The motif of Nature vs. Technology in Mary Shelley’s “Frankenstein”
In Mary Shelley’s Frankenstein nature is pureness and innocence in a vile, corrupt world. It is flexibility and calmness and holds the power to overwhelm human emotion and make dismay small and unimportant in contrast to the essence of nature. Nature even has remarkable impact on Victor; it becomes his personal physician and individual therapy when he goes through torment and stress. Innovation, however, causes Victor to experience a far more negative result.
By triggering sorrow and discomfort, Shelley communicates with the reader that humankind is advancing in technology too rapidly and at an unethical rate, and is even difficult nature’s function in the world. Through making use of contrasting innovation and nature, Shelley successfully determines the essential message of technology having no role in nature’s domain. Because the Industrial Transformation had actually pervaded all part of European and British society by the time of her writing, Shelley concerns how far the existing wave of advances must press the person in regards to personal and spiritual development.
She communicates the impression that maybe the technological advances made to date rob the soul of development when man ends up being too based on technology. Individual flexibility is lost when man is made a slave to devices, instead of devices being controlled by guy. Hence, Victor becomes a lost soul when he tries his dreadful experiments on the dead and loses his moral compass when he becomes consumed with animating the dead. Victor’s overindulgence in technology eliminates his humankind, and he is entrusted to the repercussions of these actions without having actually reasoned out the reality that his experiments may not have actually the preferred impacts.
His obsession with innovation triggered the deaths of everyone near him, including his better half, and left Victor with nothing but an insane thirst for vengeance. This downfall is exclusively triggered by his enthusiastic effort to enhance innovation, and Shelley communicates this notion plainly. Shelley uses nature as a restorative agent for Victor. While he appears to be gotten rid of with sorrow by the murders of his family and friends, he consistently avoids mankind and looks for nature for health, relaxation and to strengthen his spirits.
By chapter five of the first volume, Shelley produces a connection in between Victor and nature. Rather of explaining his state of minds with metaphor, as in earlier images, she describes his healing from severe disease through his affinity with nature. Although nursed by his closest pals, it is the breathing of the air that finally provides him strength: “my health and spirits had long been brought back, and they got extra strength from the salubrious air I breathed, the natural occurrences of our progress” (Shelley 43).
The air is not merely essential for life; Victor is so taken with it that he in fact gains strength from it that he had actually not had prior to. Making use of the word salubrious, defined as “to bring health,” strengthens an objective to promote air, and through corollary, nature, as a corrective representative. Throughout Frankenstein, it is nature, not other individuals that keeps Victor healthy enough to continue living a relatively sane life. The very best illustrations of Shelley’s usage of nature are discovered after the deaths of Victor’s brother William and Justine, the household’s servant.
Having been killed by his sorrowful development of innovation, his bro’s death deeply affects Victor, and he falls into a deep misery. His condition is so horrible that he can not find solace in his pal Henry, and while he rushes off to his family in Geneva, it is nature that recovers him and enables him to keep his peace of mind: “I considered the lake: the waters were placid; all around was calm, and the snowy mountains, “the palaces of nature,” were not changed. By degrees the calm and divine scene restored me, and I continued my journey towards Geneva. As he approaches his household in Geneva, the curative results start to fade, and reunion with his family does little to assist Victor’s mood. His exclamations to the mountain are more passionate than nearly any other in the story, therefore it appears that his relationship with nature goes beyond what he can have with his household or any human. Hence, Shelley shows that primitive nature is more handy to Victor than the technology he creates, due to the alleviative powers of nature and the harmful ways of his development.
Nature is even more important to Victor’s health and sanity than the advancement of innovation in the story, and the representations of natural settings become many and redundant as Frankenstein unfolds. While Victor claims to be destroyed by the beast’s (technology) killing of his friends and family, he seems to be drawn consistently to nature for support. His fascination with nature seems more and more inane as he avoids humankind once again and once again, however maybe it is simply part of Victor’s flaws or perhaps a rejection of himself. Whatever the reason, Shelley stays clear concerning the healing power of nature and annihilation triggered by technolog