Write on essay on dichtomy between science and literqturr
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Though science and literature appear to be two different genres, but there is no dichotomy between them. Rather they complement each other. Science tries to find 'what', 'why', and 'how' of life, and literature just describes life's experiences in different shades. Science depends upon literature for being recorded.
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Science has a dual nature. It can uplift and ice us with promises of a better tomorrow, free from disease and tedium, and often follow through with tangible technological and medical improvements. Such a bright future guaranteed by advancement in scientific knowledge can also be a source of anxiety and despair, as it only sheds more harsh light on the dim realities of the present. How, then, does the figure of the mad scientist fit in to this spectrum of science’s influence? The answer: not easily. The mad scientist has served many roles throughout his long literary trajectory, from the swindling alchemist to the misguided father. Such various roles attest to the broad range of meanings which science, in general, can be said to hold. The mad scientist is a caricature of the fear concerning unrestricted learning. However, his image becomes clearer when his own motives are examined alongside his work and creations. Most “mad” scientists are not truly maniacs because they are bent on destruction and world domination, but rather they, too, are caught up in this duality of scientific research.
According to Roslynn Haynes, in her article “The Alchemist in Fiction: The Master Narrative,” the “master narrative concerning science and scientists is about fear—fear of specialized knowledge and the power that knowledge confers on the few, leaving the majority of the population ignorant and therefore impotent” (5). She suggests that the “typical” mad scientist scenario has the deranged megalomaniac threatening the planet and, eventually, failing to follow through with his plans, leading to a “memory of disempowerment” among the general populace to be recalled each time a new scientific breakthrough is achieved. Furthermore, Christopher Toumey affirms, “The mad scientist stories of fiction and film are homilies on the evil of science” (1). Thus, Haynes and Toumey argue that fear and suspicion characterize our fascination with science in literature. Yet, fear alone is not enough to sustain some five hundred years of longevity enjoyed by the idea of the mad scientist, beginning with the legend of Doctor Faustus. Behind these mad scientist and alchemist figures lies a distinct sense of optimism, which likewise intrigues and captivates audiences. Best described by Haynes in From Faust to Strangelove, mad scientists, specifically Victor Frankenstein, are “the heirs of Baconian optimism and Enlightenment confidence that everything can ultimately be known and that such knowledge will inevitably be for the good” (94). Indeed, the protagonist of Mary Shelley’s 1818 Gothic masterpiece provides a good starting point from which to launch an examination into how the mad scientist’s work is not solely characterized by vain or arrogant desires, but rather deeply ingrained personal convictions and visions of a better tomorrow.