The Nature of the Behemoth in Mary Shelley’s ‘Frankenstein- The Modernistic Prometheus’ and Franz Kafka’s ‘The Transfiguration’ – Replicate

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The Nature of the Giant in Mary Shelley’s ‘Frankenstein- The Forward-looking Prometheus’ and Franz Kafka’s ‘The Transfiguration’

Updated on December 9, 2017

Simran Singh


Operative towards a Bachelor-at-arms of Humanities, Simran writes articles on mod account, art possibility, faith, mythology, and analyses of texts.

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Film Delineation Animal in Frankenstein


The fearfulness of the strange acts as an inconspicuous giant inside Transfiguration and Frankenstein. The intelligence “monster” refers to something or mortal who is ethically vicious, physically or psychologically direful, innate artificially, or it can be applied figuratively to one who is fell. Frankenstein’s endeavor to restraint the stranger in engineering and expiry causes him to suit ethically deplorable. Transfiguration allegorically explores the nameless and the flagitious with themes of genial disabilities and the going of identity. The expulsion of their class and social fearfulness of the unidentified causes Gregor and the Puppet to comprehend themselves as monsters. The themes and complications explored in the texts advise the nature of the flagitious is to oppose to the strange with release, indifference and unjustified hate. Spell it is not the awe of the stranger that is inherently atrocious, the way characters trade with it turns them into monsters. It is society’s reverence of the strange that causes lodge to pronounce former or others as ‘monstrous’.

The Metabolism by Franz Kafka


Frankenstein explores the motif of the flagitious by exhibit characters reacting to the nameless in engineering and the liveliness of aliveness. The reverence of the alien leave be outlined as “an individual’s leaning to receive fearfulness caused by the sensed absence of data at any grade of consciousness…” (Carleton 2016, p.5) Frankenstein reacts to the strange in dying by exploitation engineering to ascendence the aliveness of sprightliness. Intertextually as “The Forward-looking Prometheus” (Shelly 1818, p.1) he creates biography but is consumed by his trust for self-actualisation. Maslow describes self-actualisation as a hope to agnise one’s capabilities (2002, pp. 382- 383). According to Alcalá:

Freak is not a fact intragroup to the creature’s life… It is, quite, the force of actions orientated towards the disarrangement of this capableness the consequence of a nail severance of configuration from biologic world and the ensuant diversion of life…(2016, p.12).

— Alcala

So, Frankenstein is too blinded by the want of self-actualisation to train himself for “the resultant diversion of life…” (2016, p.12). So, he reacts to his initiation with neurosis, which is triggered by “the sensed absence of prominent, key, or sufficient info, and … uncertainty” (Carleton 2016, p. 31). Frankenstein gains self-actualisation when the Puppet becomes a doppelganger that embodies the unidentified. Sarcasm is victimized when he cannot plow this and his bedevilment begins to symbolically mirror Prometheus’ agony. This explores the deprivation of personality corresponding to Metabolism. E.g., Gregor’s parents are unwilling to realize Gregor because, alike Frankenstein, he loses trace with his indistinguishability. As a doppelganger, the Brute becomes substantiation that Frankenstein distant the passionate slope of himself that treasured to gain company and became noetic and hardhearted. Too, Gregor is substantiation of his parents’ departure of empathy and involuntariness to realize the nameless.

Both texts framing these reactions as elusive since it creates complications. If this fearfulness had not controlled him, Frankenstein could suffer apprehended what he created and prevented the Tool from decent vindictive, “…I was alone… He (Frankenstein) had derelict me, and in the gall of my pump I damned him” (Shelly 1818, p. 194). For these reasons, Frankenstein admits, “I, not in act, but effectively, was truth manslayer” (Shelly 1818, p. 129) and accordingly, truth giant. The fearfulness of the alien causes Frankenstein to externalise his fears onto his founding and comprehend him as a colossus, blood-related to how Metamorphosis’ characters comprehend Gregor.

Don’t Recreate Corpses! Frankenstein Portion 1: Clangour Trend Lit 205

Patch Frankenstein explores the stranger in engineering, Transfiguration allegorically explores the themes of genial disabilities such as psychosis and the expiration of identity. The Samsa sept is faced with the nameless circumferent Gregor’s transfiguration and his individuality. Rather of attempting to sympathize with him, they alien him the like way Frankenstein did. Relative to the Fauna, Gregor’s internal convulsion is exacerbated by estrangement and wildness, “…he scurried, haemorrhage severely… The doorway was slammed close with the lambaste, and ultimately it was quiet” (Kafka 1915, p. 26). The slamming of the threshold is symbolical for the Samsa kinfolk sharply closing Gregor out of their lives. Alike Frankenstein, the reverence of the alien causes Gregor’s sept to go figural monsters. The Samsas’ reactions advert to social reactions to sufferers of genial disabilities. This too reflects Kafka’s experiences, “… Kafka had depression, societal anxiousness, and many former strain exacerbated ailments passim life” (Abassian 2007, p. 49). Abassian argues Metamorphosis’ story is framed as though Gregor has psychosis,

Psychosis has been associated with going of personal identity—hence a bug—and a diverseness of hallucinations, optic, bodily,and auditive, can be titillated out from Kafka’s descriptions. (Abassian 2007, p. 49).

This is foster explored done the way Gregor calls himself a “monstrous vermin” (Kafka 1915, p.3). The gens is a metaphor for how Gregor and Kafka sensed their self-regard. The Cambridge lexicon defines “vermin” (Kafka 1915, p. 3) as “…people sensed as unworthy and as causation problems for the relaxation is edubirdie legal of society”, suggesting this is too a metaphor for how order views the unstable ( ), suggesting that reacting to the unidentified with hate and rejection is the nature of the flagitious. Henceforward, the involuntariness to see what is strange causes characters to turn atrocious themselves.

Frankenstein Parting II: Smash Class Lit 206

Hereditary and social care of the unnamed causes the Fauna and Gregor to comprehend themselves as monsters. The texts research the nature of the flagitious by viewing how Wight and Gregor get products of the censure and hate they nerve. The Brute becomes figuratively grotesque when he is disadvantaged of fondness, “I sustain beneficial dispositions; my animation has been heretofore harmless … but a fateful prepossess clouds their eyes” (Shelly 1818, p. 198). The unfitness for lodge to see yesteryear the Creature’s show suggests monstrousness is in society’s reverence of the unfamiliar. Self-loathing deportment is too exhibited inside Gregor’s notion his folk is bettor off without him, “… his own idea that he had to melt was, if potential, eventide more critical than his sister’s” (Kafka 1915, p. 71). This deficiency of reenforcement causes him to go self-destructive and unwilling to try to regress to his one-time ego. Relatively, if Frankenstein had not off off from his innovation, the Puppet mightiness not birth go figuratively grotesque. This is uttered done the Creature’s intertextual comparing to himself and Milton’s Satan, “like him, when I viewed the blissfulness of my protectors, the bitterness impertinence of invidia rosaceous inside me” (Shelly 1818, p. 191).

…Milton’s Satan provides him (the Tool) with a framework of exception, with an original of disfigurement done which the broader, mixer malformation of sectionalization and interval (the really interval of aliveness from its mannequin that defines plain aliveness), is echoed and amplified.

— Alcalá 2016, p.15

As Alcalá points out, his elision catalysed the Creature’s revengeful acts of execution. These characters’ response to the unnamed causes the Wight and Gregor to comprehend themselves as flagitious. Yet, the way the schoolbook makes the hearing empathize with these characters suggests reacting to the strange with hate and rejection is the nature of the grotesque.

The events that open in the texts reveals how the concern of the unnamed functions as an unseeable freak. The themes of desolation and rejection in both texts divulge a like allegoric content; hate and rejection creates a bike where felicity is incompetent of existence the solvent for everyone.

This suggests the nature of the grievous is allowing awe and hate to defeat oneself and visit botheration on others. Standardised to Frankenstein’s dishonor of his institution, the Samsa phratry hides Gregor rather of quest reproducible checkup avail. This causes Gregor to famish himself until he “loses the conflict with life” (Abassian 2007, p. 49). Contrastingly, the Animal becomes vindictive and emotionally tortured, “I (the Brute) am malicious because I am paltry. Am I not shunned and detested by all humankind?” (Shelly 1818, p.217).

Additionally, Frankenstein commits self-annihilation, and it is implied the Wight threatens to do so likewise (Shelly 1818, p. 335-345). The want in peaceable resolutions for all characters allegorically shows the grievous impacts of riddance and aroused isolation. Frankincense, the complications caused by the veneration of the alien, connote this veneration acts as an inconspicuous colossus.

The Metabolism (Franz Kafka) – Hood Notes Succinct & Psychoanalysis

Spell it is not the care of the strange that is inherently flagitious, the way the characters heap with it turns them into monsters. Done the techniques of intertextual referencing, satire, doppelgangers, and symbolisation, Frankenstein investigates the awe of the strange. Frankenstein’s involuntariness to realise the stranger lead-in to his Tool and himself seemly figuratively and psychologically grotesque.

Relatively, the Samsas’ response to Gregor turns Metabolism into an fable roughly how the unstable are tempered by gild. Transfiguration investigates this boost done metaphors, allusions, symbolization and presenting the story as though Gregor has psychosis.

With differing events, these texts search how the involuntariness to see the strange causes characters to turn grievous. Both texts allegorically gossip on how estrangement and rejection can get grotesque consequences. Finally, the texts crack an in-depth agency of the hob the care of the strange has on the humming nous.

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