Published in 1818, Mary Shelley's Frankenstein remains a groundbreaking literary achievement whose iconic monster continues to fascinate modern readers. Even William Shakespeare, hundreds of years before Shelley, played a monster at the center of his fantasy The Tempest. He is Caliban, the illegitimate son of a witch and a devil, whose evil nature is central to the scheme of the work. Both works explore our fascination with the ". otherness" of monstrosity. the deformed and hideous creatures that wreak evil and destruction. In contrast to the "monster creature" are the creators - Doctor Frankenstein and Prospero - who function in an entirely different class of monstrosity. Doctor Frankenstein he is a self-proclaimed demigod, arrogantly daring to create life without divine approval, and in doing so brings chaos to his once-stable world. In comparison, Prospero rules over his remote island, tyrannically employing his power to control the destinies of those that surround him. An analysis of these two levels of monsters, the "creature monster" and the "creator monster," requires readers to grapple with the uncomfortable suggestion that it is Prospero and Doctor Frankenstein who possess truly monstrous qualities that rival and somehow surpass their "creature". monsters” in malice. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay The character of Prospero is one of the most intriguing and well-known creations in the Shakespearean canon. His authority over the natural world and its inhabitants has a particularly captivating effect on audiences, as the character is considered by some to be autobiographical, controlling the fate of individuals and the environment in the same sense that Shakespeare, the playwright, does with his actors and the audience. . Despite the immediate attraction many feel towards Prospero's power, his selfishness, selfishness, and unrepentant manipulation reveal a somewhat ruthless character. From the moment he is introduced Prospero displays an uncanny pleasure in controlling and exercising power over others. He takes on the role of the unnatural puppeteer, without remorse for the turmoil and anguish his actions bring to others. His image of himself as a creator, a deity, allows Prospero to see the rest of humanity as inferior and vulnerable beings whose autonomy is not worth respecting. Furthermore, his methods of control are often petty and vindictive. Caliban is forced into slavery and threatened with “cramps, side stitches that will take your breath away.” The brats will come out late at night so they can do every exercise on you. You will be pinched as big as a honeycomb, each pinch will be more stinging than the bees that made it” (37). Even Ariel, the faithful servant, is met with contempt and indignation when he reminds Prospero of his promised release from servitude, as Prospero retorts that Ariel is a liar and an "evil thing" (31). He torments Stefano, the butler, and Trinculo, the jester, simply for fun (103). Even regarding his daughter Miranda, Prospero does not hesitate to use her as a prop to carry out his selfish plan. Cultivate a relationship between Miranda and Ferdinand, the Prince of Naples, to create a union that will provide security to Prospero's status once he regains his Duchy. By trampling on the humanity and free will of those around him, he inevitably diminishes his own humanity. In contrast to Prospero's power is Caliban, a deformed and abnormal creature, openly called a monster by Stephano and Trinculo as they marvel at his unpleasant appearance. module (33). While its horrible lookingtakes on that of the traditional monstrous archetype, Caliban is less of a monstrosity and more of a representation of the essence of primitive instinct without the constructs of society. Although he is obnoxious and grotesque, Caliban operates on the simplistic level of a naive child. His verbal and physical conduct, while heinous and offensive, are the product of his untaught primal compulsions, rather than a desire to harm and incite fear. Unlike Prospero, he does not torture and torment for his own amusement and pleasure; he simply reacts animalistically to his environment, as he was barred from education while a slave on the island. He acts simply to pursue his own advantage, taking all necessary measures to ensure his own survival and personal gain, unable to consider how heavy the cost of his actions may be on others. As soon as Caliban can be judged a monster, a child can be punished for his natural immaturity. Mary Shelley's Frankenstein provides an interesting parallel to Shakespeare's “creator” and “creature.” Shelley depicts the dangers of wantonness and obsession in the character of Victor Frankenstein, whose devolution in pursuing his passion for science leaves him a maniacal shell of his former self and costs him everything he once held dear. He is fascinated by the idea of ​​reviving a deceased figure, becoming completely involved in this singular quest, remarking: "I seemed to have lost all soul or sensation if not for this quest." (55). The rebirth of Frankenstein's Creature marks the emergence of not one but two forms of monstrosity: one, the disfigured Creature, and the other, ironically, the creator, Dr. Frankenstein. The unholy desire to create unnatural life drove Victor Frankenstein to confuse morality and distance himself so far from humanity that he emerged from his experiments as a monster, detached from humanity by a mind rotten enough to harbor such a profane idea. After the Creature comes to life, Frankenstein, horrified by the reality of his actions, abandons his creation in the hope of escaping it. Victor's attitude is best summed up when he says, "I clung to every pretense of delay and refused to take the first step" (155). His cowardice and shame allow him to turn a blind eye to his conscience. Ultimately, mortification and contrition push Doctor Frankenstein to attempt to take revenge on the Creature, but this is to no avail. Ultimately, Frankenstein's quest to gain god-like power results in a loss of his humanity, transforming him from a passionate scientist into a monster himself. The phrase "Frankenstein's Monster" often conjures up images of an unintelligent, barbaric, orcish creature with clumsily screwed-in bolts. in the neck and green skin covering a huge shape. The reality is that Victor Frankenstein's creation was not the stolid, mindless creature that pop culture often presents him as. Although deformed and frightening in its physical appearance, the Creature begins its life seeking companionship and satisfaction through socialization with other people. Moments after his creation, the Creature displays friendly, non-aggressive behavior toward Dr. Frankenstein, who is immediately horrified by the Creature's mangled appearance and the reality of what he had done (58-60). This initial abandonment by its creator is the first but certainly not the last example of rejection in the Creature's life. The Creature is left, alone and confused, forced to acclimate to the human world despite carrying a subhuman physique. Mentally, the Creature advances greatly and becomes unrecognizable from the intellectually dull creature and.