Foreshadowing is used to highlight dramatic scenes such as Elizabeth’s death later in the novel: “but as I imprinted the first kiss on her [Elizabeth] lips they became livid with the hue of death. ” Victor imagines these images during his anguish sleep, the night his creation is summoned to life. Readers automatically presume the worst which creates atmosphere as Victor prior to this was ‘Delighted and surprised’ which is another horrifying contrast used by Shelley, directly referring to their wedding night later in the novel.
The reference of death is further elaborated but with another character who is killed in a similar manner later in the novel: Henry. Victor, as Henry soon enters his house, returns to his unfit state: “a wildness in my eyes which he [Henry] could not account; and loud, unrestrained, heartless laughter, frightened and astonished him. ” This is the way in which the monster vows revenge against humanity after being forsaken by the cottagers. The way Shelley reflects the monster’s attributes on him directly links him to the cause of his friend’s and family’s deaths. Science is not the only method of helping humanity.
In Chapter 6, during Elizabeth’s letter to Victor, there is a hidden moral message. It speaks about the way in which one can ‘safely’ help humanity: “it is certainly more creditable to cultivate the earth for the sustenance of man. ” Whilst this does not directly address Victor, it shows that when Science will not ultimately help man; but the basic processes such as farming make the big difference. Whilst Victor wants to re-live death, such that of his mother, he does not understand that being alive is a quest which does not necessarily equate to happiness, such as that of the his creation.
His former predicted outcome turns into a lesson of ongoing misery. He calls the product of his experiment as “the beginning of infinite pains”. This can foreshadow his future sufferings until death whilst the use of plural can reflect both his mental and physical states. Thus Victor after his experiment begins to learn what a life of hard-ship is really like. His arrogance and consistent review of every action he commits eventually drives him deeper to his fate, by his own creation whom he “so miserably given life to.
” Initially Victor felt ‘miserably’ towards his own creation; making a prejudiced assumption that, because of his hideous appearance, he is dysfunctional thus undeserving of life. Despite succeeding in his initial goal, which is to re-live dead material (‘inanimate bodies’), he has not thought about the after-math of how his creature may feel or adapt to this world without the necessary nurture which every parent provides to their child. In a more practical context, Victor is not the gifted scientist who he showed himself to be; but ironically a feeble minded person.
Readers cannot comprehend how Victor can forsake his creation merely due to its appearance, especially as the gifted scientist which he has been portrayed as; this is because scientists, especially at his level, tend to critically reason every judgement and it is feeble-minded of Victor to adhere to such an irrational superficial view of the monster. Even after meeting his creation, listening intently to him as he eagerly recites his story and after being emotionally involved, refuses to grant his one wish due to his cynical view of the monster’s desires.
However Victor was not the only person who upheld such superficiality and this is elaborated further in Elizabeth’s letter when she speaks about Justine Mortise, “[Justine] she looked so frank-hearted and happy. ” ‘Looked’ does not necessarily equate to ‘is’ and because Justine had merely looked happy, was granted an exceptional education (which the creature is deprived of): “My aunt conceived for her, by which she was induced to give her a better education superior to that she had first intended.
” The two things, ‘education’ and looking ‘frank-hearted’ are completely independent. People during the late 18th/early 19th century generally did not judge one by their actual ability to do something, as shown in Justine’s case – “I [Elizabeth] do not mean she had made any profession” – but made their decision by judging one by their outer disposition; because Justine ‘looked it’ was given a “superior” education and was not harshly condemned, in the end, for not making anything out of it.
However the creature had the potential of making good use of such education, and even when he was not proposed the chance literally devoured anything intellectual (like listening intently to the cottagers speaking French) but because of his ‘hideous’ outer disposition was seen as an outcast. Victor however did attempt to plan his experiment in a way so that his creation does not suffer: “His limbs were in proportion, and I had selected his features as beautiful.
” The way Victor has selected his creation’s features ‘as beautiful’ emphasises his superficiality – bringing dead matter back to life has toppled off his top priority, he now wants his creation to be beautiful, and he is greedy to achieve this. His concentration being diverted from his main goal of creating a normal being to this one minor feature had rendered him the opposite result as everything was combined: “but these luxuriances only formed a more horrid contrast with his watery eyes. ” This can be linked to the contemporary uses associated with Plastic Surgery.
One who thinks of undergoing plastic surgery would choose to select the ‘best’ possible features; but, as learned from Victor’s experiment, these features when combined can give the ugliest overall look and therefore other features may work better: everybody is different and compatible to different things. Shelley uses paradox to emphasise the dominance of religion during that period, “Beautiful! – Great God! ” Despite Victor ‘playing God’ by creating life, which is condemned in Christianity, he still subconsciously refers to him during his ‘moment of tragedy’.
Referring to God when troubled was second nature. Another way in which Science which Victor undertakes can be dangerous is shown when he says, “I became as cheerful as before I was attacked by the fatal passion. ” ‘Fatal passion’ is another form of foreshadowing. His passion is shown by wanting to create life (which he had succeed with), but this life haunts him; killing off all happiness he had, hence it is ‘fatal’. This is reinforced by the moral lesson which is subtlety taught by Shelley via Elizabeth’s letter in the consecutive chapter.
It informs “not to meddle with the dark-side of human nature. ” Victor has ‘meddled with the nature of his being by depriving him, and breaking his vowed promise. Victor by ‘meddling’ with his ‘dark-side’ can be held responsible for the deaths of his relations, which is paradoxical; but through his paranoiac affliction, Victor misinterprets everything. Readers learn by the end that the creature had misinterpreted Victor: “If thou wert yet alive, and yet cherished a desire of revenge against me; it would be better satiated in my life than in my destruction.
” ‘It would be better satiated in my life than in my destruction’ means that the creature thinks that Victor wants him to live on – thus wants him to suffer. This reinforces that the creature’s life was not happy. Therefore the monster was merely following Victor’s ‘intentions’ and living under his tyrannical presence. He was faithful in the misinterpreted sense. Victor elaborates on the way which he thinks of his creation by naming it a ‘demonical corpse’.
‘Corpse’ can foreshadow his later death in the novel; it can also interpret to show how he had underestimated his creation’s power – as ‘corpse’ connotes to mean something which is no-longer viable or has thought. Though, the way which calls his creation ‘demonical’, despite not knowing at this points in the novel its true nature, is prejudicial. He unjustifiably compares it to an evil spirit, which is crude as he had created its design in this way, “I gazed on him whilst unfinished: he was ugly then. ” He thus knew what the potential result may be. It was not a total coincidence.
This can link to the way that he felt the “greatest agitation. ” He loses control after the experiment. His plan to create was extensive but did not contain information beyond the scope of the results. In fact Victor feels powerless, “unable to endure the being I had created”, in spite of being the creator who endowed life to previously inexistent material – he has no control over him. This contrasts to the power God possesses in Christianity; He creates everybody differently, He can end his creation and, most importantly, sticks with what He created.