Jaren Nadong C LIT 240 April 18th, 2013 Frankenstein and the Failed Search for the Self

The psychotherapist Sigmund Freud asserted that the psyche of ones being and those of fictional literature figure are constitutive of three categories: the id, the ego and the superego. The id and superego can be likened to an almost ying and yang relationship. The id is comprised of a persons base desires and passions while the superego is an internalized ideal form of satiating that persons desires. The ego mediates between the two entities and attempts to satisfy both in the reality that is in the physical plane rather than the selfs own thoughts. Over time, the ego may change as it seeks out new ways of satisfying both the id and superego, a process known as the search for the self. In Frankenstein, Mary Shelleys character Viktor Frankenstein and the monster are demonstrative of this phenomenon. They are continually encumbered by base desires which they attempt to seek out and satisfy given their own learned methods (superego). Unfortunately, both characters egos fail to achieve for them the goals they had in mind and, shortly afterwards, adopt negative personality traits. Therefore, Mary Shelleys novel Frankenstein supports the idea that the search for the self is a mediation between ones own passions (id) and an internal idealized method of fulfilling the passion that when failed to be achieved in reality results in the deterioration of the of the psyche. For Viktor Frankenstein, his search for the self revolved around imparting life where none existed in order to replicate the close family ties he experienced as a child. From an early age Viktors passion and id has chiefly existed in science which he refers to as the secrets of heaven and earthor, in its highest sense, the physical secrets of the world (Shelley 34).

Viktors diction when choosing to describe science is heavily laden with grandiose terms that exalt the subject as an almost holy object. Later, his obsession becomes more narrowed and Viktor focuses on controlling the creation of life into inanimate objects. Viktors internalized ideal sense of imparting life into inanimate objects is much akin to creating a new family: life and death appeared to me ideal boundsa new species would bless me as its creator and source; many happy and excellent natures would owe their being to me (Shelley 52). In the beginning, Viktor perceives nothing wrong with bringing new life into the world and drew no difference between the traditional method of reproduction and the method he was about to engage in. Indeed, were he to bring new life using his method, Viktor believed that their gratitude and happiness would emulate the level of harmony he experienced in his own childhood. Upon completion of the new life, however, Viktors search for the self reaches an imbalance which he does not fully recover from. After the creation of the Viktors new life form, he quickly decides that his attempts at mediating between his passion for the manipulation of life and idealized form of fulfilling it has failed and leads to the deterioration of his psyche. Looking at the totality of his work and remembering how he initially thought of it as beautiful, Viktor now remarks his yellow skin scarcely covered the work of muscles and arties beneathhis teeth pearly whiteluxuriances only formed a more horrid contrast (Shelley 55). The discrepancy between his passion for the science of life and the idealized family relations is made clear with the grotesque appearance of the creature upon awakening. Viktors reverence for science has produced something so ugly in visage that it contradicts the holiness he ascribed to the subject and ruins his chances of creating the family ties he attempts to replicate. As the novel progresses, Viktor Frankenstein shuns the face of man; all sound of joy or complacency was torture to (him); solitude was (his) only

consolation (Shelley 88). With Viktors primary search for the self largely failed, he is left with bitter ruminations over how contradictory the results of his labors have been to his intentions. The creature, horrendously ugly and possibly possessive of a violent nature, has failed to fulfill his idealization of a familial type of relationship and caused him to develop antisocial behaviors. The monster, also demonstrative of a conflicting id versus superego, is possessive of a failed search for the self. Formerly, the monster busied himself on discovering the gentle manners of people(whom he) longed to join, but dared not (Shelley 109). The monsters innate desire from the beginning of his introduction into novel was to form relationships. The desire is only exacerbated by the trepidation he feels for the constant threat of rejection by the peer group he wants to introduce himself to. Near the end of the monsters search for the self, however, he is rejected by a human family whom he has idealized as the epitome of harmonious companionship which produced a kind of insanity in (his) spirits that burst all bounds of reason and reflection (Shelley 137). Thus, the monsters failure to satisfy his need for companionship and have any respite from his solitude has led him to a kind of catharsis wherein the scorn he received from external forces causes him to adopt hatred towards mankind. The monster, normally harboring affection and respect for others, momentarily transforms into a vengeful entity whose first act is to burn the house of his former ideal family. All in all, Mary Shelleys most prominent characters attempt to find mediation between their innate desires and their ideal method of fulfillment but, upon failure, slowly lose themselves to unhealthy antisocial tendencies. The monster, having failed to fulfill his desire of attaining some semblance of his idealized form of companionship causes the development of a

misanthropic mindset. Viktor Frankenstein, having succeeded in manipulating life, failed to meet the expectations of creating an ideal life form and is unable to cope with its existence as a result.