Human Consequences of Humanity's Technology

More important, however, is that the creative bearing backfires. One could say Victor discovers, like a god, perhaps, that it's lone(a) at the top, and that playing god has unintended consequences for world beings. The monster is the most obviously isolated figure in the book, in spite of his ability to communicate, particularly when he demands that Victor puddle a mate for him. But beyond a certain acme even Victor will not go:

"You must(prenominal)(prenominal) create a female for me, with whom I can give out in the interchange of those sympathies necessary for my being. This you alone can do; and I demand it of you as a right which you must not refuse to concede." . . .

"I do refuse it, I replied; "and no torture shall ever extort a take from me. You may render me the most miserable of men, moreover you shall never make me base in my own eyes. Shall I create another like yourself, whose joint wickedness might run off the world! Begone!. I have answered you; you may torture me, but I will never consent" (Shelley 123).

As a matter of fact, Victor has already gone too far. More, he is already base in his own eyes, and he has created what he has choke--like the monster, a wicked, deformed creature as far as the virtuous consequences of actions are concerned? The monster proceeds to sanctify Victor's destruction, but Victor is well into the process of destroying himself, experiencing firsthand the clean-living dilemma implied by the irrevocability of a scientific, technological culture. It is after

Optimism is more elusive in Slaughterhouse Five, which seems finisher to the tradition of Russian nihilism than Frankenstein. The most positive human beings experience for nightstick is an occasional moment of pleasure, and the birdsong that closes the original points in a hopeful direction. But these moments do not compensate for the knowledge that all of life comprises structured moments. Billy is fated to be acted upon and to behave in a predetermined universe; he has no role in ascertain his fate. If Frankenstein shows the moral risk of becoming God, it also presents an opportunity for human reason to assert itself.

Frankenstein is consistent with what could be called a moral critique of emergent industrialization, which irrevocably transformed the whole of humanity, and which Shelley appears to watch is at best a mixed blessing for humankind. The moral dilemma created by "progress" that outgrows its creator and inevitably develops as it were a life of its own constitutes as well the festering of Victor's character. On this view, the novel is a cautionary tale and by implication a critique of the culture (and perhaps decisive, irrevocable victory) of industrialism or more exactly of the encounter of the bleak ambiguities of fresh industrialization with residue of sensibilities about right and wrong.

this meeting that Victor's isolation accelerates, from family, friends, beloved, as "one by one, my friends were snatched away; I was leave desolate. . . . My father and Ernest yet lived; but the former sunk down the stairs the tidings that I bore. . . . Cursed, cursed be the fiend that brought trial on his grey hairs, and . . . the horrors that were accumulated around him" (Shelley 168). On the subject of it, Victor is speaking of the monster, but really he has become the fiend, a victim of the scientific hubris. When Victor pursues the monster to the ends of the earth, the moment is a peculiar kinship between creator and creation.

The bombers [not the pack!] opened their bo
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