Comparing Obsession in Mary Shelley’s Frankenstein and Aldous Huxley’s

Comparing Obsession in Mary Shelley’s Frankenstein and Aldous Huxley’s After Many A Summer Dies the Swan Authors leave fingerprints on the works they write. Underneath the story, hidden amidst the words, lies a worldview, a concept of humanity, a message. Mary Shelley’s Frankenstein is an entertaining story meant to give the reader goose bumps late at night, but the telling of the story also reveals Shelley’s concept about the basic fabric of human nature. In the same way Aldous Huxley in After Many A Summer Dies the Swan weaves a tale that is part story and part commentary on how humans interact and think and self- destruct. In Frankenstein, Mary Shelley portrays obsession as an anomalous aspect of human behavior resulting when people move away from their basically good nature, while Aldous Huxley portrays obsession as the most intrinsic of all human qualities. This paper will contrast the basic views presented in each book about the origin of obsession and its relation to human nature, giving examples of how the authors’ views are embodied in their characters. In the novel Frankenstein, Mary Shelley presents a view of human nature that is largely positive so long as it does not wander into the dangerous realm of obsession. She speaks of human endeavors and discoveries as being valuable and good. The young Victor is enchanted by scientists who have â€Å"performed miracles† by â€Å"penetrating the recesses of nature† (45). The discovery and contemplation of the natural world is a means by which characters find serenity and calm, and thus come in tune with the beauty of their humanity. In the midst of the sublime wilderness, even Victor contemplates â€Å"divine ideals of liberty and self-sacrifice† (1... ...nts human nature as basically good aside from the selfish obsession perpetuated by withdrawal from normal society and human behavior. Huxley offers a bleaker view, portraying self- obsession as an innate quality ensnaring all of his characters unless they are freed to transcend their humanity and seek another level of consciousness. If Shelley and Huxley were here today, debating the merits of their stance, Shelley may might utter the words of Pete Boone, â€Å"I suppose I’ve been too optimistic.† And Huxley, adjusting his thick glasses, might reply as Propter did, â€Å"Too optimistic in certain directions, and at the same time too pessimistic in others† (188). Works Cited Huxley, Aldous. After Many a Summer Dies the Swan. Mattituck, New York: American Reprint Company, 1976. Shelley, Mary. Frankenstein. New York: Barnes and Noble Classics. 2003.