Frankenstein
{Mary Shelley – The Creator of Frankenstein, a timeless blend of gothic imagination, science, and horror}
Mary Shelley's personal life was as dramatic and unconventional as the stories she wrote, and it deeply influenced "Frankenstein."
Early Life and Influences:
Illustrious Parents, Tragic Beginnings: Mary was born into a family of prominent intellectuals.
Her mother was Mary Wollstonecraft, the pioneering feminist author of "A Vindication of the Rights of Woman." Her father was William Godwin, a renowned philosopher, novelist, and political journalist, and an anarchist. Tragically, her mother died just ten days after Mary's birth due to complications, a profound early loss that would resonate throughout Mary's life and work. A "Monster" in the Family? Godwin remarried four years later to Mary Jane Clairmont, who brought her own two children into the household. Mary had a difficult relationship with her stepmother, who often favored her own children and limited Mary's access to education, despite living in a house filled with books and intellectual discourse.
Some biographers suggest this dynamic, where a child feels unloved and neglected by a parental figure, might have influenced the Creature's sense of abandonment by Victor. Intellectual Environment: Despite the domestic challenges, Mary grew up in a stimulating environment.
Her father's home was frequented by leading intellectuals of the day, exposing her to radical ideas about politics, philosophy, and society. She was encouraged to read widely and think independently.
Relationship with Percy Bysshe Shelley and Personal Tragedies:
Elopement and Scandal: At 16, Mary met the charismatic and already married poet Percy Bysshe Shelley, a devoted admirer of her father's philosophical writings. They fell deeply in love, and in 1814, they eloped to France with Mary's stepsister Claire Clairmont, leaving behind Shelley's pregnant wife. This scandalized society and led to estrangement from her father for a time.
Loss of Children: The early years of Mary and Percy's relationship were marked by immense personal suffering and loss, which are undeniably central to the emotional core of "Frankenstein":
In 1815, she gave birth to a premature daughter who died just a few weeks later. Mary recorded this devastating event in her journal, writing about a dream where her baby "came to life again."
This experience of creating life and then losing it, and the desperate wish for its return, is a direct parallel to Victor Frankenstein's ambition and subsequent despair. Her first son, William, was born in 1816, but he died in 1819.
Her daughter Clara Everina died in 1818.
Only her fourth child, Percy Florence Shelley, born in 1819, survived to adulthood.
These repeated experiences of childbirth and the subsequent deaths of her infants profoundly shaped her understanding of creation, responsibility, grief, and abandonment – all central themes in "Frankenstein."
The "Year Without a Summer" and the Ghost Story Challenge: In the summer of 1816, Mary, Percy, Lord Byron, and John Polidori gathered at the Villa Diodati near Lake Geneva, Switzerland.
Due to unusually cold and stormy weather (a result of the eruption of Mount Tambora), they were confined indoors and challenged each other to write ghost stories. It was during this time that Mary conceived the idea for "Frankenstein," reportedly after a waking dream about a scientist creating life. This setting and the intellectual ferment among these Romantic figures were crucial to the novel's genesis.
"Frankenstein" as a Reflection of Her Life:
The Act of Creation and Abandonment: Victor Frankenstein's creation of life and subsequent abandonment of his "child" can be seen as a metaphorical exploration of Mary's own experiences with motherhood and loss. The creature's lament, "I am thy creature: I ought to be thy Adam; but I am rather the fallen angel," echoes a profound sense of paternal/maternal neglect.
Maternal Absence: The novel notably lacks a strong, nurturing maternal figure. Victor's mother dies early, and his subsequent "creation" is an entirely male endeavor, lacking any female input. This absence of the maternal, especially given Mary's own mother's early death and her difficult relationship with her stepmother, is a significant subtext.
The Outsider and Social Rejection: Mary herself experienced a degree of social ostracization due to her unconventional relationship with Percy Shelley and the scandal it caused.
The Creature's profound isolation and rejection by society mirror the experience of being an outsider, a theme Mary understood personally. Scientific Progress and Responsibility: Living in an era of rapid scientific discovery (e.g., Galvani's experiments with electricity and muscle contraction, which fascinated the Romantics), Shelley used "Frankenstein" to question the moral implications of such advancements.
Her father, William Godwin, was a rationalist, but Mary, having witnessed the emotional and destructive capabilities of human ambition firsthand, explored the darker side of unchecked scientific and intellectual pursuit. The Nature of Humanity: The Creature's journey from a benevolent, sentient being to a vengeful monster, largely due to the treatment it receives, poses questions about what truly constitutes "humanity" and whether monstrosity is inherent or learned.
This reflects Mary's deep understanding of human psychology and the impact of environment on character.
Mary Shelley's "Frankenstein" is not merely a horror story; it is a deeply personal and philosophical reflection on creation, loss, responsibility, and the human condition, born from a life filled with extraordinary intellectual stimulation and profound personal sorrow.
- Bold, dangerous scientific ambition.
- The unforeseen and tragic consequences of playing god.
- Human suffering caused by creators who act irresponsibly and then abandon their own creation, unlike Prometheus, who cared for mankind.
- Robert Walton's Letters: The novel opens with letters from Captain Robert Walton, an ambitious explorer on an arctic expedition, to his sister, Margaret Saville. Walton longs for glory and companionship, themes that parallel Victor Frankenstein's desires. He discovers Victor near death on the ice, rescues him, and records Victor's harrowing tale.
- Victor Frankenstein's Narrative: The bulk of the novel is Victor's first-person account, which he shares with Walton.
- The Creature's Narrative: Within Victor's story, the Creature himself gets a voice, recounting his own experiences, suffering, and development directly to Victor.
Plot Summary
Victor's Youth and Unchecked Ambition
Victor Frankenstein, a brilliant and sensitive young man from Geneva, is consumed by an insatiable curiosity about the fundamental secrets of life and death. Fascinated by ancient alchemists and the then-emerging science of galvanism, he enrolls at the University of Ingolstadt. There, his ambition to transcend human limits and "play God" takes hold. He becomes obsessed with the idea of creating life, driven by a desire for unparalleled glory and a yearning to conquer death itself, ignoring the ethical implications of such a monumental undertaking.
The Act of Creation and Immediate Abandonment
Working in secret, Victor dedicates himself to constructing a living being, piecing together parts from charnel houses and dissecting rooms. After months of feverish, isolated work that severely compromises his health and alienates him from his family, he finally succeeds in animating his Creature. However, the moment life sparks in his creation, Victor is overcome not by triumph but by profound horror and disgust at the creature's grotesque appearance. Filled with revulsion, he immediately abandons his "child" to a world it doesn't understand, fleeing his laboratory and his responsibility.
The Creature's Awakening and Painful Education
The Creature awakens alone and confused, a sentient being thrust into existence without guidance or compassion. It wanders the wilderness, suffering from hunger, cold, and the innate cruelty of nature. Through observation, it begins to learn about humanity, secretly watching a benevolent peasant family, the De Laceys, through a hovel window. It learns language, history, and morality by listening to their interactions and reading books like Paradise Lost, Plutarch's Lives, and The Sorrows of Young Werther. It longs for connection and dreams of finding acceptance.
Rejection, Despair, and Vengeance
Armed with knowledge but devoid of experience, the Creature finally attempts to approach old, blind De Lacey, hoping for kindness. However, the other De Laceys return, and, horrified by its monstrous appearance, violently drive it away. This brutal rejection, repeated by every human it encounters, crushes its initial innocence and hope. Overwhelmed by despair, loneliness, and the realization that its creator has abandoned it to a life of misery, the Creature's benevolent nature curdles into rage. It vows to exact revenge upon Victor Frankenstein for its wretched existence.
The Cycle of Murder and Demands
The Creature's vengeful campaign begins with the murder of Victor's innocent younger brother, William, framing the loyal family servant, Justine Moritz, who is subsequently executed. It then confronts Victor, recounting its profound suffering and demanding that Victor create a female companion, arguing that this is its only chance for peace and an escape from unbearable solitude. Torn by guilt and fear for his remaining loved ones, Victor reluctantly agrees.
The Aborted Second Creation and Renewed Fury
Victor travels to a remote island in the Orkneys to work on the female Creature. However, as he nears completion, he is overcome by a new wave of fear: what if the two creatures breed and create a monstrous race? Or what if the female proves even more malicious than the male? In a moment of panic, he destroys the half-finished companion, once again abandoning his promise and dooming the Creature to eternal loneliness. This second, even more profound betrayal ignites the Creature's fury, escalating its vengeful desires to a terrifying new level.
Escalating Vengeance and Ultimate Loss
Enraged and heartbroken, the Creature murders Victor's closest friend, Henry Clerval. It then ominously vows to be present on Victor's wedding night. True to its chilling promise, the Creature murders Victor's beloved bride, Elizabeth Lavenza, on their honeymoon, plunging Victor into unimaginable grief. His father dies shortly after from sorrow, leaving Victor utterly alone and broken.
The Arctic Chase and Victor's Demise
Consumed by a desperate thirst for vengeance, Victor dedicates his remaining life to hunting down his creation. The harrowing chase leads them across Europe and ultimately into the desolate, frozen wastes of the Arctic. There, Victor, near death from exhaustion and despair, is discovered by Captain Walton. Victor recounts his tragic tale, warning Walton against the perils of unchecked ambition, before finally succumbing to his suffering aboard Walton's ship.
The Creature's Lament and Final Disappearance
The Creature appears on Walton's ship, mourning over Victor's corpse. It expresses profound remorse for its violent actions, acknowledging the misery it has caused, yet also lamenting its own unbearable loneliness and suffering as a rejected outcast. With its creator dead and its purpose fulfilled, it announces its intention to travel to the "most northern extremity of the globe" to self-immolate, finding its ultimate peace in utter destruction.
Key Themes
The Dangers of Unchecked Ambition and Scientific Hubris
"Frankenstein" serves as a powerful cautionary tale against the pursuit of knowledge without ethical boundaries. Victor's downfall is a direct consequence of his vaulting ambition to transcend human limitations and usurp the role of God, without considering the moral ramifications or the potential for destruction his actions unleash. His scientific zeal becomes an isolating obsession, leading to neglect, suffering, and ultimately, his own demise.
The Responsibility of the Creator to Their Creation
A central ethical dilemma in the novel is the creator's moral obligation to their creation. Victor's abandonment of the Creature at its birth is the catalyst for all subsequent tragedy. Shelley compels readers to ponder what responsibility we have for the life we bring into existence, whether through science, art, or parenthood, and the devastating consequences of shirking that duty.
Prejudice, Social Exclusion, and the Making of a "Monster"
The Creature is initially benevolent, eager for connection, and capable of deep learning. However, it is repeatedly rejected and judged solely on its terrifying appearance by every human it encounters. This constant ostracism transforms its inherent goodness into malevolence and vengeance. The novel powerfully critiques societal prejudice, arguing that true monstrosity often lies not in physical form, but in the cruelty and intolerance of those who judge.
Nature vs. Nurture: The Genesis of Evil
Shelley profoundly explores whether the Creature's evil is an inherent aspect of its being (nature) or a product of its environment and the inhumane treatment it receives (nurture). The Creature's detailed narrative of its attempts to connect and its subsequent brutal rejections strongly suggests that its vengeful acts are a learned response to profound suffering and neglect, rather than an innate wickedness.
The Search for Identity and Belonging
Both Victor and the Creature are figures defined by their isolation. Victor isolates himself through his obsessive ambition and subsequent guilt, while the Creature is fundamentally alienated from all humanity, desperately longing for the connection, love, and acceptance that society denies it. This theme highlights the universal human need for belonging and the devastating impact of its absence.
Gothic Elements and Romantic Ideals
The novel is steeped in Gothic atmosphere, featuring remote, desolate settings (Alpine peaks, frozen Arctic wastes, isolated laboratories), intense emotional states of terror and despair, secrets, and a pervasive sense of impending doom. It also grapples with Romantic ideals, such as the sublime beauty and destructive power of nature, the isolated genius, and the profound emotional depth of individuals, often twisting these ideals into a darker, more cautionary form.
How does the film adaptation of Frankenstein diverge from Mary Shelley's original novel?
While Kenneth Branagh's 1994 film, Mary Shelley's Frankenstein, is often praised for being one of the most faithful adaptations, it still takes significant liberties with the source material to create a more dramatic and visually driven narrative. Here are some of the key differences between the movie and Mary Shelley's novel:
- “It was the secrets of heaven and earth that I desired to learn”.
- “So much has been done, exclaimed the soul of Victor, - 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 the deepest mysteries of creation”.
- “For when I would account to myself for the birth of that passion, which afterwards ruled my destiny, I find it arise, like a mountain river, from ignoble and almost forgotten sources; but swelling as it proceeded, it became the torrent which, in its course, has swept away all my hopes and joys”
- “I collected the instruments of life around me, that I might infuse a spark of being into the lifeless thing that lay at my feet”.
- “My imagination was vivid, yet my powers of analysis and application were intense; by the union of these qualities I conceived the idea and executed the creation of a man”.
- “His yellow skin scarcely covered the work of muscles and arteries beneath; his hair was of lustrous black, and flowing; his teeth of a pearly whiteness; but these luxuriances only formed a more horrid contrast with his watery eyes, that seemed almost of the same color as the dun-white sockets in which they were set, his shriveled complexion and straight black lips”.
- “The murderous mark of the fiend’s grasp was on her neck, and the breath had ceased to issue from her lips”.
- “I ought to be thy Adam, but I am rather the fallen angel, whom thou drivest from joy for no misdeed”.
- “I saw around me nothing but a dense and frightful darkness... The cup of life was poisoned for ever” (Victor’s reaction to Clerval’s murder).
- “Farewell, Walton! Seek happiness in tranquillity, and avoid ambition, even if it be only the apparently innocent one of distinguishing yourself in science and discoveries. Yet why do I say this? I have myself been blasted in these hopes, yet another may succeed”.
- “I shall die, and what I now feel be no longer felt. Soon these burning miseries will be extinct. I shall ascend my funeral pile triumphantly and exult in the agony of the torturing flames” (the creature’s final speech).
- “I ought to be thy Adam; but I am rather the fallen angel, whom thou drivest from joy for no misdeed.”
- “Listen to me, Frankenstein. You accuse me of murder; and yet you would, with a satisfied conscience, destroy your own creature. Oh, praise the eternal justice of man!”
- Victor’s abandonment condemns the creature to isolation and suffering, suggesting that monstrousness is a function of neglect, not appearance.
- His subsequent silence, even as innocent people are framed and executed for crimes the monster commits (like Justine’s fate), deepens the critique.
- Throughout the novel, Victor’s narrative is characterized by moral self-justification, but his inability to empathize with either creature or kin marks his true monstrousness.
- He saves a child from drowning, helps the cottagers by collecting wood, and learns the language of feeling and reason.
- These acts are met only with terror, rejection, and violence: even those he helps, like the De Lacey family, cannot see beyond his grotesque appearance.
- His growing bitterness is a direct result of social rejection and Victor’s abandonment. Shelley's narrative suggests the creature’s violence is retributive - a distortion of the love and acceptance denied him.
- The creature’s eloquence, especially in his narrative, compels the reader’s sympathy and marks him as emotionally - perhaps even morally - more developed than Victor.
- The public’s willingness to condemn Justine without evidence is an example of this.
- The De Laceys’ violent rejection, and repeated scenes of mobbing, suggest that monstrosity is defined by society’s response to physical difference.
- The theme of moral judgment is therefore not confined to individuals, but becomes a communal failing.
- Walton’s quest for knowledge mirrors Victor’s, establishing a thematic parallel between ambition and destructiveness.
- Victor’s story, filtered through his self-justifying lens, is implicated in its own unreliability.
- The monster’s perspective subverts expectations: his eloquence and rationality force readers to confront their own prejudices.
- Victor’s monstrousness lies not in science but in abdication of responsibility.
- The creature’s monstrosity is the product of neglect and abuse, not birth.
- Society’s monstrosity is its failure of judgment and mercy.
- The creature’s suffering, rhetorical power, and earnest search for companionship frame him as victim, not villain.
- Victor, by contrast, is often shrill and self-involved, his pain unable to invoke our sympathy in the same way.
- Victor Frankenstein, in pursuing knowledge without conscience, creates suffering and refuses to accept responsibility.
- The creature, conceived in loneliness and educated in cruelty, cannot escape the monstrousness imposed by others.
- Society, as an agent of moral panic and punitive justice, perpetuates suffering and misunderstanding.
- Nuclear Weapons – The Manhattan Project during World War II epitomizes how scientific discovery can have devastating consequences when moral oversight is lacking. While the project represented a scientific triumph in nuclear physics, the resulting bombs caused immense human suffering in Hiroshima and Nagasaki. This underscores the need for ethical limits on potentially destructive research.
- Human Experimentation – Experiments conducted without informed consent, such as those carried out during the Tuskegee Syphilis Study or by Nazi scientists, reveal how scientific exploration can violate human rights. Scientific advancement, if divorced from ethical considerations, becomes a tool for exploitation rather than progress.
- Environmental Impact – Industrial and technological innovations, such as chemical pesticides and large-scale deforestation, have caused irreversible damage to ecosystems. These consequences highlight the need for environmental limits to prevent harm to future generations.
- Do No Harm (Non-Maleficence) – Scientific research should not intentionally cause harm to humans, animals, or the environment. This principle aligns with medical ethics and broader social responsibility.
- Informed Consent – Experiments involving human subjects must obtain voluntary, informed consent. Participants should be aware of potential risks, and their autonomy must be respected.
- Justice and Equity – The benefits and risks of scientific exploration should be distributed fairly. Research should not disproportionately exploit marginalized communities or vulnerable populations.
- Sustainability – Scientific progress should consider long-term consequences for ecosystems and natural resources. Innovation should aim to meet present needs without compromising the future.
- Regulation of Dangerous Research – Certain fields, such as genetic engineering, synthetic biology, and nuclear research, require strict oversight. Regulatory bodies ensure that research adheres to safety standards and does not pose undue risk to society.
- International Treaties – Agreements such as the Non-Proliferation Treaty (NPT) for nuclear weapons and the Convention on Biological Diversity (CBD) exemplify global efforts to limit harmful scientific activities. These treaties acknowledge that some forms of knowledge, while theoretically attainable, must be constrained for collective safety.
- Peer Review and Ethical Committees – Institutional review boards (IRBs) and ethics committees evaluate the potential consequences of research before approval. This system ensures accountability and encourages scientists to consider broader implications.
- Utilitarianism – Actions should maximize overall well-being and minimize harm. Research that poses excessive risk to society or the environment violates this principle.
- Kantian Ethics – Human beings should never be treated merely as means to an end. Experiments that exploit humans for knowledge alone are ethically impermissible.
- Environmental Ethics – Recognizes intrinsic value in nature and advocates for preservation. Scientific exploration that causes ecological collapse is ethically untenable.
- Transparent oversight mechanisms
- Public engagement in decision-making about controversial research
- Ethical education for scientists
- Continuous review of emerging technologies and their potential consequences
- By adopting such measures, society can harness the benefits of scientific exploration while minimizing harm.
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