¶ … Gothic novel era is widely accepted as the years from 1764 to 1834. The Gothic genre has remained "an elusive minor literary upheaval that has had eminence influenced on most genres today" (Summer 164)
Bloom maintains, "Frankenstein's hapless creature stands out as a sublime embodiment of heroic pathos. Though Frankenstein lacks the moral imagination to understand him, the daemon's appeal is to what is most compassionate in us" (Bloom)
When they react to his looks, all of his dreams are shattered; along with those dreams are the ideals the monster hoped to share with anyone. "Frankenstein's creature becomes a monster because he is cruelly ensnared by one of the deepest predispositions of our biological inheritance -- our aversion toward seriously malformed individuals" (Gould)
When the elder De Lacey plays for and the younger De Lacey, she becomes happy and the monsters watches them share an affectionate moment. He is filled with "sensations of a peculiar and overpowering nature" (Shelley 93) and feels compelled to understand more
Here is when the monster abandons his good nature because he realizes it is futile. Walter Scoot observes, "The result is, this monster, who was at first, according to his own account, but a harmless monster, becomes ferocious and malignant, in consequence of finding all his approaches to human society repelled with injurious violence and offensive marks of disgust" (Scott)
Here we see the ultimate argument for the nature of man. Virginia Brackett observes, "The monster was not 'born' hating others; his hate was taught him by people who refused to see beyond his external appearance to the brilliant warm nature existing just below its surface" (Brackett)
But the return of Frankenstein's moral self allowed him to accept the responsibility of being the Creature's creator, and thus, treats it humanely by destroying it, which the Creature wanted him to do after all. His death prior to the Creature's destruction showed that despite his repentance, Frankenstein's once-failed experiment on creating human life had caused great damage to the Creature (Thompson, 2000)
Additionally, the monster represents the technology itself, which was created for a good purpose and had a lot of potential to serve mankind well, but instead wound up accidentally causing harm and being rejected by society. Marx wrote that people are born free, but that everywhere they are in chains, (Marx) and this is apparent through the oppression shown in Frankenstein
The technology created the "monster" of the masses, which like Frankenstein's creation, "once unleashed could not be controlled." (Montag 386) The Monster can also be seen as a representation of the technology itself
Dreams come from the unconscious which "thinks" primarily in visual images. Dreams contain symbols and metaphors that map the inner, unconscious life and desires of the individual in a sort of metaphoric sense-making which can be decoded and interpreted (Ogden, 2001)
It is fairly well accepted now that the world of the individual goes beyond the obvious, the visible and the tangible. The world of dreams is an alternate form of reality, not rational in the waking sense, but with a logic of its own and one which may be tapped artistically (Reisner, 2003)
This single act transforms the lives of Frankenstein and the people around him in a manner that he had never visualized and he appears to be less powerful to do anything to curb the horrendous results of his activities. (Dean, Review of Frankenstein) The novel deals with positive differences -- the sensible and bodily procedures from where differences result
Hyde -- By Robert Louis Stevenson) The main characters in the novel namely Jekyll and Hyde are like a dual spilt personality, a single entity divided into two. (Gates, Robert Louis Stevenson's The Strange Case of Dr
Such a fact is imaginatively approved in a strikingly fresh adaptation by Jonathan Pope for the Glasgow Citizens that takes off the congealed veneer of the horror film industry and makes out a truly attractive background of adventurism relating to scientific and philosophical levels. (Coveney, Frankenstein) Frankenstein relates to the duality of human nature and the manner in which humans are perceived by the society
What did their tears imply? Did they really express pain? I was at first unable to solve these questions, but perpetual attention and time explained to me many appearances which were at first enigmatic." (Shelley, Chapter 12) the irony is, these rude peasants have even less than did Dr
Either way, Shelley makes reference to Dante in the work and some readers have perceived the characters travels through the work as assuming the character of a trip through hell. (Shelley, 1961, p
He writes, "Dracula is not only a threat but also imaginative and physical vitality, a catalyst for change. The novel suggests that a new understanding of sexuality and decay is necessary for any attempt to attain social order and growth" (Boone)
One critic writes, "The book was reviewed with considerable enthusiasm, tempered by some fear of its impiety and some shudders at the general theme. The Quarterly called it a tissue of horrible and disgusting absurdity but admitted that there was something 'highly terrific' and tremendous in the language" (Nitchie 145)
.] to psychoanalytic critics, all of this points to Shelley's own inability to accept her mother's death, as well as her baby's" (Hoeveler 52)
In addition, Frankenstein creates his monster with the diligence of a father but without a mother, and of course, he never creates the mate he promises to create, either. He even sounds like a "mother" when he contemplates his creation of the monster, "For the first time, also, I felt what the duties of a creator towards his creature were, and that I ought to render him happy before I complained of his wickedness" (Shelley 86)