Introduction
Mary Shelley successfully created two distinctive characters, the wise benevolent creator Frankenstein and the brutal ugly monster, with the form of science fiction and Gothic under the context of the 19th century mainstream culture. Distorted images of the social scene and the characters were showed in the magic mirror Mary Shelley built. The tension between good and evil, a full collision and presentation was obtained (Shelley, 163). In the previous mythology, most of the monsters were used as signs of cunning or evil, but there were also some kind and noble image. Shelley Marie made full use of the complexity of good and evil of both human being and monster. She completed the unique monster esthetics construction, which is also …show more content…
After the success, the monster became the maximum release of Frankenstein ID 's desires. Theoretically, this monster, which was an id generated by Frankenstein, was also the object that Frankenstein 's ego should response to. However, the monster and human society are incompatible (Shelley, 198). The contradiction between id and superego is irreconcilable. This makes the ego was trapped in a dilemma of protecting the desire and repressing desires in the confrontation with the ID and superego. Facing with the choice between personal desire and social morality, that is the choice between ID and superego, he took a compromise attitude through the mediation of ego. When he promised to create a companion of his kind for the monster, the ego played the same effect. On the one hand, he recognized his responsibility as a 'father* because of the desire and the monster 's persuasion; on the other hand, Frankenstein is concerned that the monster that provoked by loneliness would threaten more innocent lives. And this was his responsibility to society that he cannot shirk. For ego, this is the best way out. It satisfied the desire of id, and did not violate the moral standards of the superego. Thus, the lack of ego抯 protection buried the curse for Frankenstein抯 future life before he made the monster; and after the monster had been created, in the mediation of internal impulse and external pressure, the bias the ego on the ID, finally pushed the Frankenstein embarrassing dilemma and annoying regret (Clark.
Mary Shelley successfully created two distinctive characters, the wise benevolent creator Frankenstein and the brutal ugly monster, with the form of science fiction and Gothic under the context of the 19th century mainstream culture. Distorted images of the social scene and the characters were showed in the magic mirror Mary Shelley built. The tension between good and evil, a full collision and presentation was obtained (Shelley, 163). In the previous mythology, most of the monsters were used as signs of cunning or evil, but there were also some kind and noble image. Shelley Marie made full use of the complexity of good and evil of both human being and monster. She completed the unique monster esthetics construction, which is also …show more content…
After the success, the monster became the maximum release of Frankenstein ID 's desires. Theoretically, this monster, which was an id generated by Frankenstein, was also the object that Frankenstein 's ego should response to. However, the monster and human society are incompatible (Shelley, 198). The contradiction between id and superego is irreconcilable. This makes the ego was trapped in a dilemma of protecting the desire and repressing desires in the confrontation with the ID and superego. Facing with the choice between personal desire and social morality, that is the choice between ID and superego, he took a compromise attitude through the mediation of ego. When he promised to create a companion of his kind for the monster, the ego played the same effect. On the one hand, he recognized his responsibility as a 'father* because of the desire and the monster 's persuasion; on the other hand, Frankenstein is concerned that the monster that provoked by loneliness would threaten more innocent lives. And this was his responsibility to society that he cannot shirk. For ego, this is the best way out. It satisfied the desire of id, and did not violate the moral standards of the superego. Thus, the lack of ego抯 protection buried the curse for Frankenstein抯 future life before he made the monster; and after the monster had been created, in the mediation of internal impulse and external pressure, the bias the ego on the ID, finally pushed the Frankenstein embarrassing dilemma and annoying regret (Clark.