When first introduced to the product of Victor Frankenstein’s creation, one shudders in revulsion at the ghastly sight of such an unnatural and grotesque being. Little did they know that horrified response was the key feeling Mary Shelley sought to evoke when she wrote her gothic novel Frankenstein; however, she manipulates that fear in such a way so as to show that what may seem scary in the moment is actually not the true danger, or rather, ‘monster’.
Mary Shelley introduces a scientist, Victor Frankenstein, with great ambitions and also great flaws, so as to twist a seemingly innocent endeavor into something with very grave consequences. The first major crack in the foundation of Victor’s quest to create life is found when he sets up the expectation of praise for his work. As Victor progresses in his studies, he comes to a point at which he cannot accept the outcome of his work and this creates a very real dichotomy about whether it is better to preserve the life he created or preserve the lives and safety of others.
Meanwhile as the Creature grows and learns, the Creature is further exposed to rejection that he was aware of since his day of birth. Even then, the Creature continually resorts to doing good after being harmed by society, while Victor meanwhile fails to recognize the shortcomings of his own promises. In the truth that Creature does wrong (several characters are murdered throughout by the Creature), it is ultimately the person who made the Creature and acts in cowardice that is truly that one to blame.
In the novel Frankenstein, Mary Shelley capitalizes on society’s perception of monsters to imbed the greater truth about the nature of monstrosity – that it inherently is based on the presence of unperturbed hubris and a lack of accepting responsibility, as opposed to the external appearance which generally guide society’s prediction of one’s character. Scientific discovery is neither innately good nor bad; however, it does require the responsible yielding of that knowledge and the proper relaying to the scientific community.
In the letters, the reader is introduced to Victor Frankenstein, on the verge of death, who even then speaks warmly of his scientific ambitions that he has since left in the dust and is now lonely himself. Speaking to Walton who is on his own journey of scientific discovery, Victor recognizes the mistake Walton is apt to make, forev ng. “You seek for knowledge and wisdom as once did: and I ardently hope that the gratification of your wishes may not be the serpent to sting you, as mine have been,” (Shelley 15). Here, Victor acknowledges the failure of his ambitions and his failure to achieve success in the scientific community.
Even then, he only views the Creature as a burden to his success — he does not come out right and explain that it was entirely his fault that the Creature formed into what it did. Such dependence on praise for his scientific contributions uncovers the self-interest involved in the task and thus reveals the misguided hubris in which his character is driven by, which opens up the reader to questioning Victor’s ethical legitimacy. Critic Franco Moretti points out about Mary Shelley’s writing, “She fixes the narrative in the past… ntervening time enables one not to remain a prisoner of events.
Chance is replaced by order, shock by reflection, doubt by certainty… ,” (84). This is important when interpreting Shelley’s work because it highlights the process and not the result. It is not a question of whether the creation of life is possible, but whether its existence is beneficial. The structure of the novel allows for the fear to rest with Victor and not the reader, which opens up the reader to understand the message from Shelley with full knowledge of the consequences throughout (Moretti).
Though Victor’s original intent was to change the face of science, his actions become less admirable as it becomes apparent that his actions are those of narcis self-gain. Discussing his experiment, he passionately explains, “A new species would bless me as its creator and source; many happy and excellent natures would owe their being to me,” (Shelley 40). This result would necessitate a large sum of responsibility and perfectionism, both of which Victor fails at providing.
His heroic ploy is construed by his inability to respond to the demands of his own creation, and the outcome is one of violence and chaos. Victor’s dream that the newly formed species would “bless” and “owe” him puts Victor on a divine pedestal that he climbs too rashly to ever properly earn. As ictor digresses deeper and deeper into obsession, he becomes blinded by the pursuit of perfection and thus enables the Creature to fail before it even exists, because no such unprecedented invention could stack up to the desires that Victor set out for.
Though Victor achieves creating life, he immediately reacts with harsh judgement and despondency, saying “For this I have deprived myself of rest and health. I had desired it with an ardour that far exceeded moderation; but now that I had finished, the beauty of the dream vanished, and breathless horror, and disgust filled my heart,” (Shelley 43). The pinnacle of his failure is seen here, as he cannot recognize the purpose of his own invention. Victor sought to produce simply because he could, and now that this being exists he does not know what to do with it.
The actions that follow do not offer any sort of redemption for his honor, where the only praiseworthy path would be to raise and care for the being — yet even this he does not do. Victor’s admission that his experiment “far exceeded moderation” underscores the obsession that overcame him, and his angered reaction to the minor details, such as appearance, showcase his intolerance towards the being. Critic Alan Rauch concludes, “The solitude and seclusion that Frankenstein seems to require for his work can only result in knowledge that can neither have context nor value.
For Mary Shelley, this is intended to be the most frightening aspect of her novel,” (230). This not only accounts for the disappointment felt by Victor after bringing his creation to life, but also the fear felt by the other characters who come across the Creature during the story. Even the Creature itself is not satisfied by his existence, he wants someone to be with or some purpose to live for (Rauch). Victor’s intense desires to achieve scientific greatness clouded more realistic expectations, and thus his creation becomes the embodiment of monstrous ambitions and narcissism.
In light of the outcome of the experiment, it becomes clear that Victor’s initial defense mechanism is to hide behind illness while hoping to scavenge what’heroic aspects remain to his tale. Victor’s utter carelessness is revealing when it comes to the flaws of his characterization as a scientist. He cannot bring himself to admit to himself what he has made, much less to other people, asserting, “I could never persuade myself to confide to him that event which was not often present to my recollection, but which I feared the detail to another would only impress more deeply,” (Shelley 54).
This is a pathetic attempt by Victor to justify his own guilt, and once again Victor resorts to isolation when it comes to his experiment. Not only did he abandon the Creature, but he also makes every effort to not have to think about it. His desperation to avoid responsibility shows that he is a far cry away from holding himself accountable, and it uncovers a fear that society will view him as an inept contributor. Furthermore, Victor would rather live with the guilt of knowing Justine was innocent rather than having everyone think he was a madman for conjuring up the possibility of a new species.
After Justine’s conviction, Victor moans, “Anguish and despair had penetrated into the core of my heart; I bore a hell within me, which nothing could extinguish,” (Shelley 75). Victor lets the Creature and Justine take the fall for his cowardice, because he cannot fathom society viewing him as mad. The guilt that rests on Victor is welldeserved, but he acts in melodrama so as to make it seem as if his contribution of the Creature is really a great sacrifice.
This leads the reader to question his priorities, where in this case it is quite clear that Justine got a much worse fate than Victor could even begin to understand. Victor’s disconnect with the society around him is a clue to his lack of self-awareness, and thus his lack of humanity. Another literary critic includes the explanation that, “Like other forms psychological illness, Victor’s nervous breakdown has secondary advantages, allowing him to avoid confronting the consequences of a disabling subject — a Creature who is, like himself, helpless, dependent, and demanding,” (Berman 69).
Berman explains that the amount of pressure that Victor places on himself to achieve perfection literally makes him sick, and this sickness can also be representative of the wickedness that has overcome the scientist (Berman). Victor becomes so consumed with his guilt that he begins to blame the Creature for his frustrations, and Victor’s violent outbursts towards the Creature serve to act as further rejection of the being. Resigning to Victor’s wishes, the Creature submits, ” ‘Thus I relieve thee, my creator,’ he said, and placed his hated hands before my eyes, which I flung from me with violence,” (Shelley 88).
Victor’s monstrous opinion of the monster in return causes him to lash out monstrously, both neglecting the Creature and treating him in an abusive manner. The scientist is stuck in his view towards his creation, While Victor shows the Creature abuse, the Creature shows Victor obedience. While he very well could lash out at Victor (and would be justified in doing so), he chose to consent to Victor’s wishes, which shows his innocent-natured desire for recognition. Moretti also points out Victor has the perspective that “Man is beautiful, the monster is ugly; man is good, the monster is evil… e can never be really free or have a future. He lives only as the other side of that coin which is Frankenstein,” (70-71).
Such contrast here shows the elitism utilized by Victor throughout his creation: any trait that proved superior such as strength and intelligence, was shunned and rejected by another flaw, such as looks and mannerisms (Moretti). While the Creature seeks to fit into the world in which he was created, his creator lowers his head in shame at his flop of a scientific invention and resorts to abuse and isolation for conciliation.