Frankenstein; or, the Modern Prometheus on the About network:

The Creature's twin sides -- the gentle,benevolent figure and the violent, malevolent monster -- embodythe radical split between the good and bad self.The actual moment of the Creature's self-alienation occurs whenhe gazes down at a transparent pool of water and, likeNarcissus, is paralyzed by his reflection.

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"In," George Levine observes, "we are confrontedimmediately by the displacement of God and woman from the actsof conception and birth."Victor's decision to create new life also seems related to hisefforts to master fears of death.

Frankenstein; or, the Modern Prometheus's works in libraries:

Despite his acceptance of maternal loss andrejection of the mourning process, Victor attempts to reversethe forces of time by resurrecting the dead.

But can we confidently identify the real monster in thestory and the nature of his misdeeds?

His brief infatuation with science is agood example.

Significantly, Victor rejects immoderate grief but notimmoderate rage.Unable to work through his grief and guilt, Victor falls ill toa mysterious "nervous fever" and is confined for severalmonths.

My dear Victor, do not waste your timeupon this; it is sad trash" ().

Clerval becomes afantasy mother, nonjudgmental and infinitely empathic, and hisdevoted care temporarily restores Victor to life.Unlike Victor, the Creature has no devoted friend to care forhim.

Quite simply, Victor protests toomuch.

Frankenstein'slanguage is revealing: he removes himself and Victor from theclass of survivors, implying that neither man should grieve overWilliam's death.

The story he conceals is more significant thanthe one he reveals.

(The De Laceys function as afamily, but they quickly turn against him in horror.) TheCreature's narcissistic injuries are apparent in his shatteredself-esteem, massive rage, and blurred self-object boundaries.

For Victor andWalton, the monster is born in the scientist's laboratory.

Feldman and Diana Scott-Kilvert.

Miyoshi points out the essential oneness of Victor andthe Monster (84). In the original 1818 edition of, Elizabeth is described as Victor's cousin,while in the 1831 revision she is described as an Italianfoundling adopted by the Frankensteins.

The novel is a melodramatic representation of this period of her life.

Footnote: Muriel Spark, (New York: Meridian, 1988) 237.

These disappointments lead inevitably to Victor's troubledchildhood, particularly to a mother whose premature death isperceived as an act of abandonment and to a father whoseemotional coldness is reproduced, with a vengeance, in hisunempathic son.

Moers does not mention OttoRank, but it is clear that she offers a female revision of.

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Like other forms ofpsychological illness, Victor's nervous breakdown has secondaryadvantages, allowing him to avoid confronting the consequencesof a disabling subject -- a Creature who is, like himself,helpless, dependent, and demanding.