Victor Frankenstein Character Analysis Essay

Victor is tormented by the creatures ambition and this leaves Victor a void of his former self, subject to anything he puts his mind to and it is this form of himself that leads him ever so closer to the end of his days. Left a hollowed out version of himself, Victor is unable to cope with the loss of all of his friends and family through the hands of his own creation and seeks to right all of his

As children, we imagine what we will one day become and all of the accomplishments we will achieve, but what if this opportunity were stripped from our grasps by the people we deem most important? What if the people meant to offer guidance and support were to abandon us? In “Parent-Child Tensions in Frankenstein: The Search for Communion” by Laura Claridge, Frankenstein by Mary Shelley, and “The Childhood Trauma” by Alice Miller, we see the significance of parental affection. Whether it is abuses or embraces that we face, they make an impact on the person that we will transform into, so in Frankenstein when Victor Frankenstein despised his masterpiece and chose to flee, it altered the creature’s entire development. Despite the importance of

Firstly, I will give information about Frankenstein 's topic. The main character Victor Frankenstein was born in Switzerland, in the town of Geneva. He is a very hardworking and curious. He comes from long-established and very rich family. He has got two brothers: Ernest and William.

In order to further understand the person who is Victor Frankenstein, we will analyze two specific quotes in which he ponders the consequences of creating his monster. The first specific quote that shows Dr. Frankenstein pondering the consequences of his actions is when he states, “but now that I had finished, the beauty of the dream vanished, and breathless horror and disgust fill my heart.” When Victor is initially building his creation, all he thinks of is the great science behind his work. However, he never once thinks of the consequences he may face once his creation becomes a reality.

Is Victor the Ruling God? One does not simply “play God” in this world, that role is more than just a dress up and act thing. Many people say that Victor in the novel Frankenstein tries to “play God” which is absolutely true. As the novel progresses the characteristics of the creator “playing God” become more obvious to the eye of the reader. Victor “plays the Lord” when he creates the creature, when he decides what to do with the orders of the creature, and when the monster creates the connection when reading the book Paradise Lost.

Mary Shelley’s Frankenstein examines how the presence of a mother, negatively or positively, affects the development of a child. Victor’s mother, Caroline Frankenstein, dies while Victor is still a young man (he is about 17 years old), breaking their relationship between mother and son. Because Victor loses his bond with his mother, he is unable to act as a mother would when he creates his creature. Caroline Frankenstein’s absence in Victor’s life creates a disunion between the mother and child bond, which is evident in Victor’s creation and his fragmented relationship with the creature. Caroline Frankenstein, Victor’s mother, portrayed a traditional mother in the Frankenstein household, until her death.

Jacob Lashinsky English 12- Period 2 Mrs. Grymes November 30, 2015 The Effect of One’s Psyche on The Expression of Split-Personality Disorder In Frankenstein Throughout the course of this novel, we are introduced to two main characters that serve as an alter-ego of each other. These characters are Victor Frankenstein, the primary protagonist in the novel and his creation, the monster, who acts as a secondary protagonist. Besides from these two characters being connected to one another as seeming like they are two different parallels, they each undergo changes as time lapses, which we see begin to express the true nature behind the context of their individual characters as well.

Frankenstein's monster on the other hand does not have the luxury of being raised in a well nurturing, loving community. While Victor’s isolation is voluntary, his is a consequence of his horrific exterior. Dealing with rejection from the society around him and a utter lack of companionship he fights for a reality in which he can find someone to love him the way he sees other beings being loved. He longs to “feel the affection of a sensitive being and became linked to the chain of existence and events from which I

In Mary Shelley’s classic novel, Frankenstein, Victor Frankenstein’s creature battles a perpetual misery as a result of a quality he has no control over – his appearance and its relation to evil. His malicious actions reflect “vices [that] are the child of a forced solitude that [he abhors]” (Shelley 121). There are multiple instances where Victor Frankenstein’s monster portrays an evil demon, not by his actions but because of his physical attributes. Shelley exploits this characterization as a representation of society’s natural instinct to link beauty with goodness Additionally, Shelley argues the nature of goodness is not bound to a superficial condition but rather on a basis of compassion and virtuous actions.

In Frankenstein, by Mary Shelley, Victor Frankenstein spends two whole years toiling to create a being which is comprised of the body parts of various dead corpses, for the purposes of science. Finally, he creates the “monster”, who commits a multitude of crimes, resulting in the deaths of many innocent people. These horrific murders raise many questions concerning who is to be held accountable. Victor walked away from the situation he created instead of facing his actions. If he had chosen to stay this could have prevented the heinous crimes committed by the monster as a result of Victor’s mental and emotional Neglect.

Frankenstein opens with Robert Walton’s letters to his sister Margaret Saville, who is home in England. He is an explorer who is up in the Artic hoping to make some huge scientific discovery; it is in one of his letters to Margaret that he reveals that overnight his ship had become stuck and surrounded in ice. He also tells of the strange gigantic man who was being pulled by a dogsled across the ice field. The next day Walton and his crew discover another, smaller man adrift on a sheet of ice. He seemed ill and malnourished and the crew brought him on board.

Such passion is seen in Victor’s ‘noble intent’ to design a being that could contribute to society, but he had overextended himself, falling under the spell of playing ‘God,’ further digging his grave as he is blinded by glory. His creation – aptly called monstrous being due to its stature, appearance, and strength – proved to be more of a pure and intellectually disposed ‘child’ that moves throughout the novel as a mere oddity, given the short end of the stick in relation to a lack of familial figures within his life, especially that of parents. Clearly, Victor Frankenstein had sealed his fate: by playing God he was losing his humanity, ultimately becoming the manifestation of Mary Shelley’s hidden desires, deteriorating into The Lucifer Principle by which the author Howard Bloom notes social groups, not individuals, as the primary “unit of selection” in human psychological

In chapter 4, of Frankenstein, Victor has the ambition to discover how life begins. He starts to study anatomy and physiology, this pushes him to find out how life works. He is so intrigued by this that he becomes obsessed. Victor Frankenstein states, “Now I was led to examine the cause and progress of this decay, forced to spend days and nights in vaults and charnel-houses” (Shelley 30). In this Victor is describing how he spent his free time.

Margaret brought her stretching to an abrupt pause, upon becoming aware of another’s presence, as both of her hands were held at high noon. She slowly turned her head in a seemingly fearful manner, as if she was in anticipation of another’s arrival, while simultaneously and slowly lowering her arms to their original clasped position about her kneecaps. I cautiously, yet satirically, raised my hands so that they were level with my chest, where my palms flashed towards Margaret, to grant her acknowledgement of who I was and to let her know that I didn’t mean any harm, almost as if she was some sort of feral creature. She released a deep sigh upon registering whom I was, of which I returned with subtle laughter, as I continued towards her before

Mary Shelley’s Frankenstein Critical Analysis About the author Naomi Hetherington is a member of the University of Sheffield, the department of lifelong learning. She is an early researcher in sexuality, religious culture, the 19th-century literature, and gender. She holds a BA in Theology and religious studies, an MA and a Ph.D. in Victorian Literature. She currently teaches four-year pathway literature degree at Sheffield University for students who have already attained foundation degrees. Among the books, she has written the critique of Frankenstein.