[Jan. 12] [Dec. 15 addition] [Return to Main Page menu]Conversations on Mary Shelley's
notions of the perfectibility of man
with Susan Coulter and Tom Wolfsehr and based on
Frankenstein - a cautionary tale of bad parenting, an essay by Susan CoulterMyth, Frankenstein, Parenting, and Perfectibility
Tom:
Susan, Mary Shelley's invention of the story of the creature, who is
deprived of parenting, sounds echoes of much older stories that were
created, at least in part, to promote ideas of perfectibility. This should
come as no surprise, considering the influences of her father and the
ancient authors whose works Mary and Percy read. The story of
Romulus and Remus, sons of Rhea and Mars, who disappear down
the Tiber, into which they are thrown by the usurper, Amulius, and
who are nursed by a she wolf who finds the twins washed ashore,
may be seen as referenced by Shelley through the creature's reading
of Plutarch, as well as through images and developments of the tale.
Mary's father, William Godwin, hoped to restore the Roman virtues
to European civilization. Unfortunately, war between France and
England and the political atmosphere in London caused his publisher
to nix Godwin's proposed Roman history project. Mary also saw
considerable value in the Roman virtues, as can be seen in Valerius:
The Reanimated Roman. The concluding scene of Frankenstein
offers the reader a choice, which has been seldom recognized, between
seeing the creature as consigned to oblivion, as Amulius had seen the
terrible twins, or seeing that we readers have the power the she wolf
had to rescue and nurture the creature, to the benefit of human society.
It is for this reason that I have considered Frankenstein to belong to
that class of literature called Roman religous propaganda. The importance
of Virgil and the unknown authors of the fourteen books of Numa and
other inventions to the shaping of a world in which peace and political
justice could be conceived of as eventual outcomes of the bringing forth
of innate human qualities, though it may be obscured by the accumulated
messages that despair of such improvement, may be something that
Shelley had reason to hope would be discovered and which would
gleam with a brilliance that would astonish the mind's eye of the enervated
reader she mentions in her preface.
Speaking of parenting and ancient examples: what if the parent(s) is
God? The story of The Fall in Genesis raises some interesting questions
with regard to parenting that are not dissimilar to those you raise
concerning Victor's upbringing. Victor explains his continued interest
in Cornelius Agrippa by saying that his father did not seem familiar
with the material. To the second human in the garden, the warnings
concerning the fruit of the tree in the center of the garden could have
been doubted in much the same way. Of course, in The Fall there
are added complications. (1) The serpent suggests a motive for the
Lord's alleged deception, (2) the second human does not seem to
have gotten her information directly from the Lord, and (3) some of
the information she has received is incomplete and some is incorrect.
Such observations run counter to established doctrine and the
perspective that such doctrine fosters. Original sin, as revealed in
the examination of The Fall offered in To a Candid World
(The Slip Before The Fall), is the likely result of a moral tendency
that has not been guided by the principled use of knowledge. In
other words, the observation that Godwin made seems to have
been in the mind of the author of Genesis. Eventual discovery of
the moral tendency run amok could have been expected by the
author because the discrepancies in the story fit very well with
human behavior observable in everyday situations. Likewise,
Mary Shelley could be certain that the riddle she presents in
Frankenstein would eventually be solved. In many ways she
hints at this. The monster or creature runs after the parent, who
has taken the girl the monster is attempting to revive. In this
episode the girl is not revived, although the monster claims, both
to Victor and to Walton, that he saved her life. Whether or not
she is ever revived is an open question. Shelley sets up the
opportunity for the reader to save the life of Victor Frankenstein's
"child" who fell into the rapid flow of the course of human events,
was pulled under, and who, if not rescued, is sure to perish. The
monster does not hesitate to leap into the rushing flow to save
the girl and, even though his effort to revive her is interrupted,
believes that she will live. We watch the the monster, for whom
we have developed some sympathy, respect, and affection,
disappear in the "darkness and distance". This is Mary Shelley's
invitation to us enervated readers. This is where she provides
the perfect jumping off point. The opportunity is eternal. No
matter how many times we read the novel or remember the
tale, the means to effecting the rescue of the creature or
monster remain at hand. There is much to be learned from
the way we fail to respond. Is it because of the manner in
which we many millions were parented? Or is our parenting
but part of our upbringing? Doesn't the host of societal messages
and patterns have something to do with the way we fail to
respond to an opportunity such as this? Do we not rush in to
save the creature, because we don't believe that the "exercise of
untried resources of mind" mentioned in the preface might
lead to some understanding of our perfectibility? There is an
ancient saying that whoever saves one person saves a world.
Yet, in doing so, much conventional thought may be exposed
as flawed. Victor's warnings to Walton concerning the danger
of listening to the creature have parallels in our world. Such
doctrines as that of orignal sin, we are warned, stand between
the elevated state we enjoy and that of frightening savagery.
Dr. William Lawrence lost his copyright to his book, Lectures
on Physiology, Zoology, and the Natural History of Man,
because he advanced ideas that ran counter to doctrines of
"received or natural religion". Although seldom used, the same
British law that deprived Lawrence of his copyright remains
available as a means of discouraging the kind of examination
Mary Shelley designed and which she is hailed for on this website.Tom:
Susan, your essay indicates that you see Shelley as having some ideas that those
of us who have children or work with them might find useful and which could
improve the character of those progressing toward adulthood. Although it may
seem a reach, any suggestion that some aspect of human existence might be
improved opens a discussion of the extent of improvement, hence the subject
of perfectibility, however neglected, is very near to your essay, as it is to so much
of what humans express with regard to countless topics. I think it is important
to say this, as there is paucity of expressions of interest in human perfectibility
compared to the period in which Mary Shelley wrote Frankenstein. It also
seems that, through Victor's interest in the physical construction and neglect of
the mental and emotional development of his creation, Shelley may be suggesting
that even in her day, when perfectibility was more often discussed, the topic was
in need of more thorough examination. Because discussions of perfectibility involve
re-examination of various views developed by institutions of society, it is to be
expected that the resistance to the raising of many questions along such lines
is proportional to the perceived risk of loss of reputation or standing of such
institutions.Tom:
If Shelley could be telling us about parenting, child development, and education
through the experiences of Victor Frankenstein and the creature he creates in his
story, that might explain in part why she made extensive changes to the novel at
its republication. She was then thirteen years older and, it would not seem
unreasonable to assume, had developed her ideas concerning the subject of
parenting beyond what they had been when she was twenty years of age. Is
that how you see it? I notice that you refer to the 1831 edition rather than the
edition of 1818.Along the line of my question regarding the greater experience Shelley had,
which may lave been a reason for her to change the novel so much, it is
interesting how what Victor says about his temper changes from the earlier
edition. In the 1818 edition Victor speaks of his being "more calm and
philosophical than Elizabeth" but adds that his temper "was not so yielding".
The later edition's inclusion of a "sometimes violent" temper and "vehement"
passions could indicate an aspect of his character that the reader could see
as not having been dealt with by indulgent parents. It is also interesting that,
along with the far less worrying description of Victor's temper, Shelley also
omitted a description of Caroline Frankenstein's method of encouraging
Elizabeth's education. I do agree with your conclusions, yet am convinced
that there was more that Shelley wished to convey to those of us so far
away in time.The two things that you suggest Shelley thought essential, love and guidance,
may be seen as included in the preface to Frankenstein with the words
"domestic affection" and "universal virtue".Does Henry Clerval's father provide a better example of good parenting?
If Shelley is telling us that Henry Clerval turns out to be a better person
because his father provides the guidance and discipline that Victor does
not get from his father, we would want to see that difference operating
in the lives of actual people. Two such people who loom large on the
pages of history are Martin Luther and Napoleon Bonaparte. The former
had the guidance but not the affection of his father. The latter seems to
have had both. Of course, Percy Shelley certainly should be considered,
as there are a number of similarities between him and Victor.
Maslow's Hierarchy of Human Needs and Pleasure
Tom:
Susan, I see your essay as addressing the question: What is necessary for the
development of the individual that results in the happiness of the individual and
those whose lives are affected by the actions of the individual? For that reason
it recommends itself to the question of the perfectibility of human kind. You have
clearly taken the trouble to review the novel carefully with a more than the
common degree of faith that Mary Shelley has something of value to provide.
Now the World Wide Web makes it possible for a very large and ever
increasing number of people all over the planet to learn what others are thinking
concerning many aspects of human existence and development. This coincides
with an expanding interest in Mary Shelley's Frankenstein and the beginnings
of a revival of interest in her father's ideas concerning the perfectibility of man.
Do these perceptions of mine seem reasonable to you?Susan:
Tom:
In dedicating Frankenstein to her father, Mary mentions him as the author of
Political Justice, which is the short form of the title often used by readers.
Yet the full title is important. It is Enquiry Concerning Political Justice and
its influence on Modern Morals and Happiness. The connection between
morals and happiness is one Godwin saw from a point of view different from that
formed by the institutions which educated people concerning these things then and
now. This can be demonstrated by examining a part of your essay concerning
Maslow and Frankenstein. Maslow's "Hierarchy of Human Needs" and the way
it fits with the needs of the Creature that, when not met, lead to frustration and
destructive behavior could be looked at in a somewhat different light, which I believe
we may agree is suggested by the novel.
(Maslow's Hierachy of Human Needs as a link to
the section in Susan's essay:
1.Physiological - The need for food, drink, shelter, warmth and relief
from pain
2.Safety and security - The need to feel safe and secure
3.Social and affiliation - The need for friendship and interaction with
others
4.Esteem - The need for self esteem and the esteem for others )All four of the listed needs result in pleasure when met. If we think of pleasure as
important to the progress of an individual toward perfection, a couple of interesting
points about Maslow's hierarchy appear. Among the first pleasures the Creature
recalls is that of the senses. He hears the birds, sees the moon, and feels pleasure.
In which of Maslow's four needs does this fit? Is this pleasure not essential or not
important enough to include? Doesn't this pleasure to endure in the Creature to the
end? Isn't it this pleasure that repeatedly produces a positive effect in him during the
period of time (and this is one of the most mysterious periods in the novel) between
his burning the cottage and his reaching Geneva?Susan:
I feel this is a really interesting aspect to the creature's tale. I think the creature came much
nearer to Maslow's idea of self actualisation in his short time than did Frankenstein, whose
personal development was so stunted.
Note that Victor also benefits from the pleasure derived from the effect of
nature on the senses. In the first two paragraphs of Vol. II, Ch. 2, Victor and
his family benefit from his having received pleasure from being affected by
nature. Victor can also be negatively affected by nature, which he mentions,
before telling Walton and us that he sought the remedy of pleasure derived
from nature on the second day.
It is of some interest to me, although I believe that it should come later in
conversations, that Mary Shelley, whose economy as a writer is as dazzling
as it is underappreciated, chooses to place a remarkable supernatural event
in with the section in which the creature is reecounting how he is affected
by natural beauty so that his desire to inflict destruction and suffering
evaporates.
I had a very interesting experience yesterday that I want to note here
for possible future use. On a talk show (broadcast on about 200 radio
stations in the US), the host, Michael Medved, said that the operation
of military forces would be damaged by the inclusion of openly gay men
or women. (Medved is opposed to women serving in the military forces
as well.) In reference to the discussion of the present policy and the
presidential campaigning and the recent murder of Private Barry Winchell,
Medved decried the proponents of tolerance, saying that no amount of
sensitivity training could produce a military force that would have the
cohesiveness that military units must have to function. Barry Winchell
had been dating a "drag queen" Medved said and that would not be
tolerated by his fellows in the army, no matter what programs were
conceived of or put into effect. The alarm that Medved raised was
very like that Walton raises in his letters to his sister. That is, Walton
does not appear to raise the alarm where ostensibly it would do some
good. There is nothing Margaret Saville can do to protect the crew
from the menace. It is the crew that needs to know of the danger,
and there is no indication that any member of the crew has learned
about what Victor has told Walton is out there. If Medved is truly
concerned about the danger he speaks of, why wouldn't his alarm
be about the fact that the army failed to detect the threat and take
the action it so often does to eliminate it. Thousands of men and
women have been ejected from the service for less cause than
dating a "drag queen" for a period of four months. There appears
to be no lack of evidence to prove that Winchell did not meet
the army requirements for service. Why wasn't he reported or
action taken? The policy that Medved says is necessary, and
which is supposed to be in effect, wasn't followed. He should
be alarmed at this, but, during the hour and a half I listened, not
once did he express any concern that those who hold his views
had not acted in a way that was consistent with those views.
And it gets stranger! The person Winchell had been dating
had served in the navy, done well there, and received an honorable
discharge at the end of the term of service! Winchell was introduced
to the person by a fellow serviceman who told many servicemen,
"You gotta see this woman." (Calpernia performed at a gay club)
There is also a connection to bad parent here. Calpernia describes her
upbringing in what she describes as a religious cult, very strict. I will
try to find the link to an interview with her and put it here.
IYF - AN INTERVIEW WITH CALPERNIA ADAMS
end of Dec 15 additionSusan, I thought that it would be better to talk about the pleasure derived from
the senses provided by nature more, before going into Godwin's idea that giving
pleasure is the greatest pleasure of all. Something I had trouble with while
working on another file alerted me to a possible future problem with regard to
file size. That made me more aware of how helpful it would be for me to
redo what I had done with a view to developing topics in a way that they
could link to others, while each would hold a complete set of observations
about its particular subject. This could be very good for me to learn to do.
Although I am seemingly getting very little done, the understanding of how
we may proceed, once the concept on its feet, should make progress much
easier.There is another
pleasure, one that William Godwin holds to be the greatest of all, which is the pleasure
of giving pleasure to another. When the Creature rescues the child, the tendency to this
kind pleasure should be considered as a possible motivation. While Maslow's hierarchy
might include the action of the Creature at this point as motivated by needs 3 and 4, there
is suggestion in the novel that the pleasure of giving pleasure to others or enjoying the
pleasure of others sypathectically may be met outside of these two catagories of need.
For example, if we imagine a different, yet possible, series of events, the pleasure of giving
pleasure can be seen as producing more than self esteem. Suppose the Creature saves the
child, but is not discovered and shot. Seeing that the child is safe, which is the reason
for the action, produces a pleasure, which even if it does not result in praise or some
expression of gratitude from the society to which the child belongs, ought not be overlooked.
There are other ways that the novel suggests a more complex or complete list than Maslow's
would provide a better means to understanding healthy human development. The arctic scene,
which is so harsh that it threatens directly or indirectly each of the four needs Maslow lists,
is magnificent and produces a kind of pleasure in us when we are able to get some sense
of it from photographs or descriptions.
If this pleasure and the pleasure of giving pleasure to others are left out of our examination
of what is necesary to human development, are we equipped to deal with the kind of
problems the novel and life present, such as that of the first story in Frankenstein, that of
the father who for a long time refuses to allow his daughter to marry the man she loves and
who has for some time been able to meet the needs for her creature comforts? Needs
sometimes are in conflict with one another. If a complete list of needs is not used, under-
standing how such conflict is best resolved will be beyond reach.
Susan, this is as far as I've gotten so far just trying to edit what I had to fit and flow
into conversation. I am going to look for something I could take from one of your
e-mails to fit in here and then edit the Maslow below so that at the end of it I can
put your remark about the creature doing better than Victor. I am , of course just
roughing this out and trying to get it in a form so that inserting things will be easier.
Any suggestions about this our conventions that would make it easier for you, just
let me know. Am hoping to make some progress on the poetry problem by using
shorter text lines. As for ideas on how to develop this wonderful page (Ester's
response thrilled me and I was already thrilled), I am open. Ideas for future topics
on the public page would be fine with me. Oh, since I haven't yet discovered whether
or not there is some way for you to get to our temporary or prep page, if there were no
link to it on some page, I thought I could make the link on the what's new page a line,
just a line. Clever? Can't think why I thought "depths and heights" would serve the purpose.
I just love how the cyber thing lets people like me, with so little technical skill, figure
out how to use the few tools they know something about to solve problems.By the way, the WTO situation we had here is much clearer now than it was when I
mentioned it before. I think that it is another example of how things in real life are so often
like they are in the novel. The televison, radio, and newspaper (not to forget the internet) are
the supernatural element, making larger some figures or aspects. This only really
serves our understanding when we remember that there are things out of view and ask
the questions about what it is that is not being seen or heard. It is now quite clear that,
leading up to the event, expectations on the part of the public, local businesses, the WTO,
the protesters, and the police were very different and caused a very serious set of
circumstances, which almost everyone would have wanted to avoid. I had no idea of
how all that disappointment from various sides was bound to develop until after
the first impressions began create so many unnecessary divisions. This sort of thing
I would like to touch on our page when it seems to help. The fact that people from
Geneva were sharing their experience with some poeple in Seattle but not others
seems yet another one of those funny coincidences that can appear so very close to the
design of Frankenstein.
pattern of error
I would like to extend your exploration of the question beyond
Victor
Frankenstein, although not exclude him, of course. There has been a
great
tendency to separate Victor from other characters and ourselves, and
in
doing so, to miss seeing the common pattern of error, the apprehension
of which
could lead to recognition of problems that are neglected in life
much in the way
they are in the novel.
As elsewhere is pointed out on this web site, other characters in the
novel do
unintended harm. Take the priest, for example, whose interest in Justine's
salvation
causes him to press her to make a false confession, something that
distresses an
alreadydistressed family. We know nothing of the priest's upbringing,
although in
some ways we would expect it to differ from Victor's. If we separate
Victor, focus
on him exclusively, we risk leaving the many other serious problems
and their causes,
with which the novel is replete, unaddressed. I think that the conceit
we readers identify
in Victor is something Mary Shelley sees as important for all us to
be able to identify in
ourselves. It is the presence, from the very beginning story told in
the novel, of so much
trouble caused by characters we tend to see as different from
Victor that ought to
suggest an examination of what Victor has in common, not only with
those other
characters, but with ourselves.
Frankenstein - a cautionary tale of bad parenting
by Susan Coulter
In this essay, I shall be examining the two main characters, Victor Frankenstein
and the creature, and considering what Shelley could be telling us about
parenting, child development, and education through their experiences.
As a
young child, it could be said that Victor Frankenstein is indulged and
spoilt by
his parents, and later on by his adopted sister, Elizabeth and his friend,
Henry
Clerval.
In the first chapter, as Frankenstein is recounting his story to the mariner,
Walton, we learn that he was born into a wealthy family from Geneva, and
lived in Italy for the first part of his life. His mother was the daughter
of his
fatherâs friend, and, therefore much younger than he. We are told
that she was
caring and dutiful, that she, "·possessed a mind of an uncommon
mould·"
(page 32), and had nursed and kept her own father during his illness until
his
death. Frankensteinâs parents are very much in love, and he was an
only child
for the first five years, doted on by them as we can see when he says,
"·they
seemed to draw inexhaustible stores of affection from a very mine of love
to
bestow them on me." (page 33). Victorâs first recollections are of
his,
"·motherâs tender caresses·", and his, "·fatherâs
smile of benevolent
pleasure·" (page 33). They regard him as being, "·bestowed
on them by
heaven·", and recognise that his future, "·was in their hands
to direct to
happiness or misery·". He also tells Walton that his mother and
father felt that
they, "·owed·" something to him because they had given him
life.
At the age of seven, having moved to Geneva with his family, he meets Henry
Clerval with whom he becomes great friends, although it is interesting
to note
that he chooses not to mix with the other local children. At the beginning
of
chapter two, Victor describes his childhood thus:
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. (page 37)
But even though he was growing up in what could be perceived as an idyllic
family, he comments to Walton that, "My temper was sometimes violent and
my passions vehement·" (page 37). He was also prone to, "·become
sullen·" (page 37), but Elizabeth seems always to have been ready
to soothe
and comfort him, to,"·subdue·", him, "·to a semblance
of her own
gentleness." (page 37) , and whilst Clerval is enthusiastically learning
all he
could about life, and the world around him, Victor is interested only in
"·the
physical secrets of the world." (page 37.
We can see that Victor is very much left to his own devices without much
direction from his parents, when he retells the events when, at the age
of
thirteen he found a book by Cornelius Agrippa which sparked his interest
in
alchemy. Even he recognises that his father should have given him more
guidance when he tells how his father,"·looked carelessly at the
title page·"
(page 38), and merely dismissed the work as, "·sad trash." (page
38) . He
states that, if instead, his father had taken the time to explain that
alchemy had
been disproved, then, "It is even possible that the train of my ideas would
never have received the fatal impulse that led to my ruin." (page 38-39).
It
seems that his father is not interested enough in what his son is studying,
and
takes little notice of what he is doing. Frankenstein says of himself,
"·I was to
a great degree, self taught·" (page 39), and that,
My father was not scientific, and I was left to struggle with a
childâs blindness added to a studentâs thirst for knowledge.
(page
39).
So without any supervision, he engrosses himself in his studies, concentrating
on the more altruistic side of alchemy - the secret of eternal life. Frankensteinâs
first experience of real sadness comes when he is seventeen and his mother
dies having contracted scarlet fever whilst nursing Elizabeth back to health.
We
are told that, "·her countenance expressed affection even in death.".,
and he
describes death as, "·that most irrepairable evil;". This event
appears to
make him even more determined to find a cure for this "evil". There is
now only
Elizabeth to give a feminine balance to his life, but he leaves for university
with
Clerval, having agreed to his motherâs deathbed wish that he and
Elizabeth
would one day marry.
At university in Ingolstadt he is persuaded that alchemy has been superseded
by natural philosophy, and his aptitude for science impresses both students
and
tutors alike. However, having decided to try and create life by scientific
methods, he isolates himself from any friendly support and advice he may
have
received from Clerval, and the professional opinions of his tutors. He
is, of
course, away from his family, and so works alone.
Shelley could be seen to be saying through Frankensteinâs tale, that
parentsâ
love alone is not enough for a childâs healthy development. Unless
love is given
together with discipline and guidance, the child is unable to develop into
a well
rounded adult who can be assimilated into the wider society, and have a
balanced view of themselves and the world around them. Not only does Victor
appear to be selfish and too introspective, he seems never to mature and
develop self discipline, as his obsessional nature seems to show. The cosseting
he has received as a child has led him to grow into adulthood with no true
sense of responsibility for his actions. This is highlighted when, having
created
the creature, on seeing the contrast between his dream and the reality
of the,
""..miserable monster."(page 57), he flees from his apartment, and when,
on
returning, he realises that the creature has escaped, he remarks, "·I
clapped
my hands for joy·" (page 60). It is not until the desperate and
unhappy
creature has already murdered his young brother, William, and tells him
his
story, begging for a mate, that Frankenstein briefly feels the slightest
responsibility for him. It is at this point in the novel that he thinks
to himself,
·and did I not as his maker, owe him all the portion of
happiness that it was in my power to bestow?
Shelley seems also to be showing the reader that self-education is not
always a
good thing. Unless supervised, the autodidact is in danger of gaining
knowledge in a very narrow field, for instance, Frankensteinâs learning
seems
to be solely focused on science, without any education in morals, the arts,
or
social skills which would have helped him to mature and be a more social
and
compassionate individual.
The creatureâs Îchildhoodâ is condensed into a matter
of months. His first
experience of Victor, his parent and maker is one of rejection, and this
sets the
pattern for his life. We are told that, on being Îbornâ, the
creature made his
way to Frankensteinâs bedside,
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· (page 57)
In all probability, the creature was reaching out, as a small child does
to their
mother, but his ugly appearance only frightened Victor into running away.
With no one to love him or care for him, the creature spends his first
days in
the forest near Ingolstadt. Through his narrative, we learn that, at first
he was
like an abandoned baby, alone, and in his own words:
I knew, and could distinguish nothing; but feeling pain invade me
on all sides, I sat down and wept. (page 99)
At this point in his life, he has only a basic sensory awareness, and we are told,
No distinct ideas occupied my mind; all was confused. I felt light
and hunger, and thirst, and darkness; innumerable sounds rang in
my ears, and on all sides various scents saluted me: the only
object that I could distinguish was the bright moon, and I fixed
my eyes on that with pleasure. (page 100).
Eventually he learns that drinking from the stream will quench his thirst,
eating
nuts and berries will sate his hunger, and he can be shaded by the trees.
He
has an instinctive appreciation for nature, and even tries to mimic the
birdsong
that give him so much pleasure, but the, "·uncouth and inarticulate
sounds·"
(page 100) that he utters, frighten him into silence. The creature discovers
an
abandoned fire and, just as a young unsupervised child would, he learns
about
its heat by putting his hand into it and feeling the pain of the burn.
However, he
also finds it can keep him warm, and that nuts and berries taste good when
cooked in it. At this stage, he still has no idea or curiosity about his
appearance, and is therefore surprised when his arrival at a shepherds
hut
causes the old man to run away in terror. His next encounter with humans
is
even more negative than the last, and he is pelted with stones when he
enters a
village. Again, he is puzzled by peopleâs reactions to him.
This last experience teaches him to be cautious of interaction with humans,
and
he decides to take refuge in a hovel which is built onto the back of a
forest hut,
but not to make his presence there known to the inhabitants. The first
thing he
learns about people is their, "·barbarity·" (page 103). From
his position in
the hovel, through a crevice, he can observe the family who live in the
hut. It is
during this period in his life that most of his education takes place.
He first
appreciates the beauty of M. De Lacey, the old man, with his, "·silver
hair
and benevolent countenance·" (page 104), and that of Agatha, his
daughter,
who is described as a, "·fair creature." With, "·gentle manners·"
(page
104). He sees the love and care that the family show towards each other,
and
watching them together, he also feels emotions which he has not experienced
before. When Agatha is upset and her father comforts her, the creature
recalls
that he,
·felt sensations of a peculiar and overpowering nature: they
were a mixture of pain and pleasure, such as I had never before
experienced, either from hunger or cold, warmth or food;" (page
104)
At this moment he has begun to develop more sophisticated emotions as he
becomes aware of others, and feels compassion, sharing their joy and sorrow.
His emotions are no longer purely based on his own basic needs and his
senses. Just as a small child learns about their relationships with others,
the
creature also learns, although from a distance.
The creature spends many months in the hovel, and learns to speak, partly
by
listening to the De Laceys, and then by listening to the French instruction
that
they give to Safie. Whereas, in the beginning his education had been, for
the
most part experiential, he is now able to follow these lessons.
It is once he has learned to read, that that his thoughts and ideas about
the
world he has found himself in, start to form. He has found three books
in the
forest; Plutarch's 'Lives', 'The Sorrows of Werter' by Goethe, and Milton's
'Paradise Lost'. The creature learns something different about life from
each
book. In 'Paradise Lost', he can see similarities between himself and Adam,
and is introduced to the idea of God, the Christian myth, and good and
evil.
He realises that wealth and social standing, are most highly prized in
society,
from Plutarch's 'Lives', and in Goethe's work, he reads that suicide can
be an
option for a desperately unhappy person. In the same way that Frankenstein
is
self educated, the creature is also and, like his creator, he is learning
in a
vacuum, with no other influences to balance his views.
It may be interesting to note that, a century after Shelley's novel was
published,
the psychologist, Maslow, listed what he described as the 'Hierarchy of
Needs' in human development, including:
1.Physiological - The need for food, drink, shelter, warmth and relief
from
pain
2.Safety and security - The need to feel safe and secure
3.Social and affiliation - The need for friendship and interaction with
others
4.Esteem - The need for self esteem and the esteem for others (1943)
The creature appears to follow these steps in his development but,
unfortunately, although he feels these needs, they are not all met. He
never
manages to interact positively with others or find friendship, and we can
see his
self esteem sink lower and lower, the more he is rejected, and becomes
lonelier and more alienated from society. It is at this that eventually
changes
him from a kind, affectionate, and reasonable being, to a bitter murderer.
He
tells Frankenstein,
I am malicious because I am miserable. Am I not shunned and
hated by all mankind? You, my creator, would tear me to pieces,
and triumph; remember that and tell me why I should pity man
more than he pities me? You would not call it murder, if you
could precipitate me into one of those ice-rifts, and destroy my
frame, the work of your own hands. Shall I respect man when he
condemns me? Let him live with me in an interchange of
kindness; and, instead of injury I would bestow every benefit
upon him with tears of gratitude at his acceptance. (page 140).
It could be suggested that his education and intellect have betrayed him.
They
have served only to highlight his misery. His understanding of his predicament,
and how he falls short of society's norms and aspirations, can only make
him
more wretched. Apart from hearing his voice when trying to sing, he no
real
self awareness until, like a perverse Narcissus, he sees his reflection
in a pool,
and becomes, "·fully convinced that I was in reality the monster
I am·"
(page 110). Now he can see himself as others see him. Through reading,
his
knowledge of man's capacity for evil gives him a more realistic view of
society,
and his place in it. Like Adam and Eve and their consequent banishment
from
the Garden of Eden after eating from the tree of knowledge , he has developed
from a 'noble savage', as unselfconscious and close to nature as an animal,
to
acquiring knowledge and the loss of innocence that accompanies it. He has,
in
effect, been cast out like Adam and Eve before him.
Considering all the points I have discussed above, Shelley seems to me,
to be
telling us that without unconditional love, but also with discipline and
guidance
as children, we can never develop to our full potential. Victor received
weak
parenting, love but without discipline, and therefore, grows into a self
centred
and immature adult. The creature has received no affection whatsoever,
only
rejection. He is first rejected by his parent/creator on first seeing him,
an this is
followed by rejection and prejudice by everyone else he meets, be it the
villagers who stone him, the man who shoots him after he has saved the
little
girl's life, the DeLacey's who beat him and then disappear overnight or
William, who even though he is a child, shows the very same prejudice
because of the creature's appearance. No matter how kind he is, or how
educated and civilised he becomes, the result is always the same.
To benefit from an exchange of ideas or another perspective on their studies.
Shelley appears to be showing us, through the creature's development that,
although children will, on the whole, follow the same basic developmental
pattern, regardless of outside influences, love, nurture and respect are
important if the instinct for goodness they are born with is not to be
lost, and
through the events in the novel, Shelley also shows us, that keeping in
balance
and harmony with the world around us, including society and especially
nature
is crucial for our well being.
Bibliography
Shelley. Mary: 'Frankenstein' (Penguin. London, 1992)
Maslow. A.H: 'A theory of human motivation' (Psycol. Rev, 50, 370-396,
1943)