The novels Frankenstein by Mary Shelley and Heart of Darkness by Joseph Conrad can be considered commentaries on the themes of discrimination, obsession, exploration, and the result of the lack of understanding and responsibility. Both novels are written in a framed narrative form, comprehensive of the views, thoughts, and values of contrasting characters. Both Shelley's character, Victor Frankenstein, and Conrad's portrayal of European colonists reflect how overruling obsession can result in isolation from basic human sympathy, concerns and morals. Their obsession, a result of their pursuit for authority and glory, are ironically matched by their lack of social conscience. The idea of public opinion and universal insight is discussed by
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In addition, its bondage with apparent heroism is also discussed. Both novels are framed narratives, beginning with a character's idealistic first-person view on exploration. In Heart of Darkness, the unnamed narrator describes the sea to have “known and served all the men of whom the nation is proud” (Conrad 4), referring to colonists and explorers, on “conquests” (Conrad 5). This glorification of exploration is similarly seen in the letters of Frankenstein's character, the explorer Robert Walton, who describes he “preferred glory to every enticement that wealth placed in his path” (Conrad 14). The development of this 'glory' into obsession is a theme shared by both novels. Kurtz's lust for possession was described by Marlow as a result of the “powers of darkness that claimed him for their own” (Conrad 60): Marlow states that “everything belonged to Kurtz – but that was a trifle. The thing was to know what he belonged to…That was the reflection that made you creepy all over” (Conrad 60). Similarly, Frankenstein describes himself, during the process of his creature's creation, to have “appeared rather like one doomed by slavery to toil in the mines, or any other unwholesome trade, than an artist occupied by his favorite employment” (Shelley 45). Furthermore, the creature correspondingly states he was “the slave, not the master, of an impulse which he detested” (Shelley 168). However, the creature's 'impulse' to cause the psychological destruction of Frankenstein is produced not by a pursuit of glory or superiority, but rather, despair, anger and revenge. Passion, as Frankenstein describes it, seems almost involuntary and uncontrollable, and the two narratives being nightmarish accounts of its victims. Both Conrad and Shelley examine, in their respective novels, the massive defects of the excess of obsession and ambition, either
In addition, its bondage with apparent heroism is also discussed. Both novels are framed narratives, beginning with a character's idealistic first-person view on exploration. In Heart of Darkness, the unnamed narrator describes the sea to have “known and served all the men of whom the nation is proud” (Conrad 4), referring to colonists and explorers, on “conquests” (Conrad 5). This glorification of exploration is similarly seen in the letters of Frankenstein's character, the explorer Robert Walton, who describes he “preferred glory to every enticement that wealth placed in his path” (Conrad 14). The development of this 'glory' into obsession is a theme shared by both novels. Kurtz's lust for possession was described by Marlow as a result of the “powers of darkness that claimed him for their own” (Conrad 60): Marlow states that “everything belonged to Kurtz – but that was a trifle. The thing was to know what he belonged to…That was the reflection that made you creepy all over” (Conrad 60). Similarly, Frankenstein describes himself, during the process of his creature's creation, to have “appeared rather like one doomed by slavery to toil in the mines, or any other unwholesome trade, than an artist occupied by his favorite employment” (Shelley 45). Furthermore, the creature correspondingly states he was “the slave, not the master, of an impulse which he detested” (Shelley 168). However, the creature's 'impulse' to cause the psychological destruction of Frankenstein is produced not by a pursuit of glory or superiority, but rather, despair, anger and revenge. Passion, as Frankenstein describes it, seems almost involuntary and uncontrollable, and the two narratives being nightmarish accounts of its victims. Both Conrad and Shelley examine, in their respective novels, the massive defects of the excess of obsession and ambition, either