The warning in Frankenstein applies today more than ever because of the creation of AI (Artificial Intelligence) and computers that “think for themselves” The two are connected in a sense....
It is in these periods where Smith argues that Frankenstein is not a natural philosopher but a natural magician due to his affinity for the ancient natural sciences, the romantic genius he posses and by contrasting Frankenstein against traditional, enlightenment stereotypes of the natural philosophers...
Frankenstein is the Real Monster in Mary Shelley’s Frankenstein
Robert Walton was brought up by his uncle, and is self-taught in the art of sea-faring. This is despite his father's dying wish that his uncle forbid him from embarking on a life at sea. His determination to succeed, shown by his willingness to work "harder than the common sailors during the day (and devote his) nights to the study of mathematics… medicine... and physical sciences", leads him to believe he can be the first to discover the sea passage to the North Pole. However, his real motivation is self-glory, fuelled by overwhelming ambition. This leads to him failing to assess the dangers of his voyage and knowingly putting the lives of his crew at risk.
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In Shelley once again emphasizes a father-daughter relationship, this time between an orphaned girl, Elizabeth Raby, and her rakish, Byronic guardian, Falkner. Haunted by a dark and mysterious past, Falkner is horrified to find that Elizabeth loves Gerard Neville, the son of the woman he once destroyed. The descriptions of Falkner's guilt and the psychological tortures he inflicts upon himself and his daughter make the novel one of Shelley's best works. Elizabeth, caught between her lover's desire for revenge and her adoptive father's secret obsession, becomes the link which ultimately enables all to live in domestic peace. is an appropriate finale to Mary Shelley 's novel writing as it encapsulates many of her concerns and uses her greatest novelistic strengths--the portrayal of an agonized hero struggling with himself, the conflicts created by love and domestic duty, the problem of the absent mother, the concept of fate and victimization, the Gothic terror of the unknown--elements she had dexterously manipulated and precociously displayed in the writing of nineteen years earlier.
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Shelley's last two novels, (1835) and (1837), are semi-autobiographical, and both repeat the triangle of characters found in : father-daughter-lover. The most popular and successful of her novels since , was the first of Shelley's novels to have a sentimental, happy ending. Ignored by her mother, the heroine, Ethel, is taken to America by her father, Lord Lodore, and is left alone when he is killed in a duel. In London she falls in love with the financially desperate Edward Villiers and marries him. Their experiences of insecurity are reminiscent of the early years that Mary and Percy shared together. Villiers is haunted by creditors and forced to flee, but unlike Shelley, Ethel is reconciled with her mother, who, it turns out, has been their secret benefactress. Unable to fully portray the mother-daughter relationship she never had, Shelley resorted to a sentimentalized and unrealistic ending.
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Indeed, Victor Frankenstein is at fault for the creature's isolation and malformation, which causes the creature to feel rejected, lonely, and determined to seek revenge....