Several days ago I completed reading Mary Shelley's most famous novel: ‘Frankenstein; or The Modern Prometheus’. Before starting the book, I felt somewhat reluctant to begin. Although I generally enjoy the Gothic genre more than any other, every stereotype pointed towards it being a rather grim and depressing tale, with a macabre tone overriding any finer qualities relating to plot and narrative. To my surprise and pleasure however, my initial judgements on the book were disproved almost as soon as I began to read. (Before I begin properly I will bring to your attention that when referring to the character of Frankenstein, I mean the man who created the monster, not the monster himself. I, like many others made the mistake of believing that the monster was called Frankenstein prior to reading the actual novel, now I know this is not the case everything makes a lot more sense!) One of the things that struck me most was simply how interesting the story was. I think the style of narration has a lot to do with this – the use of framed narrative lends a feel of intrigue to the whole book. Whilst the story is always told in first person, this is done so by three separate characters: Walton (the rescuer of Frankenstein at the beginning of the novel), Dr Frankenstein himself, and the monster he creates. Use of such narrative is important in emphasising the ultimate point that Shelley is trying to make: that all characters (in novels and in life) have feelings and thoughts, and will act upon them accordingly. Characters should be given fair treatment and respected, otherwise the moral fibre of the individual (and eventually society) will deteriorate and collapse. A subtler point of Shelley’s that I particularly liked, was that good characters can cause misery and havoc by accident, with no original malicious intent. The example of this is seen most clearly in Frankenstein’s creation of the monster. The feelings he describes when researching and bringing the monster to life are not those of corruption or evil, but simply ambition and enthusiasm. He never intended his work to cause such misery and destruction, yet this is the end result. Never was the phrase ‘The road to Hell is paved with good intentions’ more accurate. The critical point that Shelley makes regarding this, is the fact this it is Frankenstein’s treatment of the monster, not simply his creation of it, that results in both character’s subsequent anguish. Instead of taking responsibility for what he has created by supporting and tutoring him, Frankenstein recoils in horror from the monster, leaving him a solitary and untaught creature. Whilst this reaction is understandable and quite natural, it still demonstrates a facet of human nature that is less than desirable and perhaps should be challenged. Frankenstein judges the monster he has created solely on appearance and demeanour. As portrayed later in the novel, the monster is capable of emotion and feelings just as strong as those of a human being, yet because he is neglected and ostracised from society, his moral conscience becomes unbalanced. As a consequence, the monster goes on to wreak havoc on the life of his creator, not unlike many ‘criminals’ in today’s society and societies past. The part of the story describing the monster’s attempts to join human society and gain friendship, and his rejection based on appearance, is perhaps one of the most important. This part of the story is told by the monster himself – a clever move by Shelley, allowing us to feel greater empathy as well as sympathy, with no bias from other characters. In this passage the monster describes, quite eloquently, living alongside a family of cottagers (in their shed, unseen) and how he grows to revere and love them. The monster learns to read and write, and how to speak their language, as well as rules of basic etiquette. During this time, he decides to introduce himself to the family, who we learn through the monster’s narration are decent and kind people. It is evident that it took a respectable amount of courage and bravery from the monster to reveal himself (having been rejected by humans before on a more detached level), and his attempt at gaining the acceptance and friendship of the cottagers is, I believe, the most crucial and poignant scene in the whole story. In this scene, Shelley again consolidates her point that characters should not be judged based solely on their appearance, but on the merit of their personality, and how sadly human nature often prevents this fairer style of judgement being common. The monster first introduces himself to the old man in the cottage whilst all other inhabitants are absent. The man is blind, and so can judge the monster only on the tone of his voice and the words that he speaks. Instead of being disgusted at the monster like all others, the old man talks to him rationally, as an equal. The monster is not rejected, and is indeed accepted as a friend until the younger cottagers return, and on seeing the monster, drive him out with screams and hatred. It is this incident in which the monster decides he can never be accepted in human society, regardless of his personality and good-will. If even good and noble people spurn and try to hurt him, then what hope is there for the rest of humanity? Rejected not only by his creator, but also by people of a high moral conscience, the monster understandably sees his case as hopeless. This turning point in the novel is critical: it signals how ill-treatment from fellow creatures more often than not leads to a path of immorality and destruction, and how human nature, no matter how noble an individual is, can still prevail in encouraging cruelty and rejection. My final point, is one that I think is often overlooked, especially more recently. Most book covers printed now, simply have the word ‘Frankenstein’ to serve as a title for this story, however as aforementioned, the full title is: ‘Frankenstein; or The Modern Prometheus’. Prometheus is a Titan in Greek mythology – the creator of mankind. Prometheus stole fire from the Gods, giving it to humans, and for this he was punished by Zeus, who chained him to a rock and sent a great eagle to peck at his liver. By using this example from Greek mythology, Shelley highlights the universal and timeless nature of the issues she covers in the novel, how ambition is often punished and how misadventure can lead to disaster. Although some aspects of Shelley’s story are undeniably depressing and morbid, they are necessary to illustrate properly the vital points that are being made about human nature and the fragility of morality. Rather than dragging the novel down, they enhance it; without them the tale would lose much of its impact. This story is not one only of misery, it is a salient narrative relating the importance of maintaining morality and justice on both an individual and a societal level. It is more than a novel – it is a protest calling for social justice and equality, regardless of appearance, and for this I commend Shelley. Unfortunately, the issues covered remain more relevant than ever today, and for this reason I urge anybody interested in current affairs or simply becoming a better person, to read this novel. Upon conclusion, I leave you with the quote below. “I am malicious because I am miserable. Am I not shunned and hated by all mankind? You, my creator, would tear me to pieces and triumph; remember that, and tell me why I should pity man more than he pities me?” The Monster, Frankenstein.
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