frankenstein essay analysis

Frankenstein

Mary shelley, everything you need for every book you read..

Welcome to the LitCharts study guide on Mary Shelley's Frankenstein . Created by the original team behind SparkNotes, LitCharts are the world's best literature guides.

Frankenstein: Introduction

Frankenstein: plot summary, frankenstein: detailed summary & analysis, frankenstein: themes, frankenstein: quotes, frankenstein: characters, frankenstein: symbols, frankenstein: literary devices, frankenstein: quizzes, frankenstein: theme wheel, brief biography of mary shelley.

Historical Context of Frankenstein

Other books related to frankenstein.

• Full Title: Frankenstein, or, The Modern Prometheus
• When Published: 1818
• Literary Period: Switzerland and London, England: 1816–1817
• Genre: Gothic novel
• Setting: Switzerland, France, England, Scotland, and the North Pole in the 18th century
• Climax: The Monster's murder of Elizabeth Lavenza on her wedding night to Victor
• Antagonist: The Monster
• Point of View: Frankenstein is told through a few layers of first person narratives. Walton is the primary narrator, who then recounts Victor's first-person narrative. In addition, Victor's narrative contains the monster's first person story as well as letters from other characters.

Extra Credit for Frankenstein

A ghost story. On a stormy night in June of 1816, Mary Shelley, her husband, and a few other companions, including the Romantic poet Lord Byron, decided to try to write their own ghost stories, but Shelley couldn't come up with any ideas. A few nights later, she had a dream in which she envisioned "the pale student of unhallowed arts" kneeling beside his creation—the monster. She began writing the story that became Frankenstein the next morning.

The Tale of Two Frankensteins. Shelley published the first edition of Frankenstein anonymously, perhaps due to her concern that such a grim and violent tale would not be well received by her audience if they knew her gender. She revised the novel and published it under her real name in 1831. Some key differences exist between the editions, namely that in the first edition, Elizabeth is Alphonse's niece and, therefore, Victor's cousin. (In the 1831 edition, the more popular version and the one used in this Outline, the Frankensteins adopt Elizabeth from another family).

Home — Essay Samples — Literature — Frankenstein — Frankenstein: Figurative Language Analysis

Frankenstein: Figurative Language Analysis

• Categories: Frankenstein Mary Shelley

About this sample

Words: 580 |

Published: Mar 20, 2024

Words: 580 | Page: 1 | 3 min read

Table of contents

Simile and metaphor, personification.

Cite this Essay

Let us write you an essay from scratch

• 450+ experts on 30 subjects ready to help
• Custom essay delivered in as few as 3 hours

Get high-quality help

Verified writer

• Expert in: Literature

+ 120 experts online

By clicking “Check Writers’ Offers”, you agree to our terms of service and privacy policy . We’ll occasionally send you promo and account related email

No need to pay just yet!

Related Essays

5 pages / 2316 words

2 pages / 869 words

6 pages / 2868 words

2 pages / 887 words

Remember! This is just a sample.

You can get your custom paper by one of our expert writers.

121 writers online

Still can’t find what you need?

Browse our vast selection of original essay samples, each expertly formatted and styled

Related Essays on Frankenstein

The theme of isolation is a prevalent and significant aspect in Mary Shelley's novel, Frankenstein. Throughout the narrative, both Victor Frankenstein and his creation, the Monster, experience various forms of isolation, which [...]

Mary Shelley’s novel, Frankenstein, explores the dangers of the relentless pursuit of knowledge and the consequences of playing god. Through the character of Victor Frankenstein, Shelley delves into the pitfalls of unchecked [...]

Mary Shelley's novel, Frankenstein, has garnered widespread acclaim and has become a staple in literary and academic circles. However, it has also faced considerable criticism due to its portrayal of science, gender roles, and [...]

Bloom, Harold. Mary Shelley's Frankenstein. New York, NY: Chelsea House Publ, 2007. Print. Burt, Daniel S. The Biography Book: A Reader's Guide to Nonfiction, Fictional, and Film Biographies of More Than 500 of the Most [...]

Published in 1818, Mary Shelley’s Frankenstein remains a revolutionary literary achievement whose iconic monster continues to captive modern readers. William Shakespeare, hundreds of years prior to Shelley, also cast a monster [...]

Exclusively raising opposition to commonplace phenomena can only go as far as just that: talk of a new contrary, and usually unwanted, opinion. The crucial ingredient in making a significant impact with a foreign idea is to make [...]

Related Topics

By clicking “Send”, you agree to our Terms of service and Privacy statement . We will occasionally send you account related emails.

Where do you want us to send this sample?

By clicking “Continue”, you agree to our terms of service and privacy policy.

Be careful. This essay is not unique

This essay was donated by a student and is likely to have been used and submitted before

Download this Sample

Free samples may contain mistakes and not unique parts

Sorry, we could not paraphrase this essay. Our professional writers can rewrite it and get you a unique paper.

Please check your inbox.

We can write you a custom essay that will follow your exact instructions and meet the deadlines. Let's fix your grades together!

Get Your Personalized Essay in 3 Hours or Less!

We use cookies to personalyze your web-site experience. By continuing we’ll assume you board with our cookie policy .

• Instructions Followed To The Letter
• Deadlines Met At Every Stage
• Unique And Plagiarism Free

Frankenstein

By mary shelley, frankenstein quotes and analysis.

I felt the greatest eagerness to hear the promised narrative, partly from curiosity, and partly from a strong desire to ameliorate his fate, if it were in my power. I expressed these feelings in my answer. "I thank you," he replied, "for your sympathy, but it is useless; my fate is nearly fulfilled. I wait but for one event, and then I shall repose in peace. I understand your feeling," continued he, perceiving that I wished to interrupt him; "but you are mistaken, my friend, if thus you will allow me to name you; nothing can alter my destiny listen to my history, and you will perceive how irrevocably it is determined." Preface, Letter 6

In this passage, Frankenstein conveys to Walton the belief that the course of his life -- his fate -- is bound to the monster he created. In this way, he has been enslaved by his own creation because his one goal in life has become to destroy it.

No human being could have passed a happier childhood than myself. My parents were possessed by the very spirit of kindness and indulgence. We felt that they were not the tyrants to rule our lot according to their caprice, but the agents and creators of all the many delights which we enjoyed. When I mingled with other families, I distinctly discerned how peculiarly fortunate my lot was, and gratitude assisted the development of filial love. Volume I, Chapter 2

What's interesting to note, which Frankenstein highlights here, is that he had a childhood characterized by loving, caring, present parents. This contrasts directly with Frankenstein's prompt abandonment of his monster, following its creation.

Natural philosophy is the genius that has regulated my fate; I desire, therefore, in this narration, to state those facts which led to my predilection for that science. When I was thirteen years of age, we all went on a party of pleasure to the baths near Thonon: the inclemency of the weather obliged us to remain a day confined to the inn. In this house I chanced to find a volume of the works of Cornelius Agrippa. I opened it with apathy; the theory which he attempts to demonstrate, and the wonderful facts which he relates, soon changed this feeling into enthusiasm. A new light seemed to dawn upon my mind; and, bounding with joy, I communicated my discovery to my father. My father looked carelessly at the title page of my book, and said, "Ah! Cornelius Agrippa! My dear Victor, do not waste your time upon this; it is sad trash." If, instead of this remark, my father had taken the pains to explain to me that the principles of Agrippa had been entirely exploded, and that a modern system of science had been introduced, which possessed much greater powers than the ancient, because the powers of the latter were chimerical, while those of the former were real and practical; under such circumstances, I should certainly have thrown Agrippa aside, and have contented my imagination, warmed as it was, by returning with greater ardour to my former studies. It is even possible that the train of my ideas would never have received the fatal impulse that led to my ruin. But the cursory glance my father had taken of my volume by no means assured me that he was acquainted with its contents; and I continued to read with the greatest avidity. Volume I, Chapter 2

Here, Victor claims that he never would have gone down the road that ultimately led to the creation of the monster if his father had responded differently to his interest in alchemy. In this way, one might say that Victor's father turned him 'into a monster', just as Victor created a monster all his own.

"The ancient teachers of this science," said he, "promised impossibilities, and performed nothing. The modern masters promise very little; they know that metals cannot be transmuted, and that the elixir of life is a chimera. But these philosophers, whose hands seem only made to dabble in dirt, and their eyes to pore over the microscope or crucible, have indeed performed miracles. They penetrate into the recesses of nature, and show how she works in her hiding places. They ascend into the heavens: they have discovered how the blood circulates, and the nature of the air we breathe. They have acquired new and almost unlimited powers; they can command the thunders of heaven, mimic the earthquake, and even mock the invisible world with its own shadows." Such were the professor's words--rather let me say such the words of fate, enounced to destroy me. As he went on, I felt as if my soul were grappling with a palpable enemy; one by one the various keys were touched which formed the mechanism of my being: chord after chord was sounded, and soon my mind was filled with one thought, one conception, one purpose. So much has been done, exclaimed the soul of Frankenstein--more, far more, will I achieve: treading in the steps already marked, I will pioneer a new way, explore unknown powers, and unfold to the world the deepest mysteries of creation. Volume 1, Chapter 3

The reaction of Frankenstein's first professor to his interest in alchemy, similar to his father's reaction, only spurs him on in pursuit of the path that will ultimately lead to creating the monster. Note the language of fate: throughout the novel, Frankenstein describes the tragic events of his life as a course that was determined for him. He attributes little-to-no agency to himself.

Remember, I am not recording the vision of a madman. The sun does not more certainly shine in the heavens, than that which I now affirm is true. Some miracle might have produced it, yet the stages of the discovery were distinct and probable. After days and nights of incredible labour and fatigue, I succeeded in discovering the cause of generation and life; nay, more, I became myself capable of bestowing animation upon lifeless matter. Volume I, Chapter 4

Frankenstein's language prefacing the creation of his monster underscores the text's preoccupation with proof and verification: he is invested in convincing the reader that the events he describes are both true and scientifically tenable.

I see by your eagerness, and the wonder and hope which your eyes express, my friend, that you expect to be informed of the secret with which I am acquainted; that cannot be: listen patiently until the end of my story, and you will easily perceive why I am reserved upon that subject. I will not lead you on, unguarded and ardent as I then was, to your destruction and infallible misery. Learn from me, if not by my precepts, at least by my example, how dangerous is the acquirement of knowledge, and how much happier that man is who believes his native town to be the world, than he who aspires to become greater than his nature will allow. Volume I, Chapter 4

The reserved nature which Frankenstein has about conveying the actual mechanism by which he created the monster does two things: it establishes a degree of narrative unreliability because we know that he is intentionally withholding information from Walton; it is also somewhat ironic that he is withholding the scientific mechanism, given his preoccupation with substantiating the claims of his story.

But I forget that I am moralising in the most interesting part of my tale; and your looks remind me to proceed. Volume I, Chapter 4

This brief comment after Frankenstein digresses on the context within which he created his monster is rather telling of the narrative as an overall piece: part of the game in Frankenstein is for the reader to absorb the events and decide on the moral implications for herself.

I started from my sleep with horror; a cold dew covered my forehead, my teeth chattered, and every limb became convulsed: when, by the dim and yellow light of the moon, as it forced its way through the window shutters, I beheld the wretch -- the miserable monster whom I had created. He held up the curtain of the bed; and his eyes, if eyes they may be called, were fixed on me. His jaws opened, and he muttered some inarticulate sounds, while a grin wrinkled his cheeks. He might have spoken, but I did not hear; one hand was stretched out, seemingly to detain me, but I escaped, and rushed down stairs. I took refuge in the courtyard belonging to the house which I inhabited; where I remained during the rest of the night, walking up and down in the greatest agitation, listening attentively, catching and fearing each sound as if it were to announce the approach of the demoniacal corpse to which I had so miserably given life. Volume 1, Chapter 5

Note that in the one brief moment shared between the creator and the created before Frankenstein flees, the monster smiles at him. This lends credibility to the argument that Frankenstein was prejudiced against the monster from his very inception, and spurned him where he might otherwise have raised him to be a reasonably well-adjusted being.

"I can hardly describe to you the effect of these books. They produced in me an infinity of new images and feelings that sometimes raised me to ecstasy, but more frequently sunk me into the lowest dejection." Volume II, Chapter 7

The monster says this in describing the three books with which he learned how to read -- Paradise Lost, Plutarch's Lives, and Sorrows of Werter . It relates the monster to both the novel as a whole, and to Frankenstein: Frankenstein also formulated much of his identity from books in his youth; and the whole as a home is largely structured by allusions and excerpts from other, earlier texts.

"You, who call Frankenstein your friend, seem to have a knowledge of my crimes and his misfortunes. But in the detail which he gave you of them he could not sum up the hours and months of misery which I endured, wasting in impotent passions. For while I destroyed his hopes, I did not satisfy my own desires. They were for ever ardent and craving; still I desired love and fellowship, and I was still spurned. Was there no injustice in this? Am I to be thought the only criminal when all human kind sinned against me? Why do you not hate Felix who drove his friend from his door with contumely? Why do you not execrate the rustic who sought to destroy the saviour of his child? Nay, these are virtuous and immaculate beings! I, the miserable and the abandoned, am an abortion, to be spurned at, and kicked, and trampled on. Even now my blood boils at the recollection of this injustice. "But it is true that I am a wretch. I have murdered the lovely and the helpless; I have strangled the innocent as they slept, and grasped to death his throat who never injured me or any other living thing. I have devoted my creator, the select specimen of all that is worthy of love and admiration among men, to misery; I have pursued him even to that irremediable ruin. There he lies, white and cold in death. You hate me; but your abhorrence cannot equal that with which I regard myself. I look on the hands which executed the deed; I think on the heart in which the imagination of it was conceived, and long for the moment when these hands will meet my eyes, when that imagination will haunt my thoughts no more." Volume III, Chapter 7

This is part of the monster's final monologue to Walton, after Frankenstein has died on the ship. Note that the monster has not actually found any sense of justice in spite of taking revenge: the only one who could make him happy was Frankenstein, by making him a mate -- something that he refused to do. He also agrees to what Frankenstein has said all along: because of his actions, he is 'a wretch'. However, it is important to note that he thinks he is a wretch because of the actions he took in seeking revenge against Frankenstein. So, it seems that he only became a wretch in response to Frankenstein rejecting him and calling him a wretch -- making it something of a self-fulfilling prophecy.

Frankenstein Questions and Answers

The Question and Answer section for Frankenstein is a great resource to ask questions, find answers, and discuss the novel.

What decisions and discoveries go into Frankenstein’s creation? What does he learn first, and which parts of the process take longer?

There is so much in your questions. This is only a short answer space. Victor Frankenstein studies biology and metaphysics first. Victor dreams of creating a new species: to renew life.

Explain about the gigantic figure in Frankenstein?

Are you referring to the creature? What specifically do you need to know?

Consider the monsters motivations for tracking down Frankenstein. Why does the master switch out his creator according to the text?

I'm sorry, your question requires additional information. Please provide a chapter number.

Study Guide for Frankenstein

Frankenstein study guide contains a biography of Mary Shelley, literature essays, a complete e-text, quiz questions, major themes, characters, and a full summary and analysis.

• About Frankenstein
• Frankenstein Summary
• Frankenstein Video
• Character List

Essays for Frankenstein

Frankenstein essays are academic essays for citation. These papers were written primarily by students and provide critical analysis of Frankenstein by Mary Shelley.

• Dr. Jekyll and Mr. Frankenstein
• Egotism, Personal Glory, and the Pursuit for Immortality
• Frankenstein and the Essence Of the Romantic Quest
• Like Father Like Son: Imitation and Creation
• Frankenstein's Discovery

Lesson Plan for Frankenstein

• About the Author
• Study Objectives
• Common Core Standards
• Introduction to Frankenstein
• Relationship to Other Books
• Bringing in Technology
• Notes to the Teacher
• Related Links
• Frankenstein Bibliography

E-Text of Frankenstein

Frankenstein e-text contains the full text of Frankenstein by Mary Shelley.

• Letters 1-4
• Chapters 1-4
• Chapters 5-8
• Chapters 9-12
• Chapters 13-16

Wikipedia Entries for Frankenstein

• Introduction
• Author's background
• Literary influences
• Composition

Mary Shelley’s Monster in Frankenstein Literature Analysis Essay

Introduction, background information.

Writers of fictional works of art often come up with characters that are not real in a bid to convey a certain message to the audience. In most cases, the imaginary characters are given attributes that personify human beings in real life. In this paper, the author places emphasis on monsters as fictional characters.

Daragh (382) argues that certain character traits associated with monsters can be used to explain themes that relate to human society. To this end, the author of this paper examines Frankenstein, a monster. Details about the traits of this character are explained in a bid to draw parallels between him and human behaviors.

Whenever monsters are depicted in a text, the creators are often interested in bringing out the fears of the people in a given society. According to Daragh (382), monsters are presented as villains and as creatures whose purpose is to terrorize others.

However, there are cases where the characters harbor no ill intentions at all. In such situations, the monsters are used to illustrate the monstrous behavior of actual beings. An example of the same is presented in the character of Frankenstein. In the book, the author uses the monster to show how real people behave in society.

A number of specific characteristic features are discussed in this paper. They include, among others, appearance, emotions, and articulations associated with the character. Each of the traits addressed is essential in understanding the reasons why Frankenstein was created. More specifically, the role of the character as a monster helps to appreciate the place of such creatures and other fictional figures in a given literary piece of art. Daragh (383) suggests that monsters advance important themes in a story. In light of this, a closer look at the role played by Frankenstein reveals the irony of a creature that should elicit fear among people but ends up experiencing terror instead.

Statement of the Research

The underlying principle of this research undertaking is to examine the character traits of Frankenstein as a monster. The analysis is best realized in the context of a thesis statement that the arguments revolve around.

Thesis statement

The following is the thesis statement of this research paper:

An assessment of the Frankenstein character reveals that monsters are a creation of society.

The author of this paper draws most of the arguments from the opinions made about monsters in peer-reviewed articles. For example, the Master’s thesis by Story (1) seeks to outline the background of monsters in a bid to illustrate their nature. Such arguments are important as they inform the reader why these characters are created. The analysis made in this paper will borrow from Story and other relevant sources.

A Formalist Review of Frankenstein the Monster

Characteristics of frankenstein.

In many narratives, monsters are depicted as creatures that are larger than human beings. Most of the times, these characters are given abilities that are superior to those of humans. Works of art that rely on the technique of appearance suggest that monsters are creatures whose sole purpose is to harm humans.

That is the underlying principle in the majority of these narratives. In their research paper, Story (1) advances the idea that giants and ogres are best understood as villains. One way of depicting a villain is by giving them features that would allow them to terrorize people. The same includes anatomical and morphological features associated with the creatures.

Frankenstein is depicted as a relatively large creature. Estimates of the monster’s height suggest that he is about 8 feet tall. Story (1) argues that a reader will only identify a giant as a towering figure. If a storyteller fails to exaggerate the height of this character, the reader may have problems identifying with it.

A case in point is a scenario where a 5 feet character encounters one who is 17 feet taller. The first reaction from the shorter one may be outright intimidation. In most cases, humans are intimidated by anything that is larger than them. They will do anything to try and overcome that thing. The towering height is used to ensure that Frankenstein attains the much needed intimidating attributes associated with a villain.

In terms of physical attributes, the monster is depicted as a human who has had all their organs stitched together. The terror sought from a villain is often amplified by ensuring that their physical looks are not very appealing to the reader. Daragh (383) makes a similar assertion by insisting that monsters are essentially creatures that seek to instill maximum fear among people. To achieve this objective, the character that takes the role of the monster must be made as unappealing as possible.

At this juncture, the appearance of Frankenstein is symbolic of a typical scary monster. A tall figure of a man who is made up of body parts sewn together is already scary enough. According to Story (1), most humans associate body organs with death. As such, the monster that is Frankenstein is given a character that symbolizes death. Essentially, the physical appearance of the ‘creature’ is made horrid to ensure that the reader is intimidated and terrorized to the point of believing that nothing good can come out of it.

The physical appearance of Frankenstein connotes the various opinions held by a human with regards to real and imagined monsters. To illustrate this point, Story provides a comparative analysis of monsters and humans with defects. Story (2) suggests that the horror associated with ogres is a reflection of the thoughts held by individuals in relation to their counterparts who are afflicted by various disabilities.

In the thesis, Story (2) argues that dwarfs and giants are often characterized as monsters in various narratives. The towering figure of Frankenstein is used to illustrate gigantism. The condition often exhibits itself through distortions of the hormones responsible for growth. As such, humans who are afflicted by such conditions are regarded as strange apparitions by their peers. The same applies to monsters.

Frankenstein’s body, as mentioned earlier, is a series of organs and limbs that have been loosely bound together. Such kind of an appearance is symbolic, given the fact that the monster is created by a human being. His appearance is the imagination of a person keen on creating life (Story 3). In this case, the symbolic gesture is that Frankenstein personifies all the horrors created by human beings in the name of science.

An appearance like the one suggested above is an example of how monsters are depicted by individuals. Daragh (383) argues that grotesque characters derive their horrid attributes from their paranormal nature.

Frankenstein is an example of such a paranormal creature. The same explains why his interactions with people in the Story elicit fear. However, it is important to note that appearances can be deceiving. A look at the personality of the ‘monster’ will illustrate whether they are misunderstood creatures or not.

Emotional attributes of the giant

Many scholars and critics pose the question of whether monsters have emotions or not. Such individuals seek to understand whether or not the actions of these characters are driven by some form of the emotional deficit. Daragh (383) poses these questions as they try to make sense of the various themes illustrated in monster-related narratives.

Frankenstein, on his part, is depicted as a character capable of expressing emotions. Right after his ‘birth,’ he is keen on interacting with other people. The ‘monster’ gets emotional when he realizes that he cannot live alone. His desire for friendship drives him to seek the companionship of other people. However, his appearances scare everyone off. He is even branded as an evil person.

In most cases, monsters are highly misunderstood, creatures. In The Beauty and the Beast, a similar fate befalls the beastly character (Weaver 290). The monster in this narrative is a beast that was put under a spell to appear hideous. In spite of these various attempts to make friends with other people, his appearances relegate him to a life of loneliness.

At times, the character gets emotional owing to his lack of friends. The same situation befalls Frankenstein. His interactions with the rest of the society are likened to the manner in which a wild animal escapes a sanctuary. He is viewed as an outsider. People work on the assumptions that he is a giant who has escaped from ‘monster land.’

Perhaps it is the feeling of loneliness on his part that drives Frankenstein to seek friendship. Upon his creation, he clamors for companionship. However, the behavior of his maker shocks him even more. In what would be a classic case of a man creating life, the birth of Frankenstein should have heralded joy on the part of his creator.

However, the maker rejects him, setting into motion a series of events that would suggest sadness on the persona of the ‘monster’s.’ Story (3) uses the same analogy of emotional distress to explain the interaction between monsters and humans.

All forms of interactions result from the desire for emotional fulfillment. The only way one can have emotional satisfaction is through participation in societal activities. Frankenstein’s rejection by his own creator forces him to seek companionship elsewhere. However, due to his appearances, nobody wants to interact with him.

If anything, he only instills fear and terror among the people. Story (5) argues that classical monsters are creations of elements that desire companionship. When this companionship is absent, the characters tend to sink into an emotional abyss and sometimes engage in horrible acts.

The emotional conduct of Frankenstein is an illustration of human behavior. There are instances where people exhibit shortcomings in their appearances and personality traits.

When they are rejected by others due to circumstances beyond their control, their emotions are shattered. As a result, such individuals may end up confining themselves to their lonesome states (Weaver 291). The argument that monsters are a misunderstood lot is supported by the perception that their hideous appearances depict their attempts to attack human beings. However, this is not always the case.

Frankenstein represents the idea that monsters seek emotional satisfaction, just like human beings. The two forms of creatures share the same need for social and emotional company. Story (5) makes a similar assertion by arguing that the interaction between monsters and human beings should not always be seen as the former’s intent to cause terror.

Perhaps, ogres and giants are driven out of their world by the absence of emotional satisfaction, as was the case between Frankenstein and his creator. As such, it is prudent to be realistic when analyzing monsters in a narrative. To this end, attention should be given to their emotional status before passing judgment on their actions.

Frankenstein: The Articulate Monster

One of the most common traits of monsters is their inability to communicate. Daragh (384) suggests that most of these characters produce very intimidating sounds, such as roars and growls. It is very rare to find a monster that is depicted as articulated in speech. Interestingly, Frankenstein is quite capable of communicating, as illustrated in the novel.

He is capable of making coherent speech both with himself and with other people. The ‘monster’ is depicted as having traits similar to a civilized gentleman. He is able to engage in conversation in an action that goes against all the stereotypes of a monster.

As already mentioned in earlier sections of this paper, monsters are imaginary beings. In essence, they do not exist. However, their depiction in literary works of art has evolved over time. Story (2) supports this position by arguing that the phenomenal traits of these characters are changing ‘periodically.’

The thesis by Story (2) introduces the reader to monsters in different categories. The traditional giant is depicted as a brute. Such actions as eloquent speech and ‘gentlemanly’ behavior were not common among monstrous characters in novels.

Frankenstein belongs to the category of monsters that can be regarded as traditional. According to Story (2), such creatures are, at best, meant to inspire fright and terror. Everything about them is designed to scare away the reader. However, the case is different for Frankenstein. Regardless of his hideous looks, the monster’s ability to express himself is derived from his interest in literature.

The attribute is illustrated in the character’s ability to make reference to other narratives. The grammatical correctness with which Frankenstein articulates his issues is an example of the divergence of the character from traditional monsters.

There are other instances where monsters are depicted as having some grasp of a language. Story (2) suggests that most traditional monsters are unable to enunciate their words properly. An improvement in the roaring and growling of monsters is seen in the manner in which other horrid creatures are depicted as having incoherent speech.

However, the fluency and coherence of Frankenstein set him apart from other traditional monsters. Perhaps, he is not a monster after all, given his gentlemanly behavior. Frankenstein’s title of an ogre must have resulted from people’s reaction towards his appearance.

His articulate nature is also evident in the way he presents himself. Regardless of his intimidating looks, Frankenstein acquires a taste for the formal presentation. The development is evident in the manner in which the character learns the art of grooming as a measure of presentation.

While making reference to Frankenstein’s narrative, Story (2) suggests that the man learns all about grooming in less than one year. At the time, reading was considered to be the preserve of the elegant. Frankenstein demonstrates his cultural aptitude when he proves that he has the ability to read in French and German.

The eloquent nature of Frankenstein is a character trait that enables him to adopt an almost human persona. Such an attribute can be used to support the argument that monsters can turn out to be like humans if they are provided with the right environment to thrive.

Frankenstein: the determined monster character

When an individual is said to be determined, the first thing that comes to the mind of the audience is the resolute ability to achieve a certain objective. Frankenstein comes out as an individual intent on making friends with others. However, his monster personality discourages the formation of social bonds. Alker (110) suggests that most monsters are determined to fit into the human world. Frankenstein’s intention of seeking companionship from his MMaster and other people is an example of his determination.

Under many circumstances, monsters are depicted as a face of chaos whenever they are introduced in a narrative. According to Story (3), traditional monsters are often determined to perpetuate terror in society. However, Frankenstein deviates from this form of traditional desire. In his quest to fit into society, he goes to great lengths to develop the necessary behaviors. The same is evident in the way he teaches himself such habits as reading and grooming.

Determination can also be seen in the manner in which he decides to become vengeful. Frankenstein’s initial interactions with people are genuine and sincere. However, after facing rejection, he becomes spiteful. In their study, Weaver (287) describes rage as a characteristic that is largely associated with monsters.

It is apparent that vengeance is fuelled by the negativities the characters experience from people. In Frankenstein’s case, even his maker rejects him. The said rejection inspires his determination to “extract his pound of flesh” from people who demonstrate open hostility towards him (Weaver 287). The determination is an affirmation of the fact that all monsters draw their behavior from certain factors. As a result of their resolve, they are able to realize their objective, whether evil or good.

Desire for companionship

In the previous sections, it was determined that Frankenstein is not existing for the mere reason of causing terror like traditional monsters. As illustrated by his grooming abilities, it is evident that the character is interested in finding a person to comfort him. However, it is unfortunate that he cannot find friendship and companionship even in his own creator.

Alker (113) argues that most monsters find something worth attachment themselves to in the human world. As such, it is common to find a monster looking for friendship in humans, as was the case with Beast in “Beauty and the Beast.”

Companionship is one of the priceless aspects of life. Even among human beings, the absence of this element is known to bring out the worst in people. Frankenstein represents the many individuals whose desire for the company is endless.

There are certain narratives where the absence of companionship has the potential to give rise to retaliation, as was the case with Frankenstein. Once he realized that people were repulsed by his person, he resorted vengeance. Weaver (113) argues that such issues as a lack of social company among monsters are a trigger to their acts of terror.

Frankenstein’s monstrosity is highlighted in the manner through which he tortures and kills his victims. As illustrated by Story (3), traditional monsters are known to inflict harm upon their prey. When the reasons behind their acts are unearthed, it becomes apparent that they are vengeful. The monster that is Frankenstein can be said to be a creation of the rejection he faces in his attempts to find companionship.

Frankenstein the Lone Ranger

The moment this character comes to life, he realizes that he is a species on his own. At one point, he suggests to his MMaster that he would prefer to get a mate. However, his requests fall on deaf ears. Sloggett (126) makes reference to Frankenstein by suggesting that his loneliness is one of the reasons behind his need for companionship. However, the rejection he faces from other people isolates and drives him to loneliness.

The biggest blow as far as rejection is concerned is the hostility directed towards Frankenstein by the womenfolk. At one point in the passage, the monster appeals to the audience to empathize with his situation. He argues that humans have mates, while his heart remains shunned. He goes on to lament about his unfortunate situation, wondering why people reject him, while even animals have partners (Story 24).

The lone ranger in the monster becomes apparent when he resorts to his vengeance against humans. Even in his terror escapades, Frankenstein operates like a one-man army of assassins. Such habits suggest that he is a lone ranger. In addition, it is possible to determine his character as a loner by looking at the kind of food he eats.

Story (24) points out that Frankenstein was the only monster who does not eat meat. The comparison is made with reference to traditional ogres. Most conventional monsters are known to be flesh-eating beasts. Frankenstein’s habit of eating vegetables puts him in a league of his own as a lone ranger.

There are various instances where a monster is seen as the savior of people in a given situation. For instance, when Frankenstein ponders about his build, he illustrates to the audience that he does not have the normal characteristics of a man. According to Daragh (387), in classical times, superheroes were viewed as beings with extraordinary body features. Frankenstein, in a monologue, suggests that he has capabilities that are not possessed by normal men. The abilities include agility, build, and tolerance to weather, and a unique diet.

The bodies of most heroes are structured to respond to the demands of carrying out extraordinary tasks. Frankenstein is depicted as a character who is trying to come to terms with his body features. In the process, he asks himself fundamental questions as to why he exists with such an overly large and hideous body.

Story (34) argues in spite of their unpleasant looks; some monsters use their super-human abilities to benefit mankind. The same explains why Frankenstein is thinking very hard about his intended role, given that he has features that are lacking in mere mortals.

Frankenstein’s heroic nature may not have come out clearly in the narrative. However, his attempts to conform to the requirements of a normal life make him carry out extraordinary tasks.

For instance, his abilities to groom himself and learn how to read and write are examples of extraordinary tasks. Such an undertaking can be seen as a heroic act to a reader who is full of despair owing to certain shortcomings in their life. Daragh (390) introduces an aspect that would explain the benign superhero status of the monster. Daragh suggests that human negativity killed the hero and turned him into a villain.

Frankenstein describes himself as a character who presents both hope and despair. According to Alker (114), most monsters are capable of caring about others. However, the ability is hidden by the vile nature of their appearances.

In relation to his affection towards women, Frankenstein demonstrates how he will use the opportunity to provide love and care. In his monologues, he describes how he will be romantic to any lady who agrees to enter into a relationship with him. He argues out this point as if to suggest that ordinary men lack the care and affection capabilities he possesses.

At one point, Frankenstein decides to perform a heroic act by rescuing a dying girl. He does this regardless of the hatred directed towards him by the ordinary folk. The character uses his energy and time to rescue someone he has no ties with. Unfortunately, his caring nature does not endear him to the public. On the one hand, the spectators overlook the kind gesture and assume that he is about to kill the girl. Elsewhere, the girl’s father scampers for safety fearing that the monster intends to inflict harm on him (Story 7).

The argument that Frankenstein is caring transcends his heroic gestures. At the heart of the matter is a man who has been branded as a monster by members of society. He is regarded negatively in spite of his attempts to be a gentleman to these people. A wicked being would rejoice at the misfortunes of the people who have caused him harm.

However, help comes from unlikely quarters in the name of Frankenstein, “the monster.” Only a caring person would overlook societal hate and negativity and continue to engage in good deeds without expecting rewards in return (Daragh 388).

Many behavior patterns that connote terror are derived from people’s bitterness. Evidently, Frankenstein’s attempts to blend into the society are met with hostility from the members of the public. His own creator despises him.

The major reason behind this rejection and hostility is his appearance. According to Alker (114), unlike human beings, monsters do not have control over their appearances. As such, discriminative treatment results in bitterness. As illustrated, Frankenstein’s only desire was companionship with others. Instead, society treats him with a lot of hate. His only response is vengeance.

His vengeful behavior embodies his ruthless nature. As already indicated in this paper, Frankenstein engages in ruthless killings in spite of his earlier kind and caring nature. According to Story (2), the ruthlessness of monsters results from a direct provocation of their person. The same is true even in cases where the provocation was done in the past.

In the case of Frankenstein, the hate and spite he receives from society are seen as an irritant. By assuming that his appearances are intimidating, the society fails to understand that his looks are beyond his control. The actual trigger to the provocation is evident in the manner his own creator joins the hate bandwagon. The agony appears to be too much for him to bear. He fails to win over his own creator.

In this paper, the author highlighted a number of issues in relation to Frankenstein, the monster. Story (2) was used to introduce an element of traditional monsters. The author of this paper highlighted the characteristics of such monsters.

With regards to hideous appearances, Frankenstein fits into this profile. However, the actions of this monster are reactions to the hostile treatment he receives from people. Initially, Frankenstein expresses the desire to fit into human society. The aspirations are made apparent by his grooming and literacy skills. To this end, he defies most of the stereotypes associated with monsters, such as being chaotic.

In spite of his caring nature towards members of society, Frankenstein is not treated nicely. When it dawns on him that his own creator does not like him, his ruthless nature is revealed. Daragh (388) suggests that the behavior of individuals towards monsters is responsible for the latter’s character. The monstrosity associated with Frankenstein can be attributed to the hate and discrimination in society. As such, it is logical to conclude that monsters are a creation of people’s attitudes and behaviors.

Works Cited

Alker, Zoe. “The Monster Evil: Policing and Violence in Victorian Liverpool.” Social History 37.1 (2012): 113-114. Print.

Daragh, Downes. “‘Excellent Monsters’: The Railway Theme in Dickens’s Novels.” English : Journal of the English Association 61.235 (2012): 382-393. Print.

Sloggett, Maria. “‘Delirious Monologues’: Christina Stead’s ‘Egotistical Monsters’.” Journal of the Association for the Study of Australian Literature (2013): 121-128. Print.

Storoy, Ina Helen. The Evolution of Monsters in the Romantic and Victorian Eras, Seen through Frankenstein and the Strange Case of Dr. Jekyll and Mr. Hyde . Diss. University of Tromso, 2013. Print.

Weaver, Harlan. “Monster Trans: Diffracting Affect, Reading Rage.” Somatechnics 3.2 (2013): 287. Print.

• Plot Summary
• Summary & Analysis
• Literary Devices & Symbols
• Essay Samples
• Essay Topics
• Questions & Answers
• Mary Shelley: Biography
• Chicago (A-D)
• Chicago (N-B)

IvyPanda. (2022, August 21). Mary Shelley's Monster in Frankenstein Literature Analysis. https://ivypanda.com/essays/mary-shelleys-monster-in-frankenstein-literature-analysis/

"Mary Shelley's Monster in Frankenstein Literature Analysis." IvyPanda , 21 Aug. 2022, ivypanda.com/essays/mary-shelleys-monster-in-frankenstein-literature-analysis/.

IvyPanda . (2022) 'Mary Shelley's Monster in Frankenstein Literature Analysis'. 21 August.

IvyPanda . 2022. "Mary Shelley's Monster in Frankenstein Literature Analysis." August 21, 2022. https://ivypanda.com/essays/mary-shelleys-monster-in-frankenstein-literature-analysis/.

1. IvyPanda . "Mary Shelley's Monster in Frankenstein Literature Analysis." August 21, 2022. https://ivypanda.com/essays/mary-shelleys-monster-in-frankenstein-literature-analysis/.

Bibliography

IvyPanda . "Mary Shelley's Monster in Frankenstein Literature Analysis." August 21, 2022. https://ivypanda.com/essays/mary-shelleys-monster-in-frankenstein-literature-analysis/.

• Frankenstein's Search of Companionship in Shelley's Novel
• Ethics as a Theme in Frankenstein by Mary Shelley
• Feminism in Frankenstein by Mary Shelley
• Motifs and Themes in Mary Shelley's "Frankenstein"
• “Frankenstein” by Mary Shelley
• Scientific Responsibility in "Frankenstein" by Shelley
• Ethical Issues in the Novel "Frankenstein" by Mary Shelley
• Homosexuality in Frankenstein by Mary Shelley
• Mary Shelley' "Frankenstein" Story Analysis
• Frankenstein by Mary Shelley: Divine and Satanic
• "The Buddha of Suburbia" by Hanif Kureishi
• Virginia Woolf’s Novel Mrs. Dalloway
• “Educating Rita” by Willy Russell: Literature Analysis
• William Shakespeare’s "Sonnet 73" Literature Analysis
• The White Collar Book by C. Wright Mills