Frankenstein
Frankenstein is enormously important as a prototype for science fiction and as an early feminist
work.
Mary Wollstonecraft Godwin Shelley was born in 18th-century London to two influential
writers. Her mother, Mary Wollstonecraft, was a radical feminist who died after giving birth to
Mary, and her father, William Godwin, raised her alone.
Mary left home at 16, married Percy Shelley after his first wife's suicide, and wrote Frankenstein
in a writer's challenge from Lord Byron in 1816-1817. The story, based on a horrendous vision,
was composed during sweeping life changes. Frankenstein was published anonymously in 1818.
However, the story is enduring in its psychological drama, questions asked, and memorable
characterizations. The story has adapted to many forms, with each adaptation telling a very
different version of Shelley's original tale.
Frankenstein is an advisory notice done up in gothic costume, warning post-industrial society
about the explosion of scientific knowledge and its potential misapplication and the subsequent
dehumanization of mankind. Much as the silent sci-fi film Metropolis warned of the need for
labor unions, Frankenstein warned of the need for considered action in the use of knowledge,
and the alienation in store for driven knowledge seekers. In Frankenstein, Shelley asks who
exactly the real monster is.
Frankenstein is a text which needs to be read in light not only of Mary Shelley's personal views
and background, but also in light of the era from which it came. The early Nineteenth Century
was an exceptional time, generating exceptional events, people, ideas and also literature, of
which Frankenstein is an example.
Shelley's text is indubitably a reflection on the people, ideas and events of the time in which she
lived - for all her initial intention was to write a ghost story, she could not (any more than any
writer can) avoid writing about what was current and important. For that reason, an
understanding of the age and its concerns helps to illuminate Frankenstein.
There are a number of aspects of the time which are worth some study. You will find below
information on some of them, and links to sites with information on others.
The Gothic
The term 'gothic' is used freely in our time, despite most people's having little comprehension of
what it means with regard to literature. The simplest definition is a style of fiction characterized
by the use of desolate or remote settings and macabre, mysterious or violent incidents. This,
however, deals only with the outward appearance of the genre. At a deeper level, the Gothic can
be characterized by exploration of social values, prescriptions and proscriptions, concern with
good and evil, and questions regarding the boundaries between what is human, monstrous,
natural, unnatural, supernatural and divine. The Gothic uses monsters and the unknown to make
readers consider and examine what knowledge is, and what being 'human' really means. It is a
world which opened up "the dark irrational side of human nature - the savage egoism, the
perverse impulses, and the nightmarish terrors that lie beneath the controlled and ordered
surface of the conscious mind." (Introduction to the Norton Anthology of English Literature Vol
II, 1993, M H Abrams ed.)
The Enlightenment
The Enlightenment (as the major cultural movement of the Eighteenth Century is called), was a
culmination of previous thought and progress, and the beginning of new. New ideas and new
approaches to old institutions - largely controversial - were setting the stage for revolutions to
come. Predominant ideas in Enlightenment thinking were:
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Autonomy of reason
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Perfectibility and progress
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Confidence in the ability to discover causation
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Principles governing nature, man and society
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Assault on traditional authority
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Cosmopolitan solidarity of enlightened intellectuals
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Disgust with nationalism
The Enlightenment was an age when reason ruled. Confidence was increasingly placed in the
rational, and analysis by observation and experience replaced trust in tradition and belief. It was
believed that order and regularity came from the analysis of observed facts, and this principle
(however naive and laughably positive that may seem from a modern perspective) was applied to
psychological and social processes. Its legacy can still be seen in our museums - British
museums are currently able to exhibit around 10% of the artifacts they possess, but continue to
collect (the British Museum now adding even credit cards to its coin collection) working on the
Enlightenment principle that to observe and categorize the material world sets us on the road to
comprehension of the universe.
The Romantic Period
Gothicism is part of the Romantic Movement that started in the late eighteenth century and
lasted to roughly three decades into the nineteenth century. The Romantic Movement is
characterised by innovation (instead of traditionalism), spontaneity (according to Wordsworth
good poetry is a "spontaneous overflow of powerful feelings), freedom of thought and expression
(especially the thoughts and feelings of the poet himself), an idealisation of nature (Romantic
poets were also referred to as "nature poets") and the belief of living in an age of "new
beginnings and high possibilities."
Romanticism/Dark Romanticism:
Why does the Romantic era offer, amidst its soaring affirmations of the human imagination and
the passions, powerful explorations of the dark side of human nature? Why, right alongside (or
maybe just beneath the surface of) the dreams of "natural piety," the dignity of the individual,
and the redemptive power of art do we find the nightmare world of the gothic, the grotesque, and
the psychotic? Critics and literary historians have come up with three main ideas:

the sleep of reason produces monsters: the Romantic rebellion against Right Reason
undermines the moral, primarily didactic role of art, opening it up to all kinds of
previously forbidden or irrational and maybe even immoral subjects; an aesthetics based
on the imagination can just as well lead us down a "dark chasm" as deliver us to a new
paradise.

"reason" is in-itself a kind of sleep (Blake calls it "Newton's stony sleep"); over-reliance
on rationalism will invariably breed fascination with the terms it banishes; we remember
that the first gothic novels came during the zenith of the Enlightenment; this is essentially
a Freudian model: the return of repressed content to haunt the official aesthetic doctrine-the eruption of the id upon a too restrictive super-ego.
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"sinners in the hands of an angry God": this theory stresses the return of traditional
understandings of guilt and divine retribution upon the freethinkers of this revolutionary
age; this is a rich source of terror, from Coleridge's "Rime of the Ancient Mariner" to
Shelley's Frankenstein
Themes
Readings of Frankenstein
There are a large number of possible readings of Frankenstein. It is worth considering the extent
to which the novel can be seen as:
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a discussion of 'good' and 'evil'
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an affirmation of Romanticism over Enlightenment ideas

an advocation of knowledge in moderation/with care
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a discussion of the Nature/Nurture debate
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a criticism of social attitudes (showing the dangers of ostracizing people on unreasonable,
prejudiced grounds)
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a statement of the need to respect the Creator and Creation
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a criticism of (male) Prometheanism
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an affirmation of conservative (non-revolutionary) politics

a warning of what happens when we teach our children that property, wealth and high
status are important, but available only to a few

a birth anxiety narrative
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a criticism of Percy Shelley as an absentee father
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a statement of the need for family and friendship
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a condemnation of man's rejection of 'normal' (socially sanctioned) sexuality
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an exploration of the idea of the noble savage
Death in Frankenstein
Death is a theme running throughout the story of Frankenstein, indeed most of the book's
characters meet their ends in one way or another before the final page is turned. Those who do
not are either intending to die soon (the Creature) or possibly could (Walton, who has been in the
Arctic for months and whose crew is depleted and fed up with him).
It is then ironic that Frankenstein states early on in the novel "Wealth was an inferior object; but
what glory would attend the discovery, if I could banish disease from the human frame, and
render man invulnerable to any but a violent death!" As a consequence of his actions, most of
his friends and fimily end up meeting violent deaths at the hands of the Creature.
"Life and death appeared to me ideal bounds, which I should first break through, and pour a
torrent of light into our dark world... I thought, that if I could bestow animation upon lifeless
matter, I might in process of time (although I now found it impossible) renew life where death
had apparently devoted the body to corruption."
Frankenstein wishes to interfere with the natural process of death in a godlike way but this
backfires on him. By the end of the book he feels that death is all he has left to look forward to.
Shelley is perhaps making a point about the inevitability of death and the repercussions of
interfering with nature, even its negative aspects.
The book suggests that a person can die peacefully and not fear death if they are a good person
and have resolved all matters in their lives before they die. Examples of this are Caroline
Beaufort and Justine, both of whose deaths are sacrifices.
In order to find a way to overcome death, Frankenstein pillages graveyards, showing a complete
disrespect not only for the natural order of things, but for people who have already died.
Two characters in the book are condemned to death by the government; Safie's father and
Justine. In neither of these cases is the death deserved - Shelley seems to be saying that no
human being has the right to decide another's death, that the government's power is not that
great, that it should be left to the forces of nature.
Each time one of Victor's family or friends are murdered, Frankenstein's state of mind seems to
suffer and even his physical state deteriorates - this shows what a powerful effect death can have
on others, and the irrepressible guilt that is caused by Frankenstein knowing that he caused these
deaths.
The death of Henry Clerval also represents the metaphorical death of Frankenstein's romantic
self. Victor loses the friend that let him appreciate goodness and nature; once Clerval is gone he
only thinks of revenge - he is driven by darker purposes.
Victor becomes doubly responsible for Elizabeth's death: he built her murderer and he sent her
(for her protection, tragically) into the precise moment of death.
The Double
In Mary Shelley's Frankenstein, The Creature and Victor can be said to be doubles. They share
similar traits, which suggest the two are closely linked to one another.
The fact that Shelley portrays the two characters as a reflection of the other means that the reader
is more likely to draw comparisons between them both. The Creature is generally portrayed as
the more sympathetic. As Victor becomes more monstrous, the Creature becomes more 'human.'
One way in which Shelley establishes the link between the two characters is through their use of
similar language. An example of this is the repetition of "miserable wretch"
Both also use Biblical language:
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
"Do you not fear the fierce vengeance of my arm wreaked upon your miserable
head?"(Victor) - suggests Victor in God/Creator role.
"I considered Satan as the fitter emblem of my condition."(Creature)
Both can be compared to Biblical / Mythical figures:
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God - Victor 'creates' the first of a species; the Creature has the power to wreak revenge
(similar to a Greek god).
Adam - Victor ruins his life through seeking knowledge and loses the 'perfect' life; the
Creature is the first of a species and is left alone with nature (he names the plants). He,
too, asks for a female companion and is cast out by his creator.
the Devil - Victor is devilish from the Creature's point of view and spends much time
around death. He can also be compared to Lucifer, who fell from Heaven; the Creature is
vengeful and destructive.
Prometheus - Victor is punished for creating and seeking forbidden knowledge. His
transgression of social laws is similar to Prometheus' defiance of the gods; the Creature is
trapped in eternal misery.
In Greek mythology, Prometheus is a Titan, and trickster figure who is credited with
the creation of man from clay, and who defies the gods and gives fire to humanity (theft of fire),
an act that enabled progress and civilization. Prometheus is known for his intelligence and as a
champion of mankind. The punishment of Prometheus as a consequence of the theft is a
major theme of his mythology, and is a popular subject of both ancient and modern art.
Both meet their downfall through the gaining of knowledge. Victor's ambition and thirst for
knowledge lead him to create the Creature, which is the beginning of his downfall: "more deeply
smitten with the thirst for knowledge." The Creature's downfall begins when he learns about the
values of society, which exclude him (achieved through reading books). He realizes he can never
belong.
Both possess masculinity. Victor presides over a feminine act (birth). The Creature is masculine
in appearance. Both display a disregard of females, as the Creature makes promises on behalf of
the female companion without consulting her and Victor simply destroys her.
Even traits that the two possess that are not the same are often opposites, which also links the
two:
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Victor is primarily concerned with a quest for knowledge (science), though he eventually
turns to nature. This is Enlightenment thought. The Creature is primarily concerned with
nature, though this eventually becomes little comfort for him. This is Romantic thought.
Victor possesses foresight, as illustrated through his strange dream, yet he never seems to
act on this. The Creature possesses hindsight. An example of this is the way he realizes
that his knowledge contributed to his downfall.
Victor is the deliverer of injustice, particularly through his treatment of the Creature. The
Creature is perhaps the character who has the most injustice committed against him,
particularly because of his appearance.
Whilst both are charismatic through their ability to use emotive language, only Victor
reaps the benefits of this as people are too prejudiced against the Creature.
These differences seem to favor the Creature, making him the more sympathetic character
of the two.
Some might say that the Creature and Victor are the same person and that the Creature never
really existed. Possible reasons for this are:


The Creature was a figment of a psychopathic Frankenstein's imagination.
Frankenstein himself directly murdered his relations (Ernest excluded) and that the
Creature was part of a fanciful tale to act as an excuse.
However, evidence seems to suggest that this is unlikely and the Creature did actually exist.
Unless...



Walton himself was a psychopath who displayed the same symptoms as Frankenstein,
which explains why he sees both of them together at the end.
Walton had spent too long on the ice and was delusional.
The Creature was part of a tale fabricated by Walton and Frankenstein in order to make
Walton look good upon his return to England and to make Frankenstein look like some
divine, creative genius (assuming, of course, that Frankenstein himself exists and is not
just part of the story invented by Walton to entertain his sister and to explain the end of
his determined, driven quest.)
Shelley probably did not intend for this. The Creature and Victor, though very similar, are two
different people.
Further thoughts on use of the Double

Both Frankenstein and the Creature are self-loathing:
Frankenstein - "I was seized by remorse and the sense of guilt, which hurried me away to
a hell of intense tortures, such as no language can describe."
Creature - Why did I live?"

Before beginning to build the female creature, Frankenstein knows that if he disagrees
with the Creature's requests Clerval will be killed:
Frankenstein - "I thought that the fiend followed me, and might expedite my remissness by
murdering my companion." - Frankenstein can see what the Creature will do, showing the
Creature - Frankenstein link.

Both Frankenstein and the Creature are isolated from society:
Frankenstein chooses isolation to build the Creature - "I could not tear my thoughts from
my employment." - when isolated he builds the Creature and this leads to disaster.
The Creature is forced into isolation as he is rejected by humans - "after my late dearly
bought experience, I dared not enter it." When the Creature is isolated (almost all of his
life) he murders and destroys.
Both Frankenstein and the Creature react negatively to isolation, showing the link of the
Double between them.

Both Frankenstein and the Creature suffer in the novel:
Frankenstein - "I am a blasted tree; the bolt has entered my soul." - Frankenstein suffers
in his misery and guilt.
The Creature suffers in loneliness - "I am alone, and miserable"
Both Frankenstein and the Creature are miserable, yet each of them believe that they,
themselves, suffer the most - this supports the theory of the Double.

Frankenstein thirsts for knowledge, as does the Creature:
Frankenstein - "deeply smitten with the thirst for knowledge" - science.
The Creature - "Who was I? What was I? Whence did I come?" - wanting to find how he
was created.
Like Frankenstein, the Creature wants to learn, as shown by his enjoyment of the
DeLacey's books.

Both Frankenstein and the Creature are monsters:
Frankenstein - "The first part of the deposition did not in the least interest me" Frankenstein is selfish, ambitious and obsessive - a monster on the inside.
The Creature - "I became fully convinced that I was in reality the monster that I am" - the
Creature is a monster in his deformed appearance.
The Creature is the living being which represents Frankenstein's evil side.

Women, to Frankenstein and the Creature, are the ultimate companions, providing
comfort and acceptance.
Frankenstein - "My future hopes and prospects are entirely bound up in the expectation
of our union." To Frankenstein, Elizabeth is his only joy which removes his guilty
conscience.
The Creature - " 'You must create a female for me, with whom I can live in the
interchange of those sympathies necessary for my being.' " - a partner would commiserate
with the Creature in his awful existence.
Both Frankenstein and the Creature want a partner to make their awful situation better.

Both Frankenstein and the Creature use dramatic and eloquent language.
Frankenstein - "The human frame could no longer support the agonies that I endured." he exaggerates the situation, so he sounds more like the 'tragic hero'.
The Creature - "No guilt, no mischief, no malignity, no misery, can be found comparable
to mine." - just like Frankenstein, he uses eloquent and dramatic language to evoke
sympathy.
The repetition of the idea of misery, self-induced by both Frankenstein (in creating the
Creature) and the Creature (in killing Frankenstein) supports the idea of the Double.