Nevertheless, Victor Frankenstein also chooses his isolation. He becomes so caught up in his studies and in the creation of the monster that he becomes unpleasant from confinement. In the novel Frankenstein, the monster is always by himself and he is never with anyone. The monster wants attention and someone he could love. In the article Mary Shelley’s Frankenstein and Milton’s Monstrous Myth by John B. Lamb in states, the monster learns the ‘Science of words or letters’ from the De Lacey’s and it is then that he enters culture and begins erroneously to believe that language Is a form of mastery and a way to overcome difference. ‘although I eagerly longed to discover myself to the cottagers, I ought not to make an attempt until I had first become master of their language” (Lamb 314). The quote Is talking
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However, the monster can’t read, speak, or understand the rudiments of human interactions. When he stumbles upon the cottagers, however, he picks up language by observing them and studying their speech. It is this acquisition of language, along with the expressiveness it brings, that turn the monster from a surreptitious nightmare into a compassionate and disastrous figure. By showing language transforms the monster, and by complementary the well-spoken monster with his proportionately communicative creator, Shelley argues that verbal communications, rather than actions or appearance is the only way through which people can truly understand one another. Before the monster learns to express himself, his actions are no less than terrifying. His escape from Victor’s workshop seems sinister and his murder of William apparently confirms the notion that he is a powerful, malignant beast capable of unmotivated violence. His shocking appearance does not help matters. Victor assumes, and Shelley invites us to assume along with him, that this being, with his patched together body, his yellow skin, and his black lips, must have a soul that matches his hideous
However, the monster can’t read, speak, or understand the rudiments of human interactions. When he stumbles upon the cottagers, however, he picks up language by observing them and studying their speech. It is this acquisition of language, along with the expressiveness it brings, that turn the monster from a surreptitious nightmare into a compassionate and disastrous figure. By showing language transforms the monster, and by complementary the well-spoken monster with his proportionately communicative creator, Shelley argues that verbal communications, rather than actions or appearance is the only way through which people can truly understand one another. Before the monster learns to express himself, his actions are no less than terrifying. His escape from Victor’s workshop seems sinister and his murder of William apparently confirms the notion that he is a powerful, malignant beast capable of unmotivated violence. His shocking appearance does not help matters. Victor assumes, and Shelley invites us to assume along with him, that this being, with his patched together body, his yellow skin, and his black lips, must have a soul that matches his hideous