![]() It’s this monster we think of, with his lumbering gait and square-head, not the watery yellow eyes and decaying skin of Shelley’s original. Though dangerous, the movie-monster’s childlike disposition inspires our sympathy. Mary Shelley’s novel Frankenstein or, The Modern Prometheus was an instant hit upon publication in 1818, but contemporary readers are more likely to have been influenced by the 1931 movie starring Boris Karloff. ![]() To grapple with this question, we must sort our baggage. What he wants more than anything is human connection, but when people encounter him, they run away or resort to physical attack.Īnd therein lies the central psychological question of Frankenstein: Who is the real monster? Monster is confused, helpless, and in pain. Victor flees the apartment, leaving his creation once more, this time to wander out alone into the Swiss countryside. New, and barely conscious, Monster stumbles into Victor’s bedchamber (where Victor has fallen into a fitful sleep) and watches his “father” until he awakens. Moments after being brought to life, his creator rejects him and leaves the laboratory. By the end of the story, Monster will have killed everyone Victor loves: his brother, his best friend, his wife.īut Monster’s rage is understandable, too. Victor feels nothing but rage, because the wretch (as he calls him) has murdered his little brother. ![]() It’s been two years since Victor has laid eyes on the being he created. “I was expecting this reception,” is all Monster can say after being verbally accosted by his creator, Victor Frankenstein. ![]()
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