Category: Frankenstein

Some may say, they have sacrificed their sleep to finish their homework in time. Does losing sleep for a couple of extra minutes to work on it worth it? Many regret giving up their sleep and wish they would have started earlier. In the novel, Frankenstein, by Mary Shelley the characters make many sacrifices to reach their ambitions. In Frankenstein, Robert Walton and Victor Frankenstein is shown to make sacrifices for their curiosity and goals. In the end, was it worth it for either of them? Did they reach the goal they strive for?

In the beginning of the novel, Robert Walton makes multiple sacrifices for his ambition to journey to the north pole. Before his exploration, Robert puts himself through harsh preparations by voluntarily “endur[ing] cold, famine, thirst and want of sleep” (Shelley 3). Robert even believes that he works harder than the common sailor. He sacrifices his own physical health so that he may have a higher chance in succeeding in his journey. Robert shows that working harder than the sailors and preparing for the harshest conditions is nothing compared to the glory he will achieve through his journey. While in the midst of his expedition Robert meets Victor, who then advises the adventurer not to go down the same path as him. Victor warns Robert because of his mindset that “one man’s life or death were but a small price to pay” (14). This shows how Robert is willing to sacrifice his crew member’s lives for the sake of reaching his goal. He is willing to do everything and anything for success and that because of it, he believes that he deserves glory.

Robert, in the end, returns before completing his journey up north. Walton returns because he promises that if the “vessel should be freed [he] would instantly direct [his] course southwards” (Shelley 223) rather than continuing to further dangers ahead. Here Robert promises his crew that he would return south, should their ship be free from the ice for their safety. Due to this promise all of Robert’s preparation for his journey ends in vain. He put his body through all the painful experiences of the cold, hunger, and lack of sleep, just to back out halfway through his journey. Robert sacrificing his physical health is not worth it because he does not end up reaching his goals. Unlike Victor however, Robert saves the lives of his crew members rather than leading them to their death. Shelley shows that even if Robert is willing to sacrifice anything for his goals, it was not meant to be, and so his sacrifices were for nothing.

In the case of Victor, he sacrifices poor health and isolates himself from society for his ambition to create new life. As Victor works on his creation he “forg[ets] those friends” (Shelly 45) who are many miles away, that he has not seen in a long time. Instead of spending quality time with his friends and family, Victor decides to shut himself in isolation. No other human in the novel has done the same. Even Robert, who put his body in danger for his ambitions, still writes letters to his sister to keep in touch. However just like Robert, Victor also puts his body through horrible conditions. Shutting himself inside day and night, Victor forgets to take proper care of his health. As he finished his creation Victor is struck by a “fever which confined [him] for several months” (53). This was due to Victor not taking good care of his own health, which leads him to be bedridden. Just like Robert, Victor did not care for his own health to reach his ambition of creating new life. Shelley suggests that for Victor’s passions he is willing to shun his family as well as his health to become the creator of this new species.

Was it worth it for Victor to create the creature? He shortly deserts the creature right after it’s creation because of disgust, which then proceeds to kill his family. Victor abandons the creature because he believes that his creation “could not be so hideous as that wretch” (Shelley 49). All that Victor sacrifices for his creation ends up in vain. All the struggle he put his body through and the worrying of his family to just end up deserting the final result of his passions. Unlike Robert, Victor does reach his end result but the state his body is left with, traumatizes him away from the science he once loved. This is the first sign we see Victor regretting finishing his project. Once the creature first kills William, and indirectly Justine, Victor feels responsible for their deaths. He admits to himself that the “graves of William and Justine, [are] the first hapless victims” (84) of the creature he created. This is when Shelley clearly tells the reader that Victor regrets pursuing his passion in science because it led to the death of his family members. It is not worth it for Victor to make those sacrifices because he is not pleased with the result of his curiosity.

With all this in mind, just like Robert Walton and Victor Frankenstein, many people make sacrifices to make their dreams and ambitions come true. Sometimes, these sacrifices may be worth it and other times it may not be. Unfortunately for Robert and Victor, they do not get the results they want; additionally, they put at risk the people who are of value. No one should sacrifice more than they can afford to lose.

Similarly to the society we live in, characters in a literary text belong to different social status, and their social status contributes to the development of characterization. For example, Mary Shelley’s novel Frankenstein written in 1817 and John Milton’s Paradise Lost, an epic poem written in 1667 involves characters that are in a high social status, an outcast of the society and the ones that are protected by superior one. Social status in Frankenstein and Paradise Lost is significant and contributes to characterization by developing the characters’ ambition, relationship with its creator, and gender roles.

Social status in a literary text is significant and contributes to characterization by developing the characters’ ambition. Frankenstein is a novel about a scientist named Victor Frankenstein who creates a human being which is referred as the monster, and whom becomes his lifetime enemy. In Frankenstein, Victor Frankenstein has been raised in a wealthy family, and says he had the best childhood anyone could wish for. He has the lucky opportunity to read a lot of books and receive education since a young age. He goes to the university of Ingolstadt, which at that time and even today, is often a privilege that people in a high social status get. Being in this high social status created an ambition to create a human being. People who were in a lower social status will not have such an ambition because if you don’t receive education and know about science, you will not want to create a human being. In Paradise Lost, there is a strict hierarchy described. The God is the superior one, then his son, then the archangels and angels. On Earth, Adam and Eve are ranked higher than animals, and the devils are in the lowest class. Satan, the main devil in the story is a fallen angel, which means he used to be an angel before ordered to leave heaven. He also gathered other angels to revlt against god, so he was at realtively a high rank. Heaven itself is at the top, then Earth is beneath it and hell is at the bottom. Being in the lowest rank of the hierarchy, Satan has the ambition to become the most superior one. He also doesn’t understand why God’s son is ranked higher than him. He becomes ambitious and caused a war against God. Falling from a high rank to a low rank could cause a huge damage to him. On the other hand, the monster is a social outcast. A social outcast is usually not accepted by any social groups. He is not accepted by the society, which could be seen when he enters a village and the villagers ran away with fear and disgust and tries to kill him. This rejection of the society makes him hate all humans and to promise himself to do a revenge on them.

Social status in Frankenstein and Paradise Lost is significant and contributes to characterization by developing the characters’ relationship with its creator. The creator should be superior than its creation. Therefore, God had to be superior to Adam and Eve, and Frankenstein had to be superior to the monster. This creates a social status between the characters. In the Garden of Eden, Adam and Eve were protected by God and his angels. He was allowed to eat every fruit on the trees except for the Tree of Knowledge. In contrast, the monster was abandoned by Frankenstein as soon as he was created, and had to live on his own, unprotected. Furthermore, Adam and Eve, and the monster asks their creators why they were created. Especially the monster wishes very much that he wasn’t created so ugly and to suffer. In both Frankenstein and Paradise Lost, both Adam and Eve and the monster revolt against their creators. Adam and Eve breaks the promise with God and eats the fruit from the Tree of Knowledge, and the monster takes revenge on Frankenstein by killing Frankenstein’s loved ones and messing his physical and mental health. In both literary texts, the relationship between the creator and the creation is not good. Adam and Eve gets sent away from the Garden of Eden, and the future of humanity was doomed because of them. On the other hand, in Frankenstein, the monster is not the one that gets punished. It is the creator, who dies as a result of his weakness caused by trying to stop the monster from causing more harm. Another difference between these two literary texts is that in Frankenstein, when the monster requests Victor to create a female monster, his request does not come true because Victor destroys the female monster in the process of making it. However, in Paradise Lost, God creates Eve for Adam, when requested. Therefore, the relationship between the creator and the creation was more positive in Paradise Lost, at the beginning of the story.

Social status in Frankenstein and Paradise Lost is significant and contributes to characterization by developing the characters gender roles. In both Frankenstein and Paradise Lost, female characters have a lower social status. For example, in Frankenstein, Elizabeth Lavenza is adopted by Victor’s family when Victor was still a child, and is introduced as Victor’s “present”. This develops her gentle, warm character, because she knows that she must respect Victor’s parents who have adopted her, and she unconsciously knew she was Victor’s “present”. While Victor goes to university to fill his desire of growing his knowledge, Elizabeth is told by Victor’s mother to take care of the other siblings after she dies. These conditions of taking care of the household and staying quiet behind men, makes Elizabeth a typical feminine character from the time it was published. In Paradise Lost, Eve is created after Adam. God takes one of Adam’s ribs and created her for Adam. God creates a male, before a female, and the same happens in Frankenstein (Although in Frankenstein, Victor makes a female monster and destroys it, so the monster does not have any company). This creates an order of superiority because the one that is created first is more superior than the next one. Why didn’t God or Victor create a woman first, instead of man?

Social status in Frankenstein and Paradise Lost is significant and contributes to characterization by developing the characters’ ambition, relationship with its creator, and gender roles. Often times there is a trend that if a character is in a particular social status, they will have the particular characteristics. This social status is significant for the audience to learn about the characters. However, the pattern is not always true. For example, although Frankenstein is in a high social status, he is not bragging about his wealth or looking down at people in a lower social class, which is typically what a person with a high social status sometimes do. These characters who are unconventional, unexpected and does not follow the stereotypes makes them interesting and insightful.

Isolation can damage both our physical and mental health. As humans, we are hardwired to interact with others. When one is isolated from others, the brain begins to act in strange ways to preserve its sanity.

The author of ‘Frankenstein’, Mary Shelley, uses the monster to develop the themes of the destructive nature of isolation, drawing one towards violence to fill the void of loneliness. When Victor Frankenstein is successful in bringing back the dead, he fears his creation and flees, isolating the creature, thus not teaching him how to function in society (Shelley, 32). Without “a being resembling” him, nor a connection to society, the creature is forced to watch civilization from a distance, where he dreams of family and romantic love (Shelley, 66). When trying to expose himself to society, he quickly sees that he is unwelcomed due to his appearance and wonders, “What am I?”, confused at his own purpose and existence in life (Shelley, 85). To satisfy his need of self-identification and acceptance, the creature finds Frankenstein to prompt him to create a mate for him (Shelley, 92). When Frankenstein denies him a mate, the creature is once again forced into isolation, his anger and sorrow motivating him to isolate his creator by destroying his loved ones so that he’ll suffer as he did. This anger and pain caused by isolation causes a chain reaction, expressing how it is in our nature to want to be connected with others. We as humans want a personal connection with another person, someone who we can relate to yourself. However, when we are denied this connection, we tend to feel angry and want to obtain vengeance for the denial.

Similarly, in ‘Grendel’ by John Gardner, Grendel is unwelcomed because of his physical appearance and his inability to communicate. His brutal outbursts and hostile relationship with humans are the result of Grendel’s misinterpreted attempts to reach out and communicate with someone else. Although he has his mother to bond with, he struggles with isolation, attempting to fix the void of loneliness with violence. Grendel embodied violent characteristics and a negative lifestyle in an attempt to relieve his lack socialization and connection, which causes “the worst pain” (Gardner 138), even if it meant he was viewed as the ‘bad guy’. In this instance, Grendel wanted so desperately to be part of society, that he accepted the role of the ‘monster’ to be recognized by the people of the town and to have at least a negative relationship rather than be stuck in isolation for eternity. Through the character of Grendel, it can be seen that it is human nature to not only want a personal connection, but also want a connection with a group of people and to be accepted by more than one. We crave to be welcomed by others, to have a role within a group and to be identified as part of that group. Without a group to belong to, we try to force ourselves into a role we might have not chosen initially, changing our morals and characteristics to be identified with others.

Life’s most challenging mental struggle is finding who you are and identifying yourself. Having a strong sense of identity seems to be desirable among people, bringing comfort and security. Lonely isolated people who struggle with an identity crisis often act out in order to try to establish their role within a relationship. As seen in both characters, Frankenstein and Grendel, isolation leads to emotional pain caused by isolation, thus leading to violence as a result of attempting to define one’s character and niche in both a personal relationship and a group relationship. Therefore, one who is not comfortable with themselves due to their environment will lead to a change in their identity which results in negative consequences and violence.

The phenomena of good and evil relating to social class, status, reputation and appearance have been explored and discussed in many literary works for hundreds of years. However, there are two monster classics that are known today specifically for commenting on reputation and appearance in relation to good and evil in the respected eras they lived in. These authors include Mary Shelley, the woman who wrote Frankenstein and Robert Louis Stevenson who wrote Dr. Jekyll and Mr. Hyde that was later translated into a movie. Frankenstein, the book, tells the life story of a scientist who contains good intentions and accidentally creates a monster who is too ugly to be compassionate towards. Dr. Jekyll and Mr. Hyde is a story about a doctor who takes a risk, to prove a very important point, and unleashes the evil of himself upon himself and the world, while continuously trying to contain this evil. Although it might not be clear through a traditional reading of the stories when one reads the stories with comparison in mind, it is evident that the authors are commenting on the society’s obsession with identity and appearance, and how the societies views should change, but both books address this in their own way. This can be observed through the motives and cause of the creations, to the nature of the creations all the way to the reputation of the dignified main characters in both stories.

The reason and cause, in other words, motives, of doing something is quite important. Many times one doesn’t realize what their main cause is at first but may realize sooner or later. This can be reflected in the creation of the monster of Frankenstein and Dr. Jekyll and Mr. Hyde. Both create monsters to prove the society wrong but do so in their own unique ways. Hyde tries to prove the two different parts of the soul, the good and the evil and tries to separate the two parts of his own soul. He subconsciously continues to prove that the good is what the society sees but the evil remains hidden and this must be changed. His want is to remove the evil, and thus, experiments on himself. On the contrary, Frankenstein unintentionally proves good plus good doesn’t necessarily equal good. This is kind of the opposite of what Hyde was stating. He subconsciously proves that even though society may value all the apparent goodness and reputation there is more to a person than just that. Overall, although the stories had differences, they came to prove one thing, appearance and identity is not the only thing in a person that should dictate status or likability.

Often when things are created or discovered, they are representative of their creators and lead to many other discoveries or methods to prove something wrong. This has been proven many times in history. In relation to the stories, both monsters, or creations, showed the ugly side of their creators and served the purpose of proving there is more to the creators, Dr. Jekyll and Victor, than the society may have seen previously. However, along with those similarities, there is a vast difference in the form of the creation. Mr. Hyde is a part of the soul of Dr. Jekyll while Frankenstein’s monster is a separate being from Frankenstein. Due to this tremendous difference, one may think Robert Louis Stevenson is more effective in portraying the message of his story. Since the creation is a part of Dr. Jekyll, it is quite apparent that he is not only good and how he is perceived in society reflects this. He also has an evil aspect to him that no one really knows about even after his death or “disappearance”. This can be understood from the last lines of the movie. These last lines are stated in contrast as a continuation to the beginning of the story where the general citizens curse the grave and “monster” inside of it, in the movie. One of Dr. Jekyll’s close friends says standing over his grave, which most thought of as the grave of Mr. Hyde, “I suggest we should tell none of what we know. It would serve no purpose, except tarnish the reputation of a fine man.” Another friend continues to say, “I suggest we should tell no one of what we know.” His friend replies, “Besides who would believe it anyway?” The quotes above explain how ignorant and narrow minded the people were at that time. They value nothing over appearance and identity and constantly only considered a man good if they were striving with those. However, the close friends of Dr. Jekyll understand that he was genuinely a good friend and didn’t judge him only on his appearance and identity unlike the rest of society. When the focus is shifted towards Frankenstein, the apparent connection between the monster and Victor can not be made. However, the resemblance in character is only evident if one reads the entire story. The monster is a more violent and blunt version of the evil part of Victor. Nonetheless, the differences do not take away from the message of the stories. Both stories are correctly able to outline that identity and appearance in the eyes of the society are not always the most correct and thus, one shouldn’t base a judgment of a person based solely on these aspects.

For many people, reputation, or the way someone sees them, maybe the cause of acting a certain way, or the cause of hiding something. In the stories, Dr. Jekyll and Mr. Hyde and Frankenstein, the underlying cause of the destruction of both main characters was the feeling of needing to behave in a certain manner. In this case, it was behaving in a way that a man of high status would act. Both, Dr. Jekyll and Victor Frankenstein were men of high honour and prestige in their respective societies. Due to their rank in society, they did not want to tell anyone about what they had created or done. This can be seen through the following direct quotes. This quote is said by the nanny in the story who also served as a young housemaid for Dr. Edward Jekyll. The nanny says, “One of the finest men of all of England!” In contrast to this, Victor in his book states, “My tale was not one to announce publicly; its astounding horror would be looked upon as madness by the vulgar.” The first quote explains how society viewed Dr. Jekyll. It also helps to explain why he felt so pressured to do something about his evil side and how it was taking over him. The second quote explains how Victor didn’t want to reveal to anyone how he was the “murderer” of his brother. It goes to show that he didn’t want his reputation and appearance in society to drop. However, the difference between Dr. Jekyll and Victor can easily be perceived through who they turn for help. When Dr. Jekyll needed help to take over his Mr. Hyde, he contacted his friends. However, when Victor needed mental help to get through all his pains and stress, he didn’t tell anybody. The only person that really got to know was Robert Walton, but he couldn’t do much. The similarities and differences only aid to prove that appearance and identity were not the only things that society should obsess over. In fact, the stories suggested that society should take a more wholesome approach to understand a human and appearance or identity shouldn’t determine the status of a person.

In conclusion, Mary Shelley and Robert Louis Stevenson are commenting on society’s obsession with identity and appearance, and how society’s views should change, in the books they have written but both books address this in their own way. This can be clearly interpreted through the unique motives and cause of the creations, to the distinctive nature of the creations all the way to the varied reputation of Dr. Jekyll and Mr. Hyde. Without a doubt, the outstanding works of these authors have changed the way that society views identity and appearance. Without the spread of these classics, it would be hard to think about what our societies’ obsessions would have looked like.

‘Grendel’ was written by John Gardner and in the novel, unlike the creature Grendel lives at home with his mother who occasionally lacks interaction with him. Because of this Grendel isn’t too pleased with his mother most of the time. For most mothers in today’s society, they communicate with us every day however that was quite the opposite when it came to his mother. For that reason, Grendel willing wants to engage within the society, by observing the humans. The humans don’t accept him, so later on his actions are influenced by the Shaper and the dragon. He grows hatred toward everyone. As a result, he spends 12 years killing the Geats. Until he’s eventually killed by Beowulf. “‘Why can’t I have someone to talk to?’, I said. The stars said nothing, but I pretended to ignore the rudeness. ‘The Shaper has people to talk to’, I said. I wrung my fingers. ‘Hrothgar has people to talk to’” (Chapter 4, p.53). Is what Grendel said after being chased out of town as he only wants companionship. He is also slightly confused on how the Shaper and Hrothgar get rewarded with acquaintance when they are aggressive and they’re liars and he was none of those things.

‘Frankenstein’ was written by Mary Shelley and in the novel a scientist named Victor Frankenstein creates and brings a creature to life. Victor is horrified and disgusted by the creature, and he immediately gains hatred toward it. In the novel it states: “… I possessed no money, no friends, no kind of property. I was, besides, endued with a figure hideously deformed and loathsome; I was not even of the same nature as man…When I looked around and saw and heard of none like me. Was I, then, a monster, a blot upon the earth, from which all men fled and whom all men disowned?” (Chapter 8, p.85). In this quote the creature sees himself as a nobody due to his appearance and lack of similar qualities as the humans. He sees himself as a monster now even though he doesn’t want to. The monster begs for understanding he felt lonely and abandoned by his creator. In my opinion the creature is more passionate than Grendel. Considering that he had legitimate reasons to murder certain individuals. Also, in the end when Victor dies the creature is modified and he decides to leave his misery behind by killing himself.

Both Grendel and Frankenstein somewhat have similar lives. Due to no one to teach them about the outside world, including communicating with humans. Both of these monsters are harshly judged and the society is terrified by both of these monsters which results in them being lonely and isolated. Grendel and Frankenstein are both abandoned by someone. Both are frustrated within themselves due to them being rejected and as a result they murder humans. Furthermore, throughout these entire novels the monsters wanting companionship is the most surprising and the most significant part.

What makes a monster? Many would argue that a monster is something that is cruel, inhumane, and abnormal. In our current society, there are many examples of monsters shown through movies, television, and literature. These examples usually depict these monsters as physically ugly beings with a lack of human qualities like emotion. In the very popular novel, Frankenstein, by Mary Shelley, the author uses Victor Frankenstein’s creation to make the reader question what it means to be a monster. Many believe that Victor’s creation is a monster due to its grotesque appearance and also its murderous rage. However, the reason behind Victor’s creation’s monstrosity is the alienation he and society have placed upon it. Thus, many argue that the monster in this story is actually Victor Frankenstein and his creation is merely a victim of his isolation. In her novel, Shelley introduces many elements such as selfishness and unnaturalness to define monstrosity. However, it seems as if a critical component to determine what makes someone or something a monster in the novel Frankenstein is alienation. The isolation that Victor Frankenstein places upon his creation and its separation from the people in their society is what led the creature to enact revenge and murder those closest to Victor.

One of the main characters in Mary Shelley’s novel, Victor Frankenstein, is somebody whose life has been consumed by the study of science. Victor had spent most of his life alienating himself from the rest of the world due to his thirst for knowledge. Victor himself is eerily obsessed with understanding the nature of the world around him and has chosen to isolate himself from his friends and family in his quest to construct his creation and experiments, “I seemed to have lost all soul or sensation but for this one pursuit” (Shelley 29). Victor at the point of building his creature is completely submersed in the thrill and mission to create life out of death and won’t stop until he has finished. However, unlike Victor Frankenstein, his creation does not want to be isolated from the outside world. His entire journey in life was about finding and making connections with those around him. But due to the nature in which Victor created his creature, his physical appearance makes the creature an “other”. Due to this, on the first appearance, the monster is something that is truly horrific according to Victor. The very first experience that the creature has with humans is the instance in which it was born and opens its eyes to see Victor terrified. Victor in response ran away from his creation, “but now that I have finished, the beauty of the dream vanished, and breathless horror and disgust filled my heart” (Shelley 32), leaving the creature alone and unaware of who/what it is and also why it sparks fear in others. Victor leaves his creation based entirely on its appearance, judging it at first glance to be something harmful and disgusting. Not only this, but perhaps the creature was so horrific due to its human-like presence that Victor was terrified of his own capabilities as a creator to create something so closely related to humans while not entirely being human. And by not giving the creature a name, dehumanizes it and makes it an object to be afraid of rather than something to try and understand. But at this point in the text, the creature itself is unaware of right and wrong, it is like a young child. And although the monster does not understand yet the effects in which the alienation from his creator will have on him, it still is a major factor in his rage later on in the novel.

Through alienation by Victor and also the reactions and treatments of the people he encounters are what drive him to become monstrous. The first group of people that the creature encounters are the villagers. The creature simply longs for a companion and some form of connection with other people. Once he stumbles upon a small village is where the creature begins to realize the nature of his appearance, “I had hardly placed my foot within the door before the children shrieked, and one of the women fainted. The whole village was roused; some fled, some attacked me” (Shelley 65) Due to its grotesque physical body, the creature is alienated from every person it comes into contact with, forcing it to flee and scavenge for food and shelter. Not only are the villagers horrified by his appearance, but they also take part in physical violence toward the creature. Due to the reaction it received from the villagers, when it discovers more humans it decides to hide and observe the family from a distance instead, learning from their behaviors and longing for the acceptance and compassion of a family dynamic. However, this ends just like before with the family in the cottage fearing and running for their lives. Here is the turning point for the creature, comprehending that it does not fit in with the world around it and although it is made up of human body parts and reflects human emotion it still is shunned by those around it. This realization is where the monster enacts its revenge, “should I feel kindness towards my enemies? No; from that moment I declared everlasting war against the species, and more than that, against him who had formed me and sent me forth to this insupportable misery.” (Shelley 86) One can see that the creature is merely a victim in the sense that it longs for a companion and does not desire to be isolated, but because Victor Frankenstein not only created this creature to look the way it does but also by abandoning it, it leads the creature to despise man-kind and mostly its creator. Throughout the entire story, it seems as if the creature just wanted to escape the alienation that was placed upon it by Victor and to finally know what it is like to be and feel love. In this instance, I think that the creature understands that the reasoning behind its misery is not only because of the people in the society that shunned it, but rather the one who created its existence. If Victor had not abandoned the creature or made it look so terrifying, perhaps it would be accepted into society and treated like a person rather than an “other”. Making a point to internalize the violence that it has experienced from the humans and rather than running away, it is going to fight back with force.

In conclusion, in Mary Shelley’s Frankenstein, the element of isolation is proven to be a critical factor in what makes someone or something a monster. In the case of the creature, the alienation it received from its creator and the world around it caused it to retaliate and show violence towards Victor and those he loves. It can also be said that the nature of monstrosity is created by society and the alienation of anything known as “other.” Alienation, proven in this novel, can drive some people and some things to absolute destruction. As human beings, connecting with others is essential in our growth as individuals and without these relationships, it can cause those who lack them to lash out. This is exactly what happened to Frankenstein’s creation, it wasn’t until after the creature noticed the full effects of its alienation that it doomed the human population and Victor himself.

Mary Shelley’s novel, Frankenstein, is a timeless classic. It is an iconic work of literature that has been widely analyzed and discussed for nearly 200 years.

In it, she tells the story of Victor Frankenstein and his creation, the monster. The distinction between Victor and his creation is often blurred as readers debate who is truly the real monster in this story. While Victor created the creature with an ambition to do good, he ultimately failed to take responsibility for his actions and abandoned his creation. In my essay, I would like to take a closer look at both characters and analyze who is really the monster in this dark tale. 

Victor Frankenstein – The Scientist or Madman? 

Victor Frankenstein is a tragic hero due to his reckless choices and disregard for potential consequences. He is a scientist and medical student who is highly passionate about science, but lacks foresight when putting his ideas into action. When creating the monster, Victor fails to anticipate what the repercussions may be, and this careless mistake has far-reaching influences on the characters and plot of the novel. His ignorance in making decisions demonstrates that he rarely considers what could result from his actions, leading him to suffer dire consequences throughout the story.

The thought of creating life scared Victor so much that he decided not to do so again. However, this does not stop him from continuing his experiments on animals and even people! This shows that Victor does not think about what will happen if he continues doing these experiments, though they are illegal because they involve human subjects without their consent or knowledge (like Frankenstein’s family).

The primary argument against Victor being labeled a “monster” is that he had good intentions when creating his creature. After all, he was trying to create life from death, which could be seen as a noble goal. 

However, it can be argued that Victor was driven by his own ambition and hubris rather than any moral code. He chose to ignore the warnings of others about meddling in matters best left alone, and instead pursued his own agenda without regard for anyone else. This selfishness could qualify him as a “monster,” since it caused so much suffering for so many people. 

The Creature – Victim or Villain? 

From the moment of its birth, the monster has been abandoned by humanity. To make matters worse, when humans do come into contact with him, they recoil in fear and disgust – furthering ostracizing him from society. Despite this treatment, however, he still retains an innate desire to connect with humanity, something which Victor refuses to provide him with even though it was within his power to do so. 

On the other hand, one could make a case for labeling the creature as the “monster” in this story. After all, he was created with no understanding of right and wrong and yet still chose to act on his impulses to hurt others, even though they had done nothing wrong to him. He also seemed to take pleasure in causing fear and destruction among those he encountered, which makes him seem more like a villain than a victim. 

Conclusion

Ultimately, who we choose to label as the “monster” in Mary Shelley’s Frankenstein comes down to interpretation. Many might argue that Victor Frankenstein is at fault for his ambition and lack of consideration for creating his own creature and then leaving it behind. On the other hand, some contend that the creature itself can be considered the true monster with its acts of aggression and violence as a way to cope with its loneliness. However, regardless of who becomes labeled as ‘the monster’, there remains a resounding truth: this tale’s real beast isn’t either character; it’s our own human nature.

A response to the scientific breakthroughs and technological advancements of the Industrial Revolution, the British Romantic period was a literary movement that revived an appreciation of the arts, stressing intense emotion in its works. In particular, Gothic fiction, a genre of Romantic literature that centered around dark, macabre elements, gained popularity throughout Europe and the world. One such Gothic-based timeless classic, Frankenstein, by Mary Shelley, explores the theme of science versus nature. Victor Frankenstein, a radical monomaniac-scientist who shatters the laws of nature and revolutionizes the life creation process – using science – plays with fire at his own expense, facing life-changing tolls as a result of his actions.

Through the use of imagery to display Victor Frankenstein’s bodily manifestations of emotions, Shelley illustrates how he ceaselessly shoulders anxiety and remorse for his overreaching and irresponsible venture in creating the creature, conveying that manipulating the natural order of things will inevitably have repercussions. Shelley utilizes rich descriptive language to illustrate Victor Frankenstein’s physical and mental derangement shortly after he brings the creature to life, demonstrating the consequences of crossing the limits of nature.

After instilling life in the creature, Victor is appalled by its outlandish appearance and attempts to seek forgetfulness, remarking, “…I was disturbed by the wildest dreams. I thought I saw Elizabeth…as I imprinted the first kiss on her lips, they became livid with the hue of death…I saw the grave worms crawling in the folds of [my dead mother’s] flannel. I started from my sleep in horror; a cold dew covered my forehead, my teeth chattered, and every limb became convulsed; when, by the dim and yellow light of the moon, as it forced its way through the window shutters, I beheld the wretch…” (Shelley 56). Shelley evokes the absurd death of Elizabeth, an endearing person and source of joy to Victor, in his nightmare, implying his true loss of sanity after he is overwhelmed with horror. Victor’s morbid dream insinuates subconscious fears that by creating life, he is bringing death – not only to the creature but to his loved ones as well. Impulsively, Victor flees his apartment, expressing, “Sometimes my pulse beat so quickly and hardly, I felt the palpitation of every artery; at others, I nearly sank to the ground through languor…I sought to avoid the wretch whom I feared every turning of the street would present to my view…[I] felt impelled to hurry on, although wetted by the rain, which poured from a black and comfortless sky…My heart palpitated in the sickness of fear…” (Shelley 57-58). Here, Victor is shown suffering fluctuating bodily responses to his intense heart palpitations, suggesting that he is in an incapacitated-like state as a byproduct of his terror.

The fact that Frankenstein becomes much more conscious of his organic self indicates the haunting impact his over-ambition and knowledge of biology have upon his psyche. In addition, Shelley invokes Gothic scenery to reflect Frankenstein’s mental state at the time; the wet, dismal, comfortless weather echo Frankenstein’s lassitude and anxiety. The mood of suspense is intensified for the reader as Shelley suggests that the pursuing force that Frankenstein experiences is unrelenting and has a terrifically detrimental effect on the pursued. By writing as such, Shelley is able to overtone that tampering with the moral laws of nature will come at a price. Gothic elements fuse with vivid kinetic and visual imagery to reflect Frankenstein’s mental and physical loss of sanity as well as inevitable doom as he is stupefied by his creation.

The author uses sensory imagery to illustrate Victor’s traumatic emotions when he starts losing loved ones at the grips of the creature, suggesting that it is a punishment for interfering in the realm of nature. After learning about the murder of his brother William, Frankenstein arrives home and soon after, witnesses Justine, a close family friend, be wrongfully executed with the charge. He adjudges that the creature played foul, blaming none other than himself for their deaths. Victor is guilt-ridden, claiming, “The blood flowed freely in my veins, but a weight of despair and remorse pressed on my heart, which nothing could remove. Sleep fled from my eyes; I wandered like an evil spirit, for I had committed deeds of mischief beyond description horrible, and more, much more (I persuaded myself), was yet behind.” (Shelley 101). Here, the author reveals the extent of Victor’s pressing remorse by exemplifying imagery through the use of a powerful simile, likening his state to an “evil spirit”. This has a double effect on the reader suggesting Victor’s condition is too miserable to describe, thus empowering the reader to imagine him as the most Hadean individual in his/her eyes. By depicting Victor as such, Shelley is effectively able to portray the extirpation of his soul and predestined damnation, underscoring the costs of manipulating nature.

Victor’s misery upsurges as the creature continue to impinge on his life, ultimately murdering all his loved ones in a sinister, systematic manner. Following the demise of his venerated father, Victor contemplates, “What then became of me? I know not; I lost sensation, and chains and darkness were the only objects that pressed upon me…For [my miseries] had called me mad; and during many months, as I understood, a solitary cell had been my habitation.” (Shelley 245). Shelley capitalizes on the bleak and traumatic consequences of Frankenstein’s actions in creating an unnatural product of science by accentuating Victor’s literal and emotional imprisonment, where he is swallowed into an abyss of “chains” and “darkness”. When Shelley writes that Victor is a “lost sensation”, she suggests he is benumbed in physical and mental claustrophobia, implicating to readers that Frankenstein is in a living hell. Through portraying Frankenstein’s inner crises, Shelley is effectively able to convey the consequences of tampering with the laws of nature. Throughout the story, Shelley brings Victor Frankenstein’s character to life by detailing his seemingly perpetual traumatic physical and mental condition, indicating it is the price he has to pay for his actions.

In this essay I aim to discuss and analyze the concept of heroism in Mary Shelley’s gothic novel ‘Frankenstein’. I will also discuss the way in which both Frankenstein and his monster are heroes. Furthermore, I will explore the different archetypes of heroes, e.g., the romantic hero, the tragic hero, the Byronic hero and the anti-hero. Additionally, I will discuss the features of romanticism Shelly uses throughout the novel. To conclude, I will evaluate whether Frankenstein or his monster is more heroic.

By its very definition from the Cambridge dictionary, heroism is great bravery. In a simple sense, Frankenstein’s creation does fit the mold of what a hero is. He is chivalrous and loyal. He displays these heroic qualities through helping a family in need. Through helping others when he receives nothing in return.

“Even broken in spirit as he is, no one can feel more deeply than he does the beauties of nature. The starry sky, the sea, and every sight afforded by these wonderful regions, seems still to have the power of elevating his soul from earth. Such a man has a double existence: he may suffer misery, and be overwhelmed by disappointments; yet, when he has retired into himself, he will be like a celestial spirit that has a halo around him, within whose circle no grief or folly ventures” (Shelly, p.32). One of romanticisms most vital features is its celebration of nature. This is clearly expressed through the lexical field of nature: starry sky, sea, earth. Shelley depicts Frankenstein’s monster as deep, there is an irony that even though he isn’t human, his emotions are such. Whereas Victor Frankenstein, his creator, doesn’t possess this profound human disposition. Even if Victor Frankenstein comes to terms with the natural world with a disconnected, quantifiable view on which the new science depends, he is still only human. Time and time again, the beauty of nature moves Victor. For example, when he finds himself in Geneva his home, encircled by the mountainous Alps. Through this, Shelley echoes the Romantics’ adoration of nature, and the impressive power of her beauty. Only at Victor’s lowest, nature is his only comfort. And at his most miserable, horrified by his own creation and trepidatious at the thought of his monster seeking revenge on him. Victor finds solace in the enduring stability of the mountains and the restful quiet of Lake Geneva. This puts his suffering into perspective and reminds him that while suffering is temporary, the natural world is eternal. Victor does find consolation in the persistent solidity of the mountains and the soothing tranquility of Lake Geneva.

A feature of romantic writing is having a fixation on protagonists and their emotions. Shelley cleverly displays this throughout the novel. A romantic hero is a character who discards the established conventions and norms in society. They are typically dark, brooding and self-centered. Heroism even comes down to double meaning Frankenstein’s name, Victor. Which is a person who has defeated their enemy or opponent in a battle. He even goes as for to declare himself victorious over the creature’s death. The monster refers to himself as the ‘Adam of all labors’. This allusion to Catholicism is very compelling. A common message of Frankenstein is not to play God, and that backfires tremendously on Victor Frankenstein. Adam was God’s first human creation. Frankenstein’s monster was the first reanimation of a corpse. Religion also links to features of romanticism. Frankenstein’s monster is also given monstrous insults all throughout the novel: the fiend, the wretch, the daemon. These epithets can be linked to him being a misunderstood outcast, a common trope with a romantic hero.

A different type of hero is the tragic hero. A what makes a tragic hero tragic is their fatal flaw. In ‘Frankenstein’, Victor Frankenstein’s flaw is his quest for ultimate knowledge. It is his hubristic ego and lack of empathy that also leads to his downfall. As Shelley writes: “So much has been done, exclaimed the soul of Frankenstein—more, far more, will I achieve, treading in the steps already marked, I will pioneer a new way, explore unknown powers, and unfold to the world he deepest mysteries of creation” (Shelley, p.86). Victor, referring to himself in third person, portrays how egotistical he is. This assertive statement also forebodes that Victor’s desire won’t be shifted by any of the horrendous ramifications of his pursuit for boundless knowledge, thus exemplifying his tragic flaw as the protagonist. “It was the secrets of heaven and earth that I desired to learn […] still my inquiries were directed to the metaphysical, or in its highest sense, the physical secrets of the word” (Shelley, p.60). In this quote Victor Frankenstein’s true needs is revealed. Success to Victor is gaining knowledge that no other human being has ever possessed. Heroic qualities of being strong-willed and driven lead him to a doomed fate. This is because his overpowering desire to take on this ‘godly’ role won’t be repressed. Frankenstein’s quest for discovery past the physical realm solidifies him as a heroic figure. Through trying to transcend the limitations of the natural world he can be seen a daring, bold and fearless.

Another important factor to Frankenstein is its inspiration, Prometheus. Even the full title of the novel being ‘Frankenstein; or, The Modern Prometheus’. Based on the Greek mythology, Prometheus, the titular titan was known for being a cunning trickster. He was prominently known for defying the gods by bestowing the element of fire onto the human race. As a result of this he was cruelly punished by the gods through being chained down and having his liver ate by an eagle every day. There are echoes parallel to the character of Victor Frankenstein’s monster. The ultimate fates of these protagonists are the same. Both are penalized for the pursuit of revolutionary ideas that are considered profane or unorthodox. In the end, it is at the hands of their own creatures, whether directly or indirectly, that they are tortured.

Another novel which has parallels to Frankenstein is ‘Heroism and Paradise Lost’. Lucifer/Satan, ubiquitously known for being the prince of evil and suffering, has his side of the story told. Both Frankenstein and Lucifer/Satan are doomed by the same factor. The unjustness of their creators. Through ‘Heroism and Paradise Lost’, William R. Herman specifies: “The Hellenic hero we associate those qualities of individuality, self-determination, and physical courage that endure alone against what seems to be ineluctable odds” (Herman, p.13). The qualities stream echoes in Frankenstein, both characters try to endure a world that does not accept them for who they are. They can be seen as heroes for this determination and willpower.

Another hero archetype is the Byronic hero. Typically, this is the architype Victor Frankenstein would fall into. Victor Frankenstein’s intense drive and strong-wiled nature to live out his philosophy without the regard for other characters philosophies produce immense conflict. As a result of this, the outcome is tragic. Because of this, he is very defiant, having a disgust for social institutions and norms, and is disrespectful of rank and privilege, though he often has said rank and privilege himself. This rebellion often leads to social isolation, rejection or exile, or to being treated as an outlaw, but he won’t compromise, being unavoidably self-destructive.

Further, in his article titled ‘Perfecting Monstrosity: Frankenstein and the Enlightenment Debate on Perfectibility’ Alexander Cook states: “If we want to use the sometimes-obfuscating terminology of Enlightenment and Romanticism, the longing for an alignment with, rather than a transcendence of, nature was at least as much an ‘Enlightenment’ ideal as a ‘Romantic’ one – arguably more so. While this might not be the most heroic path towards human emancipation or happiness it is not a denial of their possibility” (Cook, p.251). Through this reading it is clear that reaching the pinnacle of something controversial isn’t so much heroic, but the claim isn’t denied of its reach.

Furthermore, appearance plays a significant role to a character being heroic. Do they wear light colors? A cape? Are they good-looking? Or do they just have a look of determination on their face? Shelley subverts these expectations. In ‘Frankenstein’, the monster’s appearance is hideous, but his heart is in the right place. Characters such as Elizabeth, Justine and Henry are described as attractive and in this they are ‘good’. Elizabeth is described as “lively and animated”. In a way, this opposes Victor’s pale and sickly appearance and stoic nature. She is also described as “the most fragile creature in the world” (Shelley, p.20). The adjective ‘fragile’ makes Elizabeth’s character seem very acquiescent, the superlative in ‘in the world’ further exemplifies this quality of being dutiful. A notable feature of being a hero is making a sacrifice for the greater good. Elizabeth is selfless in the ways she devotes to her life to helping the Frankenstein family.

“I will revenge my injuries; if I cannot inspire love, I will cause fear, and chiefly towards you my arch enemy, because my creator, do swear inextinguishable hatred” (Shelley, p.336). Frankenstein, referring to his creator as his ‘arch enemy’, puts himself in the position of being heroic by opposing him. The quote also exemplifies the justifiable hatred the creature feels. His revenge can be seen as justice and putting an end to Victor Frankenstein’s controversial discovery. Furthermore, this quote exemplifies the suffering Victor Frankenstein has bestowed onto his creation, in doing this it makes his creature heroic as he is trying to overturn an evil dead.

Another way Victor Frankenstein can be perceived is an anti-hero. The ‘spark’, which is used while bringing his creation to life, is a form of light that may seem to symbolize life in this narrative. On the over hand, the spark can highlight the light and dark qualities of humanity—much like an anti-hero being two sides of the same coin. While on the surface he may appear to be a decent individual, Frankenstein is motivated by ambition rather than morals and ethics. Indulging in the literature of ancient magicians, he plots to assemble and bring to life a human being, ignoring the dangerous costs of such a task, if executed successfully, may unleash upon the world. And when that task is executed successfully, he runs from his creation in fear, leaving it to fend for itself. He then goes on to whine about all his misfortunes without even considering the misfortunes of others.

In conclusion, Victor Frankenstein and his monster both heroic in different ways. When each of the pair come of controversial, it makes the other look more heroic.

Introduction: The Multifaceted Nature of Frankenstein

Mary Shelley’s Frankenstein, or the Modern Prometheus is a 19th-century masterpiece part of the literary canon. In the vast majority of cases, it has been classified as part of the Gothic genre. Moore and Strachan (2010) have pointed out that the Gothic novel is a key Romantic genre that deals with the supernatural and, as Ruston (2007) adds, the character’s psychological response to these supernatural events. Mary Shelley shared in her 1831 introduction to Frankenstein that her intention was to “awaken thrilling horror” by telling the story of an isolated scientist who goes beyond his limits as a mortal and suffers the consequences. Nonetheless, Hindle (1994) considers that Frankenstein is more than just a tale of terror. Despite having the Gothic elements of suspense, sublime landscapes, and supernatural presence, Hindle reasons that classifying Frankenstein as a fully Gothic novel is a mistake. Most scholars have agreed with Hindle on how complicated is to attribute just one genre to this novel. A number of them, such as Kroeber (1988), consider Frankenstein a precursor of the science-fiction novel because it deals with science and the presence of a monster, which will be key elements in the 20th-century science-fiction novels that will follow. On the other hand, there are some critics, such as George Levine, who see this novel as an early work of realism. Levine (1973) argues that Frankenstein consists of a number of techniques and heroic attitudes that are usually located within the realistic genre. However, if there is something in which the majority of them have agreed on, it is the Romantic nature of the novel.

The Historical and Literary Context of Romanticism

Romanticism can be understood in two different ways: as a historical period from 1785 to 1832; or as a literary movement that spread all over Europe and focused on emotion, nature, and subjectivity (Breen and Noble, 2002). Romanticism in English Literature was born with the poets Wordsworth, Blake, and Coleridge. The second generation of Romantic poets, also referred to as the High Romantics, were Keats, Shelley, and Byron. Even though the poem was the highest Romantic form of expression, there was also a production of fiction, essays, and newspapers. According to Brown (1991), Romantic novelists used to write historical, social and gothic novels, and the two most common narrative forms were the picturesque and the epistolary. Mary Shelley’s Frankenstein is an epistolary novel with three different narrators. Apart from its complex narrative form, the novel has other Romantic elements and devices: a Romantic hero with a Promethean quest, Romantic settings, the dichotomy between emotion and rationality, and the themes of nature and light. As an author writing during Romanticism, Mary Shelley was influenced by the philosophers Locke and Rousseau and other Romantic poets and contemporaries. During the summer of 1816, she spent some time living in the French Alps in the company of her husband Shelley and Lord Byron: “Many and long were the conversations between Lord Byron and Shelley, to which I was devour but nearly silent listener. During one of these, various philosophical doctrines were discussed, and among others the nature of the principle of life, and whether there was any probability of its ever being discovered and communication” (Shelley, 1831 introduction). It seems certain that her novel was heavily influenced by these two poets and the dilemmas of the time it was written.

The Modern Prometheus: Frankenstein’s Romantic Hero

The first relation between Frankenstein and Romanticism may be found in its subtitle: The Modern Prometheus. As it can be guessed from the subtitle, in this novel Mary Shelley deals with the moral consequences of going beyond the limits of your humanity. During Romanticism, there was a wide spread of the myth of Prometheus. As Hindle (1985) pinpoints, Mary Shelley relied on the two-existent versions of the myth of Prometheus to create her ambitious male protagonists: in the Greek version, Prometheus represents the freedom from the oppressor; whereas, in Ovid’s Metamorphoses, Prometheus is a creator who inserts life in men with the help of fire. This myth-character was considered the ideal Romantic hero, which is an archetype of character that rejects the social norms and codes, has a feeling of wanderlust and is isolated from the rest of society. The feeling of wanderlust of the Romantic heroes usually involves a quest of self-discovery, which Hindle defines as the Promethean quest. Victor Frankenstein is a Romantic hero whose quest is to discover the ‘secret of life’. In order to achieve his ambitious goal, Victor isolates himself from his family and friends, crosses all bounds and usurps God’s task of creating life. ? The myth of Prometheus is not the only literary work that inspired Mary Shelley’s novel. At the beginning of the novel, the author included these lines from John Milton’s Paradise Lost, which fascinated and inspired many of the works of the Romantic poets:

“Did I request thee, Maker, from my clay

To mould me mass? Did I solicit thee

From darkness to promote me?”.

(Milton 1667, 743–45).

Literary Influences: From Paradise Lost to Rousseau

The creature is a representation of Adam in Paradise Lost. He never asked to be brought into this cruel world that rejects his existence: “Cursed, cursed creator! Why did I live? Why, in that instant, did I not extinguish the spark of existence which you had so wantonly bestowed? I know not; despair had not yet taken possession of me; my feelings were those of rage and revenge.” (Shelley 1818, p. 95). However, the main difference between Adam and Frankenstein’s creature is that God created Adam as the personification of perfection, while Victor created the monster by putting together pieces of dead men, his creature is “wretched, helpless, and alone” (Shelley, 1818). As Victor’s monster is not the perfect creation and has been rejected by society, he identifies himself more with the fallen angel, Satan. Baldick (1987, p. 180) expresses it in the following way: “Frankenstein takes part in [a] desecration [of John Milton’s Lost Paradise] by dramatizing Romanticism’s sympathy for the Devil”. There is a point in the novel in which Victor refers to the creature as ‘Devil’, and the creature’s answer is: “Remember, that I am thy creature; I ought to be thy Adam; but I am rather the fallen angel, whom thou drivest from joy for no misdeed” (Shelley 1818, p. 68). Lamb (1992) clarifies that the creature’s to Victor calling him ‘devil’ settles the creature’s acceptance of this identity as his own.

Romantic Settings and Philosophical Underpinnings

Another element that recalls the Romantic tradition is the setting of the novel. As Knellwolf and Goodall (2012) have stated, Mary Shelley did not choose the location of the plot arbitrary. Geneva, which is Victor’s birthplace, used to be a symbol of freedom for a 19th century Europe dominated by monarchies. It was in Geneva where Calvinism was founded and was the philosopher Rousseau was born. Hindle (1985) remarks that Rousseau’s ideas about society and freedom are quite present in Frankenstein, especially his theory about the Noble Savage. The philosopher believed that humans are at their rawest and most innocent stage when they are born. The Noble Savage embodies the innocence of someone that has not been corrupted by society. Frankenstein’s creature enjoyed this stage of innocence at the beginning, but in the course of the novel, he becomes evil and corrupted because of the cruel way in which society –and especially his creator– treated him. Knellwolf and Goodall (2012) and Hindle (1985) have recognized Ingolstadt as another significant Romantic location. This Bavarian town stood out in the 19th century because of its progressive principles. It was also the place where The Illuminate, a revolutionary society, was founded in the early 1780s. The Illuminate were part of the Enlightenment and believed that it was possible to improve society through the refinement of sensibility and exercising scientific research (Knellwolf and Goodall, 2012). It is notably important to remark that the Romantic movement was certainly born as a reaction against its precursor, the Enlightenment. On one hand, the Enlightenment, also called the “Age of Reason”, focused on rationality and the scientific method. As Fay (1998) comments, the followers of this movement maintained that reason was the only way in which people could get to know the natural world and the human self. On the other hand, Romanticism was more interested in the subjectivity and emotions. Fay concludes that with emotion is possible to have a better insight of the individual self. Emotion, also called the passions, was considered a purer path to knowledge of the natural world and understanding the relationship between man and nature. Furthermore, this view on emotion and nature supports the Romantic idea that nature and sublime landscapes could have an effect on the mood. Although Mary Shelley was clearly influenced by the Romantics and their idea of the opposition between intellect and emotion, in Frankenstein she introduced the theory of the scientific method, which was praised by the Enlightenment. According to Zakharieva (1996), the introduction of the scientific method to create the monsters makes Frankenstein different and more innovative than other Romantic novels or folks which deal with the creation of artificial beings.

Themes of Emotion and Nature: The Romantic Essence

One more aspect which illustrates Romanticism in Frankenstein is the themes of the novel. As it has been mentioned, during the Romantic movement there was a focus on the emotion. As many other Romantic poems and novels, Frankenstein includes very intense and visual descriptions of sublime landscapes. The relation between the themes nature and emotion is quite clear in this novel, Breen and Noble (2002) have supported this by analysing the scene in which Victor walks to Montanvert: “It is a scene terrifically desolate. In a thousand spots the traces of the winter avalanche may be perceived, where trees lie broken and strewed on the ground; some entirely destroyed, others bent, leaning upon the jutting rocks of the mountain, or transversely upon other trees … My heart, which was before sorrowful, now swelled with something like joy” (Shelley 1818, p. 66-67). Before this scene, Victor had an encounter with the creature that left him feeling hopeless and desperate. Now, the mere image of the sublime nature fills him with an emotion of joy and changes his mood. There are several references in the novel to nature and the effect it has on the characters, in other occasions nature is used as a mirror to the character’s emotions. There is a constant reference to the creature’s comfort when living in the landscapes that humans cannot access, namely, the glaciers. Breen and Noble (2002) have realized that this link between the sublime landscapes and the creature is connected to the Romantic celebration of nature and the creature’s immortality. According to Fay (1998), nature and emotion are not the only Romantic themes presented in the novel. The theme of light plays an important role in Frankenstein. During the Romantic movement, light was a symbol of knowledge, discovery, and life, which directly connects with the coming into life of Frankenstein’s creature. Hindle (1985) remarks that for the Romantic contemporaries, light also represented the medium by which people acquired their aspirations and wants. Mary Shelley establishes light as a symbol from the very beginning; Walton voices the motif of light when he refers to the North Pole as “the country of eternal light” (Shelley 1818, p. 7). When Victor discovers how to create life, his words are: “Until from the midst of this darkness a sudden light broke in upon me – a light so brilliant and wondrous, yet so simple” (Shelley 1818, p. 36). It seems certain that in these passages the motif of light represents discovery and knowledge, even though this is not its only meaning. Mary Shelley also uses the motif of light to symbolise danger and destruction, such as the fragment in which the creature burns himself with a flame or Victor sees lighting destroying a tree.

Conclusion: Frankenstein as a Romantic Critique

In conclusion, several of the ideas behind the Romantic literary movement can be identified in Frankenstein. Mary Shelley was part of the movement and enjoyed the company of many Romantic contemporaries that influenced her writing. Fleck (1967) asserts that she was especially influenced by her husband Percy B. Shelley and his “over-reaching heroes”. Victor Frankenstein represents the ideal Romantic hero whose ambitious quest leads him to his own downfall. By exploring the myth of Prometheus, John Milton’s Paradise Lost, and Rousseau’s Noble Savage, Mary Shelley deals with the moral consequences of going beyond your limits. There is an open debate about Frankenstein and its references to Romantic ideas. Fleck (1967) started a trend that other critics and scholars have decided to follow. He postulated that Mary Shelley’s use of the Romantic devices is in reality not a praising of the movement and its ideas, but a critique to its idealism. It would be interesting for farther research to follow the line started by Fleck and read Frankenstein as an anti-Romantic novel instead of a novel written in the Romantic tradition.