What Is The Similarities Between The Tempest And Frankenstein

Affection blossoms day by day for most relationships, but not all. While some people remain joyful and pleased in their relationships, Frankenstein and his creature in Frankenstein by Mary Shelley and Prospero and Caliban in The Tempest by Shakespeare once showed these characteristics, but conflicts began to grow that turned into complete hatred. As a result of the disputes, it identified how the creators are similar, how the creation of the creatures are comparable, and how the relationships between the creator and the creature in each story are related.

To fully understand how society impacts the creatures in each story the reader must look at their actions before they were defined as monsters. Frankenstein’s creature wanted affection, love and attention from none other than his own creator

The idea of what a monster is and how it pertains to modern day society has fascinated readers and writers for decades. Before taking this class, I was aware of what a monster is and the function it served in today’s society. Furthermore, after taking this class, I am now aware of what a monster truly is, and what really separates a monster from a regular person. The piece of text that I mainly chose to focus on and elaborate closely to demonstrate the aspects of a monster is appropriately named, Monster, by Walter Dean Myers. The reason I chose this piece of literature is because, Monster thoroughly elaborates what a monster is in todays society and how it functions in the modern day world. In this essay I will elaborate on

While Creature is full of humanity and has a thirst for knowledge, his longing for acceptance in society is met with constant rejection. Through this rejection, it sparks anger into the Creature for his irresponsible creator, Victor Frankenstein. Creature’s anger leads to greater tragedies for Victor. The greater of the tragedies are the murdering of innocent people including Victor’s family that is seen to be the fault of Creature since he is the one who murdered them. If Victor did not abandon the Creature and had taught him murder was not morally correct, Creature would not have committed the heinous acts.When Creature was first theoretically born, he was introduced into the world in a very harsh way. Metaphorically, Creature starts out into the world as a newborn, needing a parent 's guidance and teachings. Victor abandons him immediately with no sense of direction. Creature, after his “birth”, approaches Victor with a hand of longing for compassion. “He held up the curtain of the bed; and his eyes, if eyes they maybe called, were fixed on me...He might have spoken, but I did not hear; one hand was stretched out” (Shelley 35). Victor instead of showing acceptance immediately runs away at the sight of him.

Thesis Statement: In Mary Shelley’s Frankenstein, the creature’s identity as a monster is due to societal rejection, isolation, and misinterpretation.

It always find a way to categorize or place labels on things. Although, some of these placements are accurate, majority of them are misconceptions. People in this society are prejudice toward the creature and often place him in an evil category based on his appearance. They hold disdain for people unlike them, especially for a creature they never seen before. Society wrongly treat the creature on the assumption he is a monster. They torment him because of his forbidding look. The moment he was accused of murder he demeanor took a turn for the worst. “I had saved a human being from destruction, and as a recompense I now writhed under the miserable pain of a wound which shattered the flesh and bone. The feelings of kindness and gentleness which I had entertained but a few moments before gave place to hellish rage and gnashing of teeth. Inflamed by pain, I vowed eternal hatred and vengeance to all mankind” (16. 19-20). Neglecting the sunshine and truce, society has brought the monster out of the monster. This led to the mass murder of Victor Frankenstein’s brother and

Easily one of the most notable themes in Mary Shelley’s Frankenstein, the role of nature versus nurture in developing children, recurs throughout the novel with the two main characters, Frankenstein and his creature, believing in opposite sides of this theme. Favoring nature, Frankenstein maintains that the creature was always evil from the moment of creation, regardless of the creature’s experiences. However, the creature, in his narrative to Frankenstein, argues that “[he] was benevolent and good; misery made [him] a fiend” (106). In adherence with John Locke’s concept of tabula rasa, the creature was born with a blank slate, and only through his experiences does he gain knowledge and personality. Struggling to persevere in the human world, Frankenstein’s creature merely wants humans to welcome him as one of them. The change of the creature from looking “upon crime as a distant evil” because “benevolence and generosity were ever present” in him to seeking revenge on Frankenstein results from a culmination of horrible experiences (103). While it may be hard to see the creature as a trustworthy narrator because of how he has acted and his ulterior motives, he does present physical evidence to support his tale. Facing rejection in different forms, he becomes truly evil, giving up hope of companionship as a result of his trials and lessons. From the moment of his creation, the creature encounters abandonment, violence, isolation, and rejection everywhere he turns.

In Frankenstein, the monster is a hideous, vicious being of large stature who has the potential to cause injury, so he is perceived to be malicious due to these characteristics. The creature desires human interactions

In addition to being rejected by his creator, Frankenstein’s monster is also treated very violently by humans, leaving him alone and feeling like he did something wrong, even though their reactions are based solely on his appearance. The monster does not want to be thought of as a monster at first, but as he comes to realize from human interactions, no matter what his actions are, people will always judge him by what he cannot control. The monster explains the first interaction he had ever had with

In doing so, Frankenstein condemns the creature to loneliness and persecution. The creature's hatred and violent acts are not an inherent part of his character, as he explains, "I was benevolent and good; misery made me a fiend. Make me happy, and I shall again be virtuous" (81). If Frankenstein had raised and cared for him, the creature would have experienced compassion, and had someone to support him and be his advocate. Instead, the creature is left to learn about the world on his own, and develop a set of morals based on the way society treats him. Because he grows up outside of, and shunned by, society, he feels very little moral obligation towards other human beings. "...and tell me why should I pity man more than he pities me?" the creature asks Frankenstein. "Shall I respect man when he contemns [sic] me?" (122) The creature is not a monster in his own eyes; he is behaving rationally given the treatment he has received. If he were taught a better way to act, he would almost certainly behave in that way. The monster is not born a monster, his ugliness notwithstanding; he becomes one because society behaves monstrously towards him.

Throughout the novel Frankenstein written by Mary Shelley, the creature is subjected to countless acts of violence and rejection. For a monster to develop, one must have been formerly exploited either by an individual or their society. The creature is not only a physical product of science, but his atrocious behavior is also an explicit result of Victor’s actions toward him. The creature was not born a monster, but slowly morphed into one as he experiences violence and rejection from his society.

Prospero’s intentions throughout the play was to seek out vengeance towards his brother and all those who helped him in his betrayal. Through the work of Ariel, Prospero was able to capture those he shipwrecked but decides to forgive them. He also forgives Caliban after plotting to kill him while serving another master, these acts of change are key to the improvement and empowerment Prospero learns after being on the island. The is a growth and arch shown about the character as he states, “ The rarer action is in virtue than in vengeance.” Prospero also shows enrichment of character when he sets Ariel free after commanding him to make smooth sailing upon the return to Naples and Milan, contrasting to the beginning of the play when Prospero seems ungrateful about the service of Ariel. The problem Prospero had that paved the way to him being exiled, was his obsession with studying his art/magic. It is through his experience on the island where he finally comes to realize that the source and self-improvement that he needed to make was giving up his magic. This is symbolized by the throwing away of his books and his plea to the audience to “release him from his bands”. By giving up his magic,the reason he couldn’t be an affective Duke, shows how his alienation on the island benefited him by allowing him to focus on his role and duty as

Frankenstein’s and society’s rejection of the monster, however, drove him to an uneven passionate pursuit for a companion. He forced Frankenstein to create a female monster, and he provided motivation by killing Frankenstein’s loved ones and threatening to kill more of them. The monster recalls in this final scene of Shelley’s novel how his desire drove him to evil. “. . . do you think that I was then dead to agony and remorse?--He . . . suffered not more in the consummation of the deed;--oh! Not the ten-thousandth portion of the anguish that was mine during the lingering detail of its execution. A frightful selfishness hurried me on. . . .” (153) At that point in the novel, the monster has changed from good in nature to evil in nature. His own desires are more important to him than the well-being of others and he is willing to commit murder in order ensure the fulfillment of his desire.

In act 1, scene 2, Prospero refers to Caliban as “Thou poisonous slave, got by the devil himself” (1.2.319). One who is “devils-child” should not have the authority over an island. Therefore, Prospero seems to be better fit for the job. At the same time, Caliban is pictured as a slave, which makes Prospero the master, or the upper hand. This too boosts Prospero’s argument. Prospero confronts Caliban by stating “In mine own cell till thou didst seek to violate / The honor of my child” (1.2. 346). Here we come to understand that Caliban had attempted to rape Prospero’s daughter, Miranda. Although Prospero never uses Caliban’s crime against his claim to the island, it is seen as an imperfection that a leader would not have. In act 1, scene 2,

Prospero represents one of the invading settlers in this play by his unjust and domineering actions towards Caliban and Ariel. Shortly after his arrival, he frees Ariel and teaches Caliban his language and various features of the island, almost as if he takes him in as his own. At one point they existed as equals, and Caliban claims that “[he] loved [Prospero], and show’d [him] all the qualities o’ th’ isle” (1.2. 460-461). Before Prospero arrived, Caliban ruled only over himself, but was later shaped similarly to a European like his master. They could have potentially coexisted as friends but as time passes, Prospero has second thoughts and enslaves Caliban after he violates his daughter. Caliban is not accustomed to the ethics of Europeans; he simply just wants to populate