Paola M.

Bica
The Gothic in Mary Shelley’s ​“Frankenstein; or, the Modern Prometheus​”

The Gothic in Mary Shelley’s ​“Frankenstein; or, the Modern Prometheus​”

Paola Marcela Bica

July 2018

Contents

1 Introduction

1.1 The author

1.2 The novel

2 Development

2.1 Nature and the Sublime

2.2 Industrialization vs. Nature

2.3 Alienation

2.4 The monster as the Other

2.5 Traditional Gothic elements

3 Conclusion

Bibliography

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Paola M. Bica
The Gothic in Mary Shelley’s ​“Frankenstein; or, the Modern Prometheus​”

​ The Gothic in Mary Shelley’s “Frankenstein; or, the Modern Prometheus”

1. Introduction

In this ​paper, it ​will be discussed whether the Gothic characteristics are ​displayed in

the piece of fiction called ​Frankenstein; or, the Modern Prometheus. ​As David Punter describes,

“When thinking of the Gothic novel, a set of characteristics springs readily to mind: an emphasis

on portraying the terrifying, a common insistence on archaic settings, a prominent use of the

supernatural, the presence of highly stereotyped characters and the attempt to deploy and perfect

techniques of literary suspense are the most significant.” (Punter 1) The aim of the analysis is to

discover if the different Gothic conventions are present in the nov​el and how they are feature​d,

as well as the exploration of different topics of importance for the analysis of the novel. In order

to explore the Gothic in the novel, five topics will be considered in detail. The first topic will be

Nature and the Sublime, the second one will be Industrialization vs Nature, then the concept of

Alienation will be also analyzed, the fourth topic will be The monster as the Other and lastly,

Traditional Gothic elements in the story will be examined. To fulfil this objective, ideas

presented by authors such as David Punter, Ronald Carter , Proshanta Sarkar, Kelly Hurley and

Michael Gamer will be considered. Some information about the author and the novel can be

found below.

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The Gothic in Mary Shelley’s ​“Frankenstein; or, the Modern Prometheus​”

1.1 The author

The novel’s author is Mary Wollstonecraft Shelley; She was born in London, in 1797.

Mary Shelley’s father, William Godwin, was a radical political philosopher and her mother,

Mary Wollstonecraft, had radical views as well: She was a feminist writer who wrote ​A

Vindication of the Rights of Woman ​(1792), one of the earliest works of feminist philosophy.

Some days after Mary Shelley was born, Mary Wollstonecraft died of health complications.

Mary was self educated and she could speak and read five languages. She published her first

poem at the age of ten. Mary married ​poet Percy Bysshe Shelley on 30 December 1816 in

London and it was him who suggested the idea of writing ghost stories one evening at the Villa

Diodati as a writing competition: As a result, Mary created this masterpiece, inspired by German

horror stories. Her most famous piece of work is the one we are going to explore, ​Frankenstein;

However, she also published ​Lodore ​(1835), Faulkner (1937), ​Mathilde (1959), ​Valperga or the

Life and Adventures of Castruccia, Prince of Lucca (1823), ​The Last Man (1826),​The Fortunes

of Perkin Warbeck​ (1830) among others.

1.2 The novel

Frankenstein; or, the Modern Prometheus ​narrates the horror that arises after scientist

Victor Frankenstein artificially creates a living creature. The protagonist, Doctor Frankenstein, is

obsessed with the idea of gaining control over life and death and that obsession marks him

forever, “In creating life and imagining how a ‘new species would bless me as its creator and

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The Gothic in Mary Shelley’s ​“Frankenstein; or, the Modern Prometheus​”

source’, he is seeking to usurp the role of God. He is also, however, seeking to usurp the role of

women, and such an unnatural birth, the text suggests, can only have unnatural consequences.”

(Punter, Byron 199) What starts as something similar to a miracle, ends bringing horror and

chaos to Frankenstein’s life, “Frankenstein believes he has found the secret of creating life, but

his creation turns out to be a destructive monster which no one, not even Frankenstein, can

control.” (Carter 265) The theme of this monster’s creation corresponds with Punter’s definition

of Gothic fiction, “...'Gothic' fiction is the fiction of the haunted castle, of heroines preyed on by

unspeakable terrors, of the blackly lowering villain, of ghosts, vampires, monsters and

werewolves.” (Punter 1)

As regards its structure, the novel contains a series of framed narratives; It is written in

first person to enhance the sense of reality and the narrators are three: Robert Walton, Victor

Frankenstein and also his creation himself. Also, it contains letters, for instance from Elizabeth-

Victor’s cousin-, which gives the narration a sense of reality.

2. Development

2.1 Nature and The sublime

Gothic fiction was named “​dark romanticism​” as it shares many characteristics with literary

Romanticism but a sense of horror or terror is added. One of those features that both genres have

in common is the importance of nature. In addition, “Gothic Literature put a spin on the

Romantic idea of nature worship and nature imagery.” (Carter 266) The concept of ‘Nature’ was

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The Gothic in Mary Shelley’s ​“Frankenstein; or, the Modern Prometheus​”

a central part of 18th and 19th Century English literature as there was a desire of returning to the

past caused by the anxiety of a newly industrialised city- the idea of industrialization will be

explored later in this paper. In this literary genre- and in this novel especifically- mountains,

forests and lakes give the reader a connection to nature and purity.

Gothic literature is usually set in foreign places that “...serve to distance the horrors from the

world of the reader...”(Punter Byron 26) In the case of ​Frankenstein,​ the story takes place in

different foreign cities and a variation of breathtaking landscapes are presented: Geneva, the

Alps, the Arctic among others. This has a connection with what Balbao Pithan describes,

“Spanish, French , Italian scenarios suit brilliantly the purposes aimed at by authors who picture

sublime mountainous landscapes, Catholic Church and Inquisition matters, not to mention the

extra intensity offered by foreign places and character names.” (Balbao Pithan 12) In the novel,

the importance of Nature and the idea of the Sublime are remarked along the whole story

throughout Victor Frankenstein’s eyes, “ I discovered more distinctly the black sides of Jura, and

the bright summit of Mont Blanc; I wept like a child: ‘Dear mountains! My own beautiful lake!

How do you welcome your wanderer? Your summits are clear; the sky and lake are blue and

placid. Is this to prognosticate peace, or to mock at my unhappiness?'(Shelley 81)

As it was mentioned before, Mary Shelley presents not only the beautiful aspects of

Nature but also the Sublime ones. As Carter defines them, Sublime experiences, “….are

excessive ones, in which we encounter the mighty, the terrible and the awesome. Gothic, it is

clear, is intended to give us the experience of the sublime.” (Carter 266) Victor Frankenstein

expresses how nature makes him feel better, “I remained two days at Lausanne, in this painful

state of mind. I contemplated the lake: the waters were placid; all around was calm; and the

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The Gothic in Mary Shelley’s ​“Frankenstein; or, the Modern Prometheus​”

snowy mountains, `the palaces of nature,' were not changed. By degrees the calm and heavenly

scene restored me, and I continued my journey towards Geneva.”(Shelley 81) In the quotation,

the scientist declares that the lake and mountains have a strong power that can heal him and calm

him down. Within Victor’s speeches, there are many instances in which the the idea of Nature

can be quite similar to the idea of a god or goddess.

​In another instance of the narration, Victor also describes how Nature can change his

emotions, “The sea, or rather the vast river of ice, wound among its dependent mountains, whose

aerial summits hung over its recesses. Their icy and glittering ​peaks shone in the sunlight over

the clouds. My heart, which was before sorrowful, now swelled with something like

joy…”(Shelley 112) His experience with the Sublime, which is transcendental and extraordinary,

makes him joyful and he expresses- in different instances of the story- how powerful he thinks

Nature is: “When happy, inanimate nature had the power of bestowing on me the most

delightful sensations. A serene sky and verdant fields filled me with ecstasy. The present season

was indeed divine; the flowers of spring bloomed in the hedges, while those of summer were

already in bud; I was undisturbed by thoughts which during the previous years had pressed upon

me, not withstanding my endeavour to throw them off, with an invincible burden.”(Shelley 76)

By means of a repetitive and full descriptions of Nature, Mary Shelley presents a noticeable

resemblance to pantheism.

As explained above, the Sublime is also present when the terrible is encountered. In

Carter’s words, “Along with nature having the power of healing, Gothic writers gave nature the

power of destruction. Frankenstein is full of the harsh reality of nature. Many storms arise in the

novel, including storms the night the Creature comes to life.”(Carter 266) An example of this

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The Gothic in Mary Shelley’s ​“Frankenstein; or, the Modern Prometheus​”

use of nature is presented to the reader during Victor’s journey to his brother’s funeral, ​“Yet, as I

drew nearer home, grief and fear again overcame me. Night also closed around; and when I

could hardly see the dark mountains, I felt still more gloomily. The picture appeared a vast and

dim scene of evil, and I foresaw obscurely that I was destined to become the most wretched of

human beings…”(Shelley 82) In this part of his speech, Victor expresses his fears at a point of

the journey in which he cannot see the mountains he is familiar with. He continues, “The storm

appeared to approach rapidly, and, on landing, I ascended a low hill, that I might observe its

progress. It advanced; the heavens were clouded, and I soon felt the rain coming slowly in large

drops, but its violence quickly increased.” (Shelley 82) After this description of the weather, he

discovers something that affects him in a negative way: The monster- his own creation- is the

murderer that killed his little brother, William. It must therefore be recognized that within Gothic

fiction, Nature and the Sublime have an extraordinary power that can be destructive as well as

healing.

2.2 Industrialization vs. Nature

The idea of Nature is contrasted with the artificiality that brings the chaos. According to

David Punter, “The Gothic novel began to emerge at a time when the forces of industrialization

were transforming the very structures of society.”(Punter Byron 20) The period in which Gothic

fiction took place was an era in which Britain was dealing with the technological and scientific

advancements of the Industrial Revolution as well as the circulation of ideals and principles from

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The Gothic in Mary Shelley’s ​“Frankenstein; or, the Modern Prometheus​”

The French Revolution, and those ideals and principles were seen as a threat. These historical

developments had an immense effect on society and the intellectual, political, social, and creative

environment in England.

The scientific, industrial, and intellectual progress during the 18th Century was a

motivation to many authors who found it to be a move away from nature. As regards Shelley’s

novel, Punter points out, “Frankenstein can be seen to set out for the first time the concern that

dominates Gothic’s engagement with both science and industry over the following centuries: the

disruption of accepted notions of the human.”(Punter Byron 21) This disruption goes hand in

hand with a revision of human values accepted so far, “Science [...] remains ever since updated,

always providing polemic subjects that range from responsibility (a great issue in Frankenstein)

to ethics, morals, limits and so on.” ( Balbao Pithan 120)

At a time in which only women or a God were able to create life, the author presents a

man, Victor Frankenstein, who defies life and death’s limits creating a rational being. As

Yue-ting Chen explains, “he is challenging God with a sublime atmosphere and this horror and

terror thing is gothic indeed.”(Chen 253) The fact that the main character in the novel defies

religious ideas is not isolated from the historical context as “With the advent of the Industrial

Revolution people's mind had been progressively turning from religion to science as a better

form to explain phenomena so far covered in mysticism.” ( Balbao Pithan 119) Victor

Frankenstein is presented as a scientist who is not a religious man. In addition, in some instances

of the novel, he is described as a cold person who lacks human feelings, “All men hate the

wretched; how, then, must I be hated, who am miserable beyond all living things! Yet you, my

creator, detest and spurn me, thy creature, to whom thou art bound by ties only dissoluble by the

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The Gothic in Mary Shelley’s ​“Frankenstein; or, the Modern Prometheus​”

annihilation of one of us … Remember that I am thy creature; I ought to be thy Adam, but I am

rather the fallen angel” (Shelley 113). This description of the creator in conjunction with Adam’s

reference, conforms the notion of Victor as a person who is distant from the accepted religious

values, and “... the lack of religious consciousness (although one can never discard the possibility

of religious implication through its very absence) permitted Victor to challenge God's privilege

as Creator turning the novel, therefore, into a cautionary tale about the dangers of unchecked

scientific progress…” ( Balbao Pithan 122) In this way, the artificial being that Victor creates is

considered a figure that reminds the reader that the laws of Nature should not be violated and it is

observed in the novel, for instance, as “Nature takes its revenge on Frankenstein by depriving

him of his both mental and physical health while doing his research.”(Sarkar 31)

2.3 Alienation

As regards scientific progress, Punter declares, “Discoveries in the sciences only served

to aggravate a sense of alienation and further disturb notions of human identity.”(Punter Byron

20) ​In Gothic fiction, “Scenes of extreme threat and isolation – either physical or psychological –

are always happening or about to happen.” (Bowen 2014) and t​his state of alienation is observed

in Victor, who wants to conquer death and life with the use of science. To achieve that goal, he

must stay away from the civilization, “​In a solitary chamber, or rather cell, at the top of the

house, and separated from all the other apartments by a gallery and staircase, I kept my

workshop of filthy creation; my eyeballs were starting from their sockets in attending to the

details of my employment.”( Shelley 55) Although he wanted to isolate himself to work on his

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The Gothic in Mary Shelley’s ​“Frankenstein; or, the Modern Prometheus​”

secret project, he is not entirely happy in that context, “I must absent myself from all I loved

while thus employed. Once commenced, it would quickly be achieved, and I might be restored to

my family in peace and happiness. “(Shelley 184)

Proshanta Sarkar states that “Mary Shelley‟s ​Frankenstein is the very power glass

through which we can have the glimpse how society alienates people because of their certain

characteristics which usually do not fulfill the desired and decisive taste of the society.”(Sarkar

1) A scientific discovery as the one aimed by Victor, would have altered society and, for that

reason, he knows his project must be a secret one. The project being secret cooperates with the

creation of a Gothic atmosphere in the novel, in which the reader is exposed to suspense and

then, horror.

In the story, the most horrific things happen when a character is isolated from society. As

it was explained, the “​prototypical Gothic scientist” (Punter Byron 20), creates the monster while

being alone and nobody could supervise or advise him. Victor Frankenstein embodies the idea of

alienation in the novel but also some other characters as the monster itself. However, the creature

does no​t decide to be isolated from society: he wants to have friends, a family and a father and

son-like relationship with Victor. It is only when he feels rejected and lonely when he starts

being evil, “There was none among the myriads of men that existed who would pity or assist me;

and should I feel kindness towards my enemies? No: from that moment I declared everlasting

war against the species, and, more than all, against him who had formed me, and sent me forth to

this insupportable misery.”(Shelley 163) ​The wedding day episode is another example of the

alienation that brings the chaos. During the day, Elizabeth exclaims, “What a divine day! How

happy and serene all nature appears!’ (Shelley 238) It seems that the couple is protected by

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The Gothic in Mary Shelley’s ​“Frankenstein; or, the Modern Prometheus​”

nature- a central concept in Gothic literature previously considered in this paper- but then, Victor

describes a new situation, “Suddenly a heavy storm of rain descended. I had been calm during

the day, but so soon as night obscured the shapes of objects, a thousand fears arose in my mind.“

(Shelley 240) After the dramatic shift in the narrative by means of the change in weather,

Elizabeth is left alone, “ I earnestly entreated her to retire, resolving not to join her until I had

obtained some knowledge as to the situation of my enemy.”(Shelley 241) Elizabeth is isolated on

her wedding night and, as a consequence, the monster attacks her and kills her. It must therefore​,

be recognized that alienation is a main theme within Gothic fiction that, in this piece of literature,

collaborates with the necessary context of terror and suspense.

2.4 The monster as the Other

Different philosophers developed the concept of Otherness or Othering in different

fields throughout history. Hegel was the first one: he developed his slave-master relationship

concept and introduced the idea of the Other. Simone De Beauvoir also wrote about this idea in

The Second Sex (​ 1949) in which she describes how women are the Other to men. Michel

Foucault also considered Othering/Otherness a concept strongly connected with power and

knowledge.

According to the ​Encyclopedia of Identity (2010), Othering/Otherness is “used to

refer to an individual or group who has been or is being marginalized from another, that is being

“othered”.( Reinoso Genoni 526) This concept is also used in literary studies and, in the case of

Frankenstein; or, the Modern Prometheus, t​ he Other is the creature created by Victor. When the

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The Gothic in Mary Shelley’s ​“Frankenstein; or, the Modern Prometheus​”

scientist creates the creature, he expects him to be the owner of beautiful features. However, as

the final result is not the expected one, he is horrified at the monster’s appearance: ​“...I had

selected his features as beautiful. Beautiful! Great God! His yellow skin scarcely covered the

work of muscles and arteries beneath; his hair was of a 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 colour as the dun-white sockets in which they were set, his

shriveled complexion and straight black lips.¨( Shelley 23) With this description, he is

classifying his creation as the Other, differentiating the monster from human’s appearance. He

reinforces this idea comparing his creature to a daemon, “A flash of lightning illuminated the

object, and discovered its shape plainly to me; its gigantic stature, and the deformity of its aspect,

more hideous than belongs to humanity, instantly informed me that it was the wretch, the filthy

daemon, to whom I had given life.​” (Shelley 83) As the creature is a monster, a daemon, he is

left alone and it becomes alienated. As it was already mentioned, the monster wants to be loved

but people are scared of him because of their instant judgments based on appearance. Given the

fact that the monster is a rational being who is capable of the use of language, the rejection is a

social critique: society judge​s people on the superficial aspects. The critique is explicit when the

monster meets William, “Suddenly, as I gazed on him, an idea seized me that this little creature

was unprejudiced and had lived too short a time to have imbibed a horror of deformity.”( Shelley

170) The monster, who was once a noble creature who used to help people, ​becomes a monster

in the moral sense because of the lack of love and compassion, “But it is true that I am a wretch.

I have murdered the lovely and the helpless; I have strangled the innocent as they slept and

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The Gothic in Mary Shelley’s ​“Frankenstein; or, the Modern Prometheus​”

grasped to death his throat who never injured me or any other living thing. “(Shelley 275) In this

way, the Other becomes evil,​ leading to the justification of the scientist’s attempts to kill it​.

2.5 Traditional Gothic elements

The work of Kelly Hurley shows that “...Gothic [...] has been quite variously

defined in terms of plot...” ( Hurley 191). Because of this importance on the plot, it is necessary

to analyze the elements presented within the story. The novel contains an abundance of the

“classic” Gothic elements, the Sublime being the most prominent one in the story, which is also

linked to the idea of Nature as a major issue in the character’s life. As the concept of the Sublime

and the importance of Nature were explored in this paper before, some other elements of Gothic

fiction as dreams, the supernatural and the pursued protagonist will be analyzed.

A recurrent element in Gothic fiction is the use of dreams -or rather nightmares- to

anticipate future events or to explore the character’s emotions. As it is explained in ​“A Glossary

of Literary Gothic Terms” by Douglass H. Thomson, “Dreams dredge up these deep emotions

and premonitions that reflect tellingly upon the dreamer, what one might conceal during waking

hours but what emerges in sleep to haunt and arouse the dreamer. It is most likely due to this

heightened emotional state that dreams are used so often within Gothic Literature.”( Thompson

8) When Victor is in his laboratory creating the monster -the night the monster comes to life- the

scientist has a disturbing dream, “I thought I saw Elizabeth, in the bloom of health, walking in

the streets of Ingolstadt. Delighted and surprised, I embraced her; but as I imprinted the first kiss

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The Gothic in Mary Shelley’s ​“Frankenstein; or, the Modern Prometheus​”

on her lips, they became livid with the hue of death; her features appeared to change, and I

thought that I held the corpse of my dead mother in my arms; a shroud enveloped her form, and I

saw the grave-worms crawling in the folds of the flannel.”(Shelley 59) As Gamer explains, “This

nightmare [...] shows Shelley providing a stunning account of Victor’s extreme psychological

state, one which anticipates the insights of Freud into dreaming, death, and the family.”(Gamer

101)

The supernatural is another example of the most notable characteristic of Gothic novels.

In addition, the supernatural is frequently combined with unexplained events or situations. In

Frankenstein; or, the Modern Prometheus, the unnamed monster is the supernatural factor as its

creator does not explain how he could create life out of inanimate body parts. The procedure is

simplified by the scientist, ​“With an anxiety that almost amounted to agony, 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.”(Shelley 58) The supernatural, in this case, is associated with the lack of explanations

which is traditionally used in Gothic fiction as the rational explanation of the scientific procedure

is provided by Frankenstein but the “spark of being” -which is the major issue of the creation-

remains a mystery.

Also​, important for the Gothic plot is the concept of The Pursued Protagonist.

Thompson defines it as, “ the idea of a pursuing force that relentlessly acts in a severely negative

manner on a character. This persecution often implies the notion of some sort of a curse or other

form of terminal and utterly unavoidable damnation…” (Thompson 21) In the novel, the

monster threats and pursues the protagonist. The scientist escapes in horror and disgust as soon

as the creation opened its eyes, “ He might have spoken, but I did not hear; one hand was

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The Gothic in Mary Shelley’s ​“Frankenstein; or, the Modern Prometheus​”

stretched out, seemingly to detain me, but I escaped and rushed downstairs.”(Shelley 59) He

escapes until Victor finally decides to listen to his creation. However, after he breaks a pact -

creating a female monster- he continues avoiding the creature but knowing he is in danger, “And

then I thought again of his words—‘*I will be with you on your wedding-night*.’ That, then,

was the period fixed for the fulfillment of my destiny. In that hour I should die and at once

satisfy and extinguish his malice.”(Shelley 206-207) This situation is also related to another

Gothic element: Revenge. As Thompson has indicated, “Within Gothic Literature, revenge is

notably prominent and can be enacted by or upon mortals as well as spirits. Revenge can take

many forms, such as harm to body, harm to loved ones, and harm to family.”(Thompson 23) In

this case, the monster takes revenge against Victor as he kills his brother William, his couple

Elizabeth and his friend Henry.

3.1 Conclusion

In conclusion, the novel by Mary Shelley is a piece of Gothic fiction as it includes the

main characteristics of the genre. It was analyzed how Mary Shelley presents the different

Gothic conventions to the readers in her novel ​Frankenstein; or, the Modern Prometheus​. The

central concepts of the genre are developed in the story, for instance, the idea of Nature- that has

the god-like power of healing- and also the idea of the Sublime by means of the transcendental

experiences the protagonist Victor Frankenstein retells. The issue “Industrialization vs. Nature”

was taken into account as it is important as regards the plot. In addition, the story seems to have

a moral: defying Nature causes chaotic situations. Alienated characters are part of the Gothic

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The Gothic in Mary Shelley’s ​“Frankenstein; or, the Modern Prometheus​”

narratives and, in this case, the concept of Alienation is explored in relation to different

characters that, when left alone, are in danger or become the cause of a negative action. This idea

can be observed as Victor creates the monster while being alone, or when Elizabeth is killed

while being isolated. Also the monster is isolated from society, that situation being the one that

motivates the creature to change and start being evil. This is closely related to the fourth topic

explored in this paper: The monster as the Other. The definition of ​Othering/Otherness was

given in order to understand how the monster was treated in the novel. The creature is rejected

from the very beginning of his life by its own creator, who wanted it to have “beautiful” features.

However, as soon as the creation opened the eyes, the scientist got scared and decided to escape.

People escape from the monster just because of the way it looks, which is an example of a social

critique within the novel. ​Traditional Gothic elements were also analyzed in this paper to decide

whether ​Frankenstein; or, the Modern Prometheus ​is or not a Gothic novel, and the main Gothic

elements were found in the novel: dreams -or rather nightmares-, the supernatural, the pursued

protagonist and the act of taking revenge.

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Thompson, Douglass H. “A Glossary of Literary Gothic Terms.” ​ aylor.org,

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