Civilization has developed itself from nature, but it has also changed nature in the process. Apart from theories of much cited social analysts like Rousseau or John Locke, one equally well known example is that of man as the hunter: in his natural state, man only hunted to find food, to ensure the survival of himself and his family. In our society, humans do not have to hunt their food by themselves anymore, but we still don’t seem to have lost our natural instincts, our natural aggressions. One logical consequence is that we direct our aggressions towards each other, that we decimate our own species; the problem is, however, that natural reasons like ensuring the best breed possible don’t exist anymore, that we don’t have explanations why we kill each other apparently at random. Tim Marshall writes about a crime known as ‘The Edinburgh scandal’, which took place in the years of 1828 and 1829. Dr. Robert Knox, an anatomist from Edinburgh and very engaged in the newly upcoming art of dissection, employed two criminals to bring him fresh corpses for his dissections. At this time, grave robbing in order to obtain corpses was an usual occurrence in British graveyards, but in this case the acquired ‘objects’ didn’t come from those who had died naturally, but from people who had been murdered only for the sake of dissection. The reason for these murders was science, and with it civilization, therefore human nature was misused for the sake of science which in turn needed the bodies to explore the secrets nature still withheld from science.
The resemblance to Mary Shelley’s novel is apparent. But in Frankenstein, nature and civilization are also set in opposition to each other by the attributes they are given: nature as feminine, civilization as masculine. Shelley draws in her novel a parallel between the relationship of man and woman and the relationship between civilization and nature.
This work shows some of the major connotations nature has in the novel, followed by a chapter on civilization with a small account of the status of women in the 18th century society and a few feministic interpretations. The fourth chapter will deal with some of the many different influences which Shelley wove into her story, the fifth and sixth with the most important theories on ‘nature and civilization’ and some of the references Shelley made concerning the Bible and the complicated consequences if one attempts to create a living being by artificial means.
Table of Contents
1. Preface
2. Nature
2.1 Nature And Science
2.2 Themes Of Nature Throughout The Novel
2.3 Victor’s Problem In Understanding Nature
3. Civilization
3.1 Victor’s Creation Becoming Civilized
3.2 A Female Aspect
3.3 Differences Between Victor And His Creation By Their ‘Education’
4. Theories And Opinions On ‘Nature And Civilisation’ Adapted In The Novel
4.1 Jean-Jacques Rousseau’s ‘Noble Savage’ and ‘Emile’
4.2 John Locke’s Theory Of The ‘Blank Sheet’
5. References To The Bible
5.1 The Theme Of Adam and Satan – The Blurred Line Between Monster And Creator
5.2 The Creation Of Eve
6. Conclusion
Research Objectives and Themes
This seminar paper explores the intricate relationship between nature and civilization as portrayed in Mary Shelley's "Frankenstein," examining how these themes shape the characters' identities and destinies. The primary research objective is to analyze how Victor Frankenstein’s neglect of his responsibility as a creator—influenced by his scientific ambition—leads to the tragic downfall of his creation, while simultaneously drawing parallels to the sociopolitical theories of the 18th century.
- The metaphorical and literal opposition between nature and civilization.
- The impact of education and nurture on human development and morality.
- Feminist interpretations regarding female roles and reproductive fears in the novel.
- The influence of philosophical theories by Rousseau and Locke on the character's development.
- Biblical allusions and the inversion of the creator-creation hierarchy.
Excerpt from the Book
2.3 Victor’s Problem In Understanding Nature
One great problem displayed in the relationship between Victor and his creation is that he can’t understand the being’s needs for love, a family, or friendship. His way of thinking is mainly of a scientific nature. He created an artificial being, but as soon as he gave the ‘spark of life’ to it, it started to live and to have the same needs as every other living being, physically as well as emotionally. Victor gave an adult body to the being, but his behaviour and mind was like a child’s after it is born, it needed love and protection. Frankenstein had created himself a son, but he doesn’t regard him like one.
A theory Anne Mellor (Mellor, 116 f.) wrote about raises the question whether the situation of the division of knowledge and emotion in Victor’s society, which we will discuss later in this paper, was responsible for the inability of Victor Frankenstein to be working and have emotions at the same time, therefore creating a being “with reason rather than love, a creature which is rejected and therefore cuts a wake of terror and destruction across Europe” (Botting, 155).
Summary of Chapters
1. Preface: The author introduces the central themes of nature and civilization within the context of Romanticism and real-world 19th-century scientific controversies.
2. Nature: This chapter analyzes the dual role of nature as a source of scientific secrets and an emotional guide for the characters, highlighting the sublime power of the Arctic and the Alps.
3. Civilization: The text discusses how the creature undergoes a civilizing process through reading and observation, while also contrasting public male roles with private female roles.
4. Theories And Opinions On ‘Nature And Civilisation’ Adapted In The Novel: The author applies Rousseau's ‘noble savage’ and Locke’s ‘blank sheet’ theories to explain the creature’s moral degeneration due to neglect.
5. References To The Bible: This section investigates the reversal of the creator-creation relationship and the creature’s identification with biblical figures like Adam and Satan.
6. Conclusion: The summary posits that Victor’s failure to nurture his creation was the true catalyst for catastrophe, connecting these themes to modern dilemmas in genetic engineering.
Keywords
Frankenstein, Mary Shelley, Nature, Civilization, Romanticism, Victor Frankenstein, Monster, Jean-Jacques Rousseau, John Locke, Noble Savage, Blank Sheet, Education, Scientific Ethics, Bible, Creationism.
Frequently Asked Questions
What is the central focus of this seminar paper?
The paper examines the thematic dichotomy of nature and civilization in Mary Shelley's "Frankenstein," specifically analyzing how scientific ambition and the neglect of parental responsibility contribute to the tragic outcomes in the novel.
What key themes are explored?
The study focuses on the education and psychological development of the creature, the impact of 18th-century philosophy on the narrative, the role of gender, and the inversion of biblical creator-creation dynamics.
What is the primary research goal?
The goal is to determine how Victor Frankenstein’s failure to nurture his creation, despite its initial benign nature, illustrates the destructive consequences of separating scientific progress from human emotion.
Which scientific and philosophical frameworks are applied?
The paper utilizes Jean-Jacques Rousseau's 'noble savage' concept and John Locke's 'blank sheet' (tabula rasa) theory to evaluate the creature's development from innocence to malice.
What does the main body of the work cover?
It covers the emotional impact of nature, the civilizing process of the creature, feminist readings of the text, and critical analysis of the creator’s failure to fulfill moral obligations.
How would you characterize this work with keywords?
It is best characterized by terms such as Nature, Civilization, Frankenstein, Education, Responsibility, Rousseau, Locke, and Ethics.
How does the author interpret the destruction of the female creature?
The author argues that Victor's destruction of the female being is driven by his fear of uninhibited female sexuality and his inability to control an independent female mind, which he perceives as a threat to his dominance.
How do thunderstorms and rain function as symbols in the novel?
The paper argues that whereas thunder signals the presence of God in the Bible, in "Frankenstein," thunderstorms and rain specifically mark the appearance and ominous actions of the creature, signifying a reversal of the divine order.
- Quote paper
- Nadine Wolf (Author), 2004, Nature and Civilisation in Mary Shelley's Frankenstein, Munich, GRIN Verlag, https://www.grin.com/document/35461
