Frankenstein and the Picture of Dorian Gray Research PaperImagine this: your eyes open at three in the morning. You sit up anxiously and look around the dark room, inhaling and exhaling as if you had just run for your life, the skin on your forehead and the soles of your hands damp with fresh sweat, and your eyes darting into the eyes. shadows in the corners of the room. bedroom, to the silhouette of the lamp by the window, briefly at your door, after a nightmare so horrible you know you won't be able to sleep peacefully for the rest of the night. This is the effect that an encounter with a monster could have on a person. A monster is a man who is, above all, an ignorant and extremely manipulatable individual, lacking a loving parent. Both writers use the juxtaposition of the initial benevolence that Creation and Dorian embody against their eventual depravity. A monstrous individual often has a visually striking appearance, which strongly affects other characters. In the 19th century, particularly during the Gothic period, during which Wilde wrote The Picture of Dorian Gray and Mary Shelley also wrote Frankenstein, the idea of ​​monstrosity became a popular subject in film and literature, and the basis of the modern horror genre began. Today, depictions of "monsters" vary from furry creatures with physical characteristics. Those who know how truly monstrous monsters are and how serious they are, as Shelley suggests when she writes: "To him man was a being with a myriad of lives and a myriad of sensations, a complex multiform creature which carried within itself strange legacies of thought and passion, and whose very flesh was stained with the monstrous diseases of the dead” (Wilde 137). A monster eventually becomes dangerous due to his anger towards his creator for causing him the pain of living in such a loathsome body, and in Dorian's case, he blames Basil for painting the infamous portrait of him that captures his beauty, and undergoes a mystical transformation that allows him to be an active witness to how Henry has corrupted him. Dorian ends up killing Basil and creation ends up killing Victor, indirectly, thus applying that “This murder of the “owner” can be seen as an attempt to resolve the question of resemblance to the Father. His death frees the creature from the burden. of monstrosity, but it is a temporary and unsatisfactory resolution in a poetic universe so strongly supported by religious desire” (Russsell 10). The major element of a monstrous person is this idea of ​​intimidating others.