The Destruction Of The She-Creature In Mary Shelley's Frankenstein

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[Transition needed]Victor acquires the procreative power from females, and ironically, he destroys the she-creature that he intends to create for his he-creature. When Victor is still creating the she-creature, he imagines her to be “ten thousand times more malignant than her mate”, and he fears she “[may] refuse to comply with a compact male before her creation” because she “in all probability was to become a thinking and reasoning animal” (Shelley 118-119). However Victor rationalizes his destruction of the she-creature to be beneficial for the “whole human race” (Shelley 119), his fear for an disobedient she-creature still contributes. As Mellor states in Possessing Nature: The Female in Frankenstein: “[Victor] is afraid of an independent…show more content…
When Athena summons the jury to vote on whether or not Orestes is guilty of his matricide, Athena confirms her masculine childbirth and her devoted support to the men in marriage: “There is no mother anywhere who gave me birth, and, but for marriage, I am always for the male with all my heart, and strongly on my father’s side” (Aeschylus 151). Hence the matricide in vengeance of a woman’s killing of her husband is justified in Athena’s chronology, which roots in her childbirth from her father’s head. As a goddess, she denies her mother and supports the patriarchy, which ultimately imposes more masculine favor. The world Aeschylus presents in his play, or the real world that he portrays, builds on a subjection of females. As Froma Zeitlin states in "The Dynamics of Misogyny: Myth and Mythmaking in the Oresteia": “The Oresteia stands squarely within the misogynistic tradition which pervades Greek thought, a bias which both projects a combative dialogue in male-female interactions and which relates the mastery of the female to higher social goals” (Zeitlin 1-2). Aeschylus illustrates his play as the microcosm of a wider Greek patriarchy thought. A son spared from his matricide is just an literary exaggeration. His subtext reveals how females are subjected in the fifth century Greek…show more content…
Galia Benziman examines this Victorian societal discourse in her Challenging the Biological: The Fantasy of Male Birth as a Nineteenth-Century Narrative of Ethical Failure as both a rejection of the maternal female body and a proposal of medical and artificial manipulation of the conception and birth: “Both of them imply an urge to displace the biological-natural, the physical-sexual, and the feminine, and substitute them by the masculine, the technological, and the artificial” (Benziman 380). Female’s primal capacity would not be indispensible in the reproduction, which would lead to a wider substitution of female power and role in society. This urge to substitute masculinity and science for femininity takes the form of Victor’s creation of his creature in Frankenstein, where Shelley uses both the creation of the he-creature and the destruction of the she-creature to demonstrate. In her work, she opens up a window for readers to see the craze of such masculine childbirth and science in the nineteenth century, which expresses her worries and fears of such societal discourse. In Frankenstein, Victor eventually commits suicide, and his creature kills himself after Victor’s death. This tragic ending reveals Mary Shelley’s warning to readers that the misuse or overuse of science as a violation of femininity will be

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