He is an introverted guy, which becomes a huge problem as he lives in a town where the there is a lot of gossip.
Griffin goes outside at night; however, be keeps himself completely bandaged up and wears a fake nose. The villagers think that he is very peculiar, especially because there are suddenly weird break-ins and a lot of robberies start happening in the village. But things become worse when the owner Janny Hall asks him to pay up his overture rent or leave.
So, he gets depressed and frustrated, taking off all his bandages and clothes and manages to disappear into the night with his invisibility tricks. But Marvel betrays him and takes him to the police, so Griffin runs away again. The Invisible Man beats them up and wreaks some major havoc while leaving. While he is on the run again, Griffin happens to meet Dr Kemp, his old acquaintance from medical school. Griffin then tells his friend Kemp about his experiments with invisibility. He also tells him how he has made plans to terrorize England by using his discovery of invisibility.
But Griffin still breaks through the police line and starts chasing Kemp into the town.
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But unfortunately, the locals get hold of Griffin and kill him. Griffin He is the Invisible Man. Primarily an albino college student , he changes his area of study from medicine to physics and then becomes interested in refractive indexes of tissue. While studying, he stumbles across formulae that would make body tissues invisible. Finally, he successfully tries the formula on himself and thinks about all the things he could do if he were invisible.
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Sadly, the positives are far outweighed by the disadvantages, so Griffin starts opting for crime as a means of survival. Thanks to the elusiveness of the Invisible Man, Wells's own story threatens to become opaque to him.
In this rare moment in his science fiction, we get a glimpse of what unites H. Wells the novelist and H. Wells the socialist — both believe in central planning. Wells was used to plotting his novels carefully so that he maintained strict control over their structure. He is distinguished, at least in his early science-fiction works, by the leanness of his plots, the fact that he generally excludes extraneous matter, and keeps a tight focus on his thematic concerns.
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He almost never grants any freedom to his characters. They exist only to carry out his plot and to express his ideas. The world of a Wells science-fiction novel may be beset by chaos and cataclysms — dying suns, rebellious beast people, invading Martians, giant insects run amok — but the novel itself remains well-ordered and clearly under the author's command. This obsession with control seems to have carried over into Wells's attitude toward politics and economics.
He expected society to be as well ordered and centrally planned as one of his novels. As a novelist, Wells was always looking for closure, for the artfully plotted story that would take shape once and for all time. The market is always in flux, continually adapting to changing circumstances in the natural world and the changing desires and attitudes of consumers. Hence Wells's dislike for the market. Like that of many artists, Wells's socialism has an aesthetic dimension. Wells's aesthetic distaste for contingency prejudiced him against the spontaneous order of the market economy.
He was used to the static perfection of a work of fiction, in which nothing is left to chance and the author takes responsibility for tying up all the loose ends by the conclusion. To understand more fully Wells's hostility as a creative writer to the Invisible Man and the capitalist order he represents, we must return to his characterization of Griffin. In the tradition of Victor Frankenstein, Griffin is a portrait of the scientist as a young artist. Wells deliberately eliminates all the collaborative aspects of scientific research, and presents Griffin as a solitary creative genius, operating like a Romantic artist alone and on the fringes of society.
By virtue of his invisibility, he becomes a kind of marked man, a Cain figure, obviously different from his fellow human beings and unable to participate in the normal pleasures of social life. His isolation both fuels and is fueled by his creativity, and Griffin becomes an example of the familiar Romantic principle that to be a creator, one must be prepared to suffer for one's creativity.
As we have seen, Wells is highly critical of his Invisible Man, to the point of imaginatively siding with his enemies. And yet, like most authors, Wells could not help to some extent sympathizing with his protagonist.
Thus, in addition to being a symbol of the capitalist order, the Invisible Man can be viewed as a self-portrait of Wells. Like his creator, Griffin is a man ahead of his time, so far ahead that the public fails to appreciate his genius. Griffin may thus give us a glimpse into his creator's dark side — the novelist may have revealed more than he wanted to about his own psychology and in particular his hostility to the market economy.
Griffin thinks of himself as a god among men — indeed he plays that role to the servant he adopts, Thomas Marvel, who even addresses him as "Lord. In many ways, his invisibility scheme is an attempt to compensate for his deep feelings of inferiority, inadequacy, and powerlessness.
Coming from humble origins, perpetually short of money, Griffin is a classic case of a man who tries to rise in the world by virtue of his wits; he wants desperately "to become famous at a blow. And I beheld, unclouded by doubt, a magnificent vision of all that invisibility might mean to a man….
And I, a shabby, poverty-struck, hemmed-in demonstrator, teaching fools in a provincial college, might suddenly become — this. In short, Griffin feels woefully undervalued by society. He knows that he is more intelligent than the people around him, but many of them make more money or hold more honored positions. Society does not reward intelligence sufficiently to suit Griffin. His invisibility scheme is an attempt to use his intelligence finally to obtain the rewards and privileges society has been denying him.
Griffin is out to prove something, as he tells the ignorant villagers of Iping: "'You don't understand,' he said, 'who I am or what I am. I'll show you. By Heaven! Griffin has a profound contempt for ordinary people, whom he regards as well beneath him in the one quality he esteems: intelligence.
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Every conceivable sort of silly creature that has ever been created has been sent to cross me. After all, it is the market economy that has denied Griffin the rewards he thinks he so richly deserves. The principal use Griffin makes of his invisibility is to redistribute wealth, to take it away from the established owners of property and send it flowing in his own direction.
To the extent that the Invisible Man seeks to undo the injustice of a market economy that in his view does not adequately reward merit, he may be said to be a socialist himself. I may appear to be contradicting myself, by presenting Wells's Invisible Man as at one moment a symbol of capitalism and at another of socialism.
But I believe that this contradiction lies in Wells's novel itself, that he portrays his central figure inconsistently. In many ways Wells was trying to give a portrait of the capitalist mentality in the figure of the Invisible Man, but he evidently invested too much of himself in his protagonist, and ended up simultaneously portraying the mentality of a political visionary, a man who tries to remake the world to fit his image of a just social order.
Indeed, at several points in the novel, the Invisible Man sounds a lot more like a radical revolutionary than a capitalist businessman.
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He conceives the idea of a Reign of Terror to establish and consolidate his power: "Port Burdock is no longer under the Queen, … it is under me — the Terror! This is day one of year one of the new epoch, — the Epoch of the Invisible Man. I am Invisible Man the First. As Griffin's proclamation of a new era indicates, this is in fact the language of revolutionary totalitarianism. Claiming to be able to spy into any corner of society and arrogating to himself the right to execute anyone he chooses, the Invisible Man becomes the mirror image of the panoptical, totalitarian regime arrayed against him.
His model of order is not the free market but absolute monarchy. In proclaiming himself "Invisible Man the First," Griffin is only drawing the logical conclusion from his belief in his mental superiority to all of humanity. He is smarter than all other men; hence he ought to be able to rule them and give order to their lives. In his own way, the Invisible Man becomes a profoundly atavistic force, 71 wanting to return England to its illiberal past, substituting one-man rule from above for any spontaneous ordering of market forces from below.
As a brilliant case study of ressentiment , Griffin allows us to observe the psychology of the modern, alienated intellectual and his typically anticapitalist mentality. This attitude helps explain why so many artists, scientists, academics, and other members of the intellectual and cultural elite have rejected capitalism and embraced socialism. They fantasize that a socialist order would undo the injustices of the market economy because, like Griffin, they secretly imagine that they will be the ones in charge of the centrally planned economy and thus able to redirect the flow of rewards as they see fit.
Wells himself provides a perfect example of this mentality, which may explain why he does such a good job of portraying Griffin. Like Griffin, Wells came from a humble background, spent time as a teacher, and used his wits a good deal more successfully to rise in the world and make himself famous. Wells's accounts of his own experience as a teacher sound suspiciously like Griffin's.
Consider this passage from Autobiography , p.