the extent he is near dead when
found by Walton.
Shelley parallels Victor to his creation to emphasise the innate monstrosity within
Victor. This is seen primarily through the Chinese Box structure of the novel
which results in the intertwining of the two character’s story. Shelley presents
both characters as having a near crazed love of knowledge. Victor had a “fervent
longing to penetrate the secrets of nature” which has romantic connotations and
highlights the extent to which Victor is obsessed with the obtaining knowledge.
This is echoed by the monsters longing for human knowledge. Even in expression
the two characters are notably similar through their use of hyperbole with the
creation mirroring Victor’s actions to further highlight the innate monstrosity
within Victor. The antithetical imagery of science and language, immeasurable
beauty and immeasurable pain, epitomises the fundamental difference between
the two: the creature's outer monstrosity to Victor's inner monstrosity. Although
the creature is outwardly monstrous, Victor's personality is far uglier. Through
narcissism, he allows the innocent Justine to be murdered and pities himself,
lamenting he was "allowed no hope or consolation." In his obsessive compulsion
with hunting the monster mercilessly sacrifices his remaining family and friends.
Shelley uses the innocence of a recently created creature to emphasise the vain
monstrosity of humanity. Initially Shelley utilises an Edenic description of the
creature with the monster describing the moon as a “radiant form”. It is this
childlike innocence that resembles Adam lacking original sin and allows an
, FRANKENSTEIN PLANS
outside perspective by Shelley onto society. Despite the creature’s good will his
appearance means he is attacked with “stones and missile weapons. Even the
most benevolent Delacey’s who fought injustice with Safie discriminated and
shunned the creature with Feliz striking the monster “violently with a stick”.
Shelley utilises the DeLacey family to showcase as a vehicle to showcase how
deep rooted mankind’s hatred is as even the most benevolent family in humanity
still shun and attack the creature. The shallow, hypocritical nature of this hate is
emphasised through Safie (an outsider like the creature) yet is she accepted due
to her “countenance of angelic beauty” while the creature is shunned due to its
monstrous looks.
DUTY/RESPONSIBILITY
Shelley explores the emotional and physical toils of responsibility on Victor.
Following the creature Victor instantly feels disgust stating “the beauty of the
dream vanished, and breathless horror and disgust filled[his] heart” with the
juxtaposition expounding Victor’s horror and disgust highlighting the disgust
Victor feels towards his creation. Following the creation, Victor is plagued with
gruesome images of his fiancé turning into his mother and their corpse being
eaten by “grave-worms” – a metaphor for the parasitical nature of the monster in
Victor’s mind. He then comes across Henry Clerval, who spends many months
nursing him through a "nervous fever.” The effect on his physical health is
exacerbated as the monster begins murdering his friends and family. Victor must
grapple with his consciousness and the notion that the responsibility for the lives
lost ultimately lies with him. This plus guilt, results in intense insomnia and deep
isolation from others floating aimlessly through "two years of exile", unable to
enjoy his existence. At the book's conclusion, Victor dies in Walton's boat, for
which soon after the monster boards and claims responsibility, explaining that he
"destroyed [Victor] by destroying all [he] loved." Yet it is not only the death of his
friends and family that kills Victor, but the remorse that came with being the
creator of that which killed them.
Shelley explores how Victor Frankenstein shirks his fatherly duty towards the
creature. Whilst his creation remained hypothetical and idealistic, Victor
anticipated his duty excitedly presuming " a new species would bless [him] as its
creator and source". However, upon seeing his creation animated for the first
time, Victor immediately rejects it, fleeing the room of its birth. After nightmares,
the creatures “hand was stretched out” a universal symbol of unison and amity
and a clear attempt by the creature to connect with its creator was interpreted
as an attack by Victor and he once again flees abandoning what is effectively his
son. He swiftly abandons the creature to roam mountains with Clerval, forcing it
to face the brunt of human hate alone. The creature blames Victor for this,
cursing his "Unfeeling, heartless creator!" with the alliterative phrase
highlighting the creatures hatred towards Victor due to the abandonment. It is
only in death that Victor truly understands his parental responsibilities,
lamenting "I was bound towards [the creature] to assure... his happiness and
well-being.”
LOVE
The creature suffers from a loss of love which results in in it suffering as a result
of societies fear and prejudices. The creature’s tragic narrative begins as Victor
disowns the creature upon its birth, labelling it a 'demoniacal corpse' and
asserting that 'no mortal could support the horror of that countenance.' This
swift rejection by the very creator who should have provided guidance and care,
leaves the creature burdened by the anguish of paternal abandonment.
Moreover, the creature is instantly rejected by society - their instinctive fear and
aggression, exemplified by some fleeing and others attacking, further intensify
his isolation and misery, highlighting the harsh reality of his inability to
assimilate. Even the prospect of familial acceptance with the DeLacey’s is
shattered as their 'horror and consternation' lead to yet another painful
rejection. The creature tells Victor upon their first real meeting that “[he] is
malicious because [he is] miserable. [Is he] not shunned by all mankind?”
Elizabeth Lavenza serves as a foil for Victor by showing her love to her family in
tough times compared to Victor’s obsession with science causing him to
disregard his duty for his family. When Victor becomes consumed by his work,
Elizabeth’s contribution to the family is even more obvious with her being
described as a “saintly soul”. The biblical illusion presenting Elizabeth as an
angel which serves to exemplify the importance of her love on the family. This is
expounded by the use of the simile “like a shrine dedicated lamp” with the light
imagery having connotations of heaven and furthering this idea of Elizabeth as
an angel. The sibilance furthers this idea as the lyrical lulling language connotes
ideas of calmness furthering this imagery of Elizabeth as a saintly figure. Victor
on the other hand completely isolates himself and his family “grow uneasy at the
long silence”. Not only does Elizabeth tend to the family in Geneva she
frequently reaches out to Victor and serves as a stark contrast to Victor’s
selfishness, as she does not neglect her duty to him: “Adieu my cousin, take care
of yourself”. The exclamative phrase emphasises Elizabeth’s worry for Victor and
highlights the importance of their love to her – a stark contrast to Victor. Even in
times when Victor is struggling, she seeks to help him in any way she can –
“Elizabeth alone had the power to draw me out of these fits” which further
highlights the importance of Elizabeth’s love.
Shelley explores the intense suffering and fear of Victor, as a result of shirking
his fatherly responsibility and not loving the creature. Following the creature
Victor instantly feels disgust stating “the beauty of the dream vanished, and
breathless horror and disgust filled[his] heart” with the juxtaposition expounding
Victor’s horror and disgust highlighting the disgust Victor feels towards his
creation. Following the creation, Victor is plagued with gruesome images of his
fiancé turning into his mother and their corpse being eaten by “grave-worms” – a
metaphor for the parasitical nature of the monster in Victor’s mind. He then
comes across Henry Clerval, who spends many months nursing him through a
"nervous fever.” The effect on his physical health is exacerbated as the monster
begins murdering his friends and family. Victor must grapple with his
, FRANKENSTEIN PLANS
consciousness and the notion that the responsibility for the lives lost ultimately
lies with him. This plus guilt, results in intense insomnia and deep isolation from
others floating aimlessly through "two years of exile", unable to enjoy his
existence. At the book's conclusion, Victor dies in Walton's boat, for which soon
after the monster boards and claims responsibility, explaining that he "destroyed
[Victor] by destroying all [he] loved." Yet it is not only the death of his friends and
family that kills Victor, but the remorse that came with being the creator of that
which killed them.
CREATION
Shelley explores the consequences of playing God in creating life, through
Victor's overambition, that results in his deterioration to obsessive monstrosity.
Victor narcissistically sees himself as God, "A new species would bless me as its
creator," this echoes Promethean ambition of Greek mythology. Yet it is this
single-minded obsession with creation that alienates Victor from society, as he
voluntarily locks himself away "in a solitary chamber", shrouded in "darkness",
honed in on his taboo goal of reanimation. Even in the culmination of his dreams,
"the beauty of the dream vanished," giving way to nothing but pain and disgust.
In seeing his creation, he is filled with "breathless horror and disgust" and falls
into a "nervous fever" for months further showcasing the negative consequences
with creation exemplifying Victor’s physical deterioration. His violation of nature
by reanimating life has cataclysmic consequences, resulting in the deaths of all
his friends and family. As a 'Modern Prometheus' like Prometheus, Victor is
doomed to be punished. Ultimately, his obsession of creation leads to ignoring
even his own body to focus on the monster, to the extent he is near dead when
found by Walton.
Shelley parallels Victor to his creation to emphasise the innate monstrosity within
Victor. This is seen primarily through the Chinese Box structure of the novel
which results in the intertwining of the two character’s story. Shelley presents
both characters as having a near crazed love of knowledge. Victor had a “fervent
longing to penetrate the secrets of nature” which has romantic connotations and
highlights the extent to which Victor is obsessed with the obtaining knowledge.
This is echoed by the monsters longing for human knowledge. Even in expression
the two characters are notably similar through their use of hyperbole with the
creation mirroring Victor’s actions to further highlight the innate monstrosity
within Victor. The antithetical imagery of science and language, immeasurable
beauty and immeasurable pain, epitomises the fundamental difference between
the two: the creature's outer monstrosity to Victor's inner monstrosity. Although
the creature is outwardly monstrous, Victor's personality is far uglier. Through
narcissism, he allows the innocent Justine to be murdered and pities himself,
lamenting he was "allowed no hope or consolation." In his obsessive compulsion
with hunting the monster mercilessly sacrifices his remaining family and friends.
Shelley uses the innocence of a recently created creature to emphasise the vain
monstrosity of humanity. Initially Shelley utilises an Edenic description of the
creature with the monster describing the moon as a “radiant form”. It is this
childlike innocence that resembles Adam lacking original sin and allows an
, FRANKENSTEIN PLANS
outside perspective by Shelley onto society. Despite the creature’s good will his
appearance means he is attacked with “stones and missile weapons. Even the
most benevolent Delacey’s who fought injustice with Safie discriminated and
shunned the creature with Feliz striking the monster “violently with a stick”.
Shelley utilises the DeLacey family to showcase as a vehicle to showcase how
deep rooted mankind’s hatred is as even the most benevolent family in humanity
still shun and attack the creature. The shallow, hypocritical nature of this hate is
emphasised through Safie (an outsider like the creature) yet is she accepted due
to her “countenance of angelic beauty” while the creature is shunned due to its
monstrous looks.
DUTY/RESPONSIBILITY
Shelley explores the emotional and physical toils of responsibility on Victor.
Following the creature Victor instantly feels disgust stating “the beauty of the
dream vanished, and breathless horror and disgust filled[his] heart” with the
juxtaposition expounding Victor’s horror and disgust highlighting the disgust
Victor feels towards his creation. Following the creation, Victor is plagued with
gruesome images of his fiancé turning into his mother and their corpse being
eaten by “grave-worms” – a metaphor for the parasitical nature of the monster in
Victor’s mind. He then comes across Henry Clerval, who spends many months
nursing him through a "nervous fever.” The effect on his physical health is
exacerbated as the monster begins murdering his friends and family. Victor must
grapple with his consciousness and the notion that the responsibility for the lives
lost ultimately lies with him. This plus guilt, results in intense insomnia and deep
isolation from others floating aimlessly through "two years of exile", unable to
enjoy his existence. At the book's conclusion, Victor dies in Walton's boat, for
which soon after the monster boards and claims responsibility, explaining that he
"destroyed [Victor] by destroying all [he] loved." Yet it is not only the death of his
friends and family that kills Victor, but the remorse that came with being the
creator of that which killed them.
Shelley explores how Victor Frankenstein shirks his fatherly duty towards the
creature. Whilst his creation remained hypothetical and idealistic, Victor
anticipated his duty excitedly presuming " a new species would bless [him] as its
creator and source". However, upon seeing his creation animated for the first
time, Victor immediately rejects it, fleeing the room of its birth. After nightmares,
the creatures “hand was stretched out” a universal symbol of unison and amity
and a clear attempt by the creature to connect with its creator was interpreted
as an attack by Victor and he once again flees abandoning what is effectively his
son. He swiftly abandons the creature to roam mountains with Clerval, forcing it
to face the brunt of human hate alone. The creature blames Victor for this,
cursing his "Unfeeling, heartless creator!" with the alliterative phrase
highlighting the creatures hatred towards Victor due to the abandonment. It is
only in death that Victor truly understands his parental responsibilities,
lamenting "I was bound towards [the creature] to assure... his happiness and
well-being.”
