The Relationship between Frankenstein and His Creature - gtfd.info / INK FIST blog
The Relationship Between Frankenstein and His "Monster" in the Novel by Mary the creator, becomes Satan-like in the mirror of his creation. On one hand the Frankenstein monster is subservient to his creator, who is the only On the other hand, however, Frankenstein is subservient to his creation. CREATOR-CREATION RELATIONSHIP IN FRANKENSTEIN AND THE PICTURE OF DORIAN GRAY TABLE OF CONTENTS Title Page Acknowledgements.
Victor, a man, finds a way to create life—a reproductive power that lies only within the female body. However, when the product of his work enters the living world of consciousness, he flees because he cannot handle the responsibility presented to him. Beauty and Bodies Both Lilith and the creature are demonized for their physical qualities. Both are intended to be beautiful by their creators, and are recognized as being so before displaying their respective independent consciousness.
Lilith is initially described as being stunningly beautiful with flowing hair. But in the myth, after rejecting of the submissive role assigned to her, she is portrayed as a seductive, malicious character associated with demons, vampires, and sin.
Thus her appearance becomes intertwined with qualities that represent the danger of feminine sexuality. The people who see the creature are also horrified at his appearance, and judge him to be as hideous on the inside as he appears on the outside. These judgments affect the creature so substantially that he is driven to behave in the way they expect him to behave—maliciously and violently.
But he only adopts this violent behavior when he, himself, becomes aware of his physical defects. Their bodies become entangled with their fates. And if that is the case, are their creators directly at fault for making them that way? Should we blame God for endowing Lilith with such extraordinary beauty that she became a symbol of sin and seduction?
Or is it the fault of the characters for behaving in such a way that accentuated their physical appearances? In both the both the physical and the spiritual sense, there is an interwoven relationship between the creator and his creation. This relationship takes us to problem of duality. If we examine the concept of duality closely, we see that a sine qua non opposition lies in the center of this concept.
Although the creator and his creation are one in the deep underlying structure, this opposition leads them into two different beings on the surface structure. In this context, creator-creature relation in which creator found a way of self-expression in his creature, and vice versa, presents us a problematic mutual dependence. In Frankenstein, we see how the monster, the creature falls victim to the uncontrollable madness of his creator and gets to resemble him morally.
First of all, the way Victor brought the monster into being is quite unethical. By bringing the remains of dead bodies together, he creates a living body. In other words, through death he brings forth life.
So in this respect, we also see the duality and interaction of life and death apart from the duality in creator — creature relationship. Victor continues his initial and unethical behavior with his irresponsible acts among which we can mention his denial of his own creature and his escape from him. In the long run, the monster becomes, in a way, the moral counterpart of Victor Frankenstein.
If, as Lacan suggests, the I is an Other, then on some level Victor is the monster, and the monster in turn is Victor. Most people, event today, believe that Frankenstein is the name of monster although Victor never gave a name to his creation.
As a result of this namelessness the monster is always mistaken for Frankenstein and he is mentioned together with the name of his creator. Frankenstein thus becomes the name of the monster.
Creator vs. Creation in Frankenstein – gtfd.info
Therefore, Victor is also mentioned together with the name of his creature. This duality can also be seen in the monster-slave relationship in Frankenstein. Jameson defines this relationship as one in which two parties struggle with each other for by the other. As soon as this recognition is fulfilled, two dialectically ironic reveals take place: Quoting from Hegel, Jameson adds to this: Being desperate in his loneliness, the monster wants Victor to create a female partner for him, and Victor promises to obey But when he disobeys him, the monster reminds him who the real master is with the utmost ferocity: Remember that I have power; you believe yourself miserable, but I can make you so wretched that the light of day will be hateful to you.
You are my creator, but I am your master; obey! Here although the monster admits that Victor is his creator, he regards himself superior to him as we can infer from both the choice of vocabulary, and the way he addresses him. There is no end in the dialectical master-slave relation which is another aspect of creator- creation relation.
As Smith states, Caught in this relation to the double, each sees the other as his reveal self, attacking the other and getting revenge in an endless spiral of violence… rivalry becomes a directly destructive force, reducing everything to the opposition between the imaginary pain an opposition that is never resolved but which expires at last only with their deaths.
According to the first interpretation, we examine the interaction between Basil and his portrait. As an artist, Basil Hallward sees the portrait like a creature which has come out of himself. This notion leads Basil not to exhibit the portrait.
When he is asked by Lord Henry Wotton why he is doing so, he answers: I have to put too much of myself into it… Every portrait that is painted with feeling is a portrait of the artist, not of the sitter.
The sitter is merely the accident, the occasion. It is not he who is revealed by the painter; it is rather the painter who on the colored canvas, reveals himself.
The reason is that I am afraid that I have shown in it the secret of my own soul 72, 74 In this respect, the portrait is the reflection of the artist, or the creator. On the other hand according to the second interpretation, the portrait is the reflection of Dorian Gray, or the object.
The Relationship Between Frankenstein and His "Monster" in the Novel by Mary Shelley
From this point of view, in the novel we observe how the portrait of Dorian Gray reflects his corrupt nature. In a way, the portrait becomes the mirror-image of the innermost recesses of Dorian Gray. As he commits vile crimes and lead a decayed life, the expression of his face on the portrait deteriorates mysteriously, Dorian himself is also aware of the signs of deterioration on the portrait: Having to face his counterpart every day, Dorian Gray can neither embrace nor deny him.
He cannot embrace him because he is the physical representation, in a way emblem, of his corrupt soul which he refuses to confront. On the other hand, he cannot deny him because he is part of himself, a part which resembles Dorian Gray in his entirety, no matter how unpleasant it is for him to admit. In the long run of endless discord, Dorian Gray found the solution in putting an end to the exercise of the portrait.
The following passage, taken from the story William Wilson which depicts exactly the same theme, is striking to show us the underlying oneness of the surface of the surface duality of the portrait and Dorian Gray: He stabbed the picture is also true because by this stage Dorian is the picture-the-false-semblance, and the painting, with its ghastly image, is the reality as McGinn suggests qtd.
Unless there is reconciliation with self; death, the unavoidable intervenes each time. Although the second interpretation is more commonly accepted in literary circles, the first interpretation is also vital in clarifying the dynamics of the creator-creation relationship which problematize itself with duality.
Man, who is created by God in His own image Gen: Eating of the tree of knowledge, man commits his first sin; a sin which will from then on be the motive problematizing all the creator-creation relationships. The first question to be asked is: The answer is quite simple: The Monster, symbolizing the evil, malign side or, alter-ego of Victor, becomes projection of the hidden monstrosity of Victor.
In his long confession to Walton, Victor admits his consciousness of this fact in a bitter tone: Picard, To given an example, yielding to the completed, the human side of Victor disappears and this time his inhuman side takes control. When we look at the other novel, this time we see how the soul, represented by matter, gets to signalize the traces of corruption whereas the matter, which is normally supposed to change, keeps its form and beauty.
Underlying this self- reflection, egotism, narcissism, and desire to have immortality can be considered as three main motives. Although these are divided into three different categories, they are quite interrelated with each other. Egotism As a Motive in Frankenstein Egotism, a kind of self-obsession, leads people to take actions which will provide them with tools to satisfy their egos. Creative action, in this context, can be defined as nothing but self-satisfaction of the creator.
In Frankenstein, Victor, talking about the superiorities of being a creator, explains his motives to create the monster: In other words, necessity of self-assertion finds a way of expression in the creative act. Egotism as a motive brings forth selfishness inevitably.
In this sense, creation motivated by egotism can be seen as selfish act. When we think of the Promethean spirit which is yearning to assert itself, we understand the parallelism between egotism and selfishness better. They do not love another but themselves through another. At the same time, his ignorance of the monster just after the task of creation verifies the claims upon the selfishness of Victor as a creator.
Narcissism As a Motive in The Picture of Dorian Gray If we now turn from egotism to the other motive, narcissism, although it sounds similar, it presents a different perspective for the interpretation of creator-creation relationship.
Narcissism, a type of self-indulgence, emerges as self-love as we can see in the case of Dorian Gray: This self-indulgence looks for ways of expression and his portrait becomes the embodiment of it. Long hours of spectation, adoration of the portrait, even jealousy about it are all suggestive of narcissism. When Basil understands that Dorian feels upset because of his own jealousy of the portrait, he decides to rip up the canvas.
It would be a murder! This interjection of Dorian helps us to understand how much he identifies himself with the portrait. I am in love with it, Basil It is part of myself. In this sense, creation of the portrait is a narcissist act. In addition to its emergence as self-love, narcissism sometimes brings forth love for the similar, if reduced to gender, homosexuality. Transcendentalism of Mortality Along with egotism and narcissism, the desire to be god-like and to achieve immortality can also considered as other important motives which will help us in the interpretation of creator-creation relationship.
Actually, these two motives are quite intermingled: Both motives require the accomplishment of a divine act. In this aspect, scientific creation of Victor Frankenstein can be seen as an attempt to imitate the divine act of creation through which he will achieve immortality. Just like God who points to the immortality of himself by pointing out the mortality of man through his creation, Victor also aims to achieve immortality through parthenogenesis by siring the monster and thus precluding death Picart Some film versions of the novel, carrying this creative act to the furthest extreme, added and extra scene in which Frankenstein uttered the following words upon seeing the first signs of life in his creature: Now I know what it is to be god-like!
Just at this point, Picart draws our attention to the myth of self-birthing which becomes emblematic of the absurd dream of male Ego-as-God Together with self-birthing which can also be named as an act of creation the male ego extends itself and reaches its peak point.
At this point, since he assumes to have completed a God-like task, he identifies himself with God by having the most prominent divine attribute: Omnipotence, or ability to do everything, in this respect, is embodied in the masculine figure whose ego puts itself forth as God.
He even views himself as the creature?? I might infuse a spark of being into the lifeless thing that lay at my feet???
- Creator Vs. Creation
- Creature and Creator in Mary Shelley’s “Frankenstein”
- Frankenstein and Lilith: An Examination of Creator and Creation
So at this point in the novel, Victor holds the power in the relationship between himself and his creation, but that power doesn?? Victor starts to lose his power over his creation when he somewhat???
This action has then caused the creation to effectively take something from Victor, something only a person with power could do. After this, Victor imagines his creation is forever gone from his life, but the moment the creature learns his creator??
Now the creature starts taking the role of the master while Victor submits to the creature?? Victor used to stand over his lifeless creation, now that creation stands over its lifeless creator. Victor is physically inferior to his monster, since it stands at eight feet tall, and he can?? Victor continues to lose power as his creation continues to destroy Victor??