Term Paper: Character and Nature of Frankenstein

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[. . .] This along with the evident pain of knowing that his own creator has no love for him transforms him from the gentle giant into a violent monster. The creature that Doctor Frankenstein created was too hideous to fit into society, and therefore became a violent outcast. The monster desperately tried to fit in and find someone to be its companion. "Wherever the monster goes, people reject him immediately because of his monstrous appearance." It seems he will never be anything but this horrible thing in society that everyone rejects him. When he attempts to converse with a blind man he is temporarily successful, but that triumph is later thwarted by the blind mans nephew who walks in on him and panics. The creature's terrifying appearance causes society to reject him. These cultural responses create the monster that the creature becomes. Frankenstein's creature was not created as an evil monster, but rather was created innocent and then was transformed into a monster due to his cultural influences. He was created as a gentle and harmless creature without any knowledge that he was unwanted in the world. Soon he realized that he was a mistake and didn't fit in with the rest of society. Even his creator, a man who should have put as much work into him after bringing him to life as he did prior to bringing him to life, did not love him. The constant rejection and feeling of alienation received by the monster cause it to become destructive and evil. (Collings, David. The Monster and the Imaginary Mother: A Lacanain Reading of Frankenstein. Mary Shelly's Frankenstein)

From further perspectives, science is simultaneously capable of great positive and negative feats concerning the studies of emotion. It defeats the horror inherent in the corpse exhumations of the Gothic, evident in Frankenstein's lack of superstitious fear in his forays to graveyards. (Fred Botting Warren Montag. Making Monstrous: Frankenstein, Criticism, Theory)

Also, as a destructive effect of scientific experimentation, Frankenstein's creation tends to be located in opposition to humanity. (Fred Botting Warren Montag. Making Monstrous: Frankenstein, Criticism, Theory)


Although the monster chose to commit his crimes, Frankenstein was morally responsible for the actions of the monster. He abandoned his "child" because of its physical appearance. He chose to create this creature; he was not forced to do it. The saying "Curiosity killed the cat" can be applied here. Frankenstein's curiosity brought on the deaths of his friends and relatives.

Frankenstein felt guilty as he started to create this monster. That should have been his first inclination that what he was doing was wrong. He wanted to "play God," and it backfired on him.

After the monster came to life, Frankenstein left him without guidance. He was the "father" of this hideous creature. It was his responsibility to raise him properly. It was his choice to create him, as well as leave him. His curiosity created this grotesque monster, but his fear caused him to abandon it.

Had Frankenstein not abandoned the monster, perhaps the deaths would not have occurred. Frankenstein could have molded the mind of the monster to make him a gentler creature. The monster was left to develop his mind on his own; his "father" was not there to guide him.

Frankenstein should have used better reasoning when creating this monster. He should have weighed out the pros and cons before trying to "play God." His irresponsibility as a scientist and a father caused the deaths of his friends, as well as caused much turmoil for the monster and himself.


Focusing on what Victor's creature shows about human emotions, it can be assumed that Victor's creature is indeed human. The novel shows us what can happen to the human nature when it is deprived of all forms of communication and love from others. The author is trying to show us that the monster has the ability to be a kind and decent being, and that it only became evil because it is denied of the basic human needs of communication and love from others. The monster was abandoned and everything it knows about life and values is completely self-taught. The monster knows no other way to express these emotions than to resort to his evil deeds because no one has taught him right from wrong or how to deal with the emotions that he is feeling.

After studying the nature and character of Frankenstein and his creation, we can begin to understand why the monster acted the way he did. Perhaps, it's also a wonder if he felt he had any choice at all. All the emotions that the monster feels and the actions that he takes seem similar to the feelings that humans encounter when they are put in the same situation, and the actions that we may consider but because we have been taught values and morals we do not carry out. The monster has not been taught these morals and values.

The novel reveals many things about humanity that are not often discussed or thought about by humans. It offers insight into the mind of a very humanlike creature and the emotions and decisions he makes based solely on the experiences that he has had and what he feels is right. Frankenstein is an "account of the monstrous potential of human creative power when severed from moral and social concerns has made it a modern myth that recurs persistently..."


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1999. Class Uidaho. 13 Dec. 2002. http://www.class.uidaho.edu/eng321/_disc1/0000001c.htm

Collings, David. The Monster and the Imaginary Mother: A Lacanain Reading of Frankenstein.

Boston. Bedford Books of St. Martins Press. 1992.

Edmundson, Mark. Nightmare on Main St.

Cambridge. Harvard University Press. 1997.

Hamberg, Cynthia. My Hideous Progeny: Mary Shelly's Frankenstein.

1999. Worldonline.nl. 14 Dec. 2002. http://home-1.worldonline.nl/~hamberg/Frankenstein/characters.html

Laveranza, Elizabeth. Frankenstein.

The Essay Depot. 14 Dec. 2002. http://www.*****/essayme/907/

NovelGuide: Frankenstein.

Novelguide.com. 13 Dec. 2002. http://www.novelguide.com/frankenstein/characterprofiles.html?study

Shelly, Mary. Frankenstein.

Boston. Bedford Books of St. Martins Press. 1992.

Smith, Johanna. Franenstein: A Case Study in Contemporary Criticism.

New York St. Martin's Press. 1992. [END OF PREVIEW]

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