During the last two centuries, Frankenstein gained the reputation of a modern myth. Every generation gets to know Frankenstein within a new historical and social context. So it has to be said that the reception of Shelley’s masterpiece changed over the years. The creature of Victor Frankenstein became the archetype of a monster, a model for many specters that followed.
Mary Shelley was born on 30 August 1797 and died on 1 February 1851 at the age of 53. She was the daughter of the philosopher William Godwin and his wife Mary Wollstonecraft, who was known as a philosopher and feminist. Both her parents had talents in writing and this talent should be inherited to their daughter as well. In 1816 she married her lover, the famous poet Percy Bysshe Shelley.
In the summer of 1816 the famous couple went on a journey to Switzerland, accompanied by Mary’s stepsister Claire, who arranged for them a meeting with her lover Lord Byron. During their stay at the Villa Diodati in Geneva the group talked about science and inspired by some German ghost tales decided to have a ghost-story contest, which led to the initial draft of Frankenstein. Mary Shelley’s tale is the only one of those stories which has been completed. The first edition of Frankenstein was released in 1818, another one in 1831, changed and corrected by Mary Shelley herself.
The romantic period was among other things also the time of an enormous paradigm shift in science. The Frankenstein novel has this shift as a basis and combines scientific horror with elements of traditional Gothic fiction. The turn of the century also brought a growing interest in landscape and nature. In 1757 the Irish philosopher Edmund Burke released “A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful”, which became the most important treatise on the concept of the sublime.
This seminar paper shall examine the way in which Mary Shelley creates an atmosphere of terror in her novel. Therefore both the preface of the 1818 version of Frankenstein, written by Percy B. Shelley, as well as the 1831 introduction by Mary Shelley shall be analyzed on the author’s original intention and the idea behind Frankenstein. Then a definition of the term “terror” will be given, followed by a chapter on the concept of the sublime as seen by Edmund Burke and Ann Radcliffe. The last chapter examines “terror” within the story itself, as well as the terror achieved through other features, for example the sublime.
Table of Contents
- 1. Introduction
- 2. Frankenstein as Gothic story
- 3. Terror
- 3.1 The Term "Terror"
- 4. Sublime and Obscurity
- 4.1 Edmund Burke on the Sublime
- 4.2 Obscurity
- 5. Terror in Frankenstein
- 5.1 Terror within the Story Itself
- 5.2 Terror Achieved through Other Features
Objectives and Key Themes
This seminar paper examines how Mary Shelley creates an atmosphere of terror in her novel, Frankenstein. It analyzes the author's intentions as revealed in the prefaces of the 1818 and 1831 editions. The paper then defines "terror," explores the concept of the sublime as presented by Edmund Burke and Ann Radcliffe, and finally examines the sources of terror within the narrative itself and those achieved through other literary features such as the sublime.
- The creation of terror in Frankenstein
- The role of the sublime and obscurity in evoking terror
- The relationship between creator and creation
- The psychological impact of terror on the characters
- The use of setting and description to enhance the atmosphere of terror
Chapter Summaries
1. Introduction: This chapter introduces Frankenstein as a modern myth, noting its evolving reception across generations. It provides biographical context on Mary Shelley, her parentage, and the circumstances surrounding the novel's creation during a ghost story contest in Switzerland. The chapter highlights the novel's combination of scientific horror and traditional Gothic elements, contextualizing it within the scientific and cultural shifts of the Romantic period and Edmund Burke's influential work on the sublime.
2. Frankenstein as Gothic story: This chapter explores the classification of Frankenstein as a Gothic novel, acknowledging that it deviates from traditional Gothic conventions. It examines the prefaces of both the 1818 and 1831 editions, focusing on Percy Bysshe Shelley's emphasis on the novel's novelty and sophisticated background, and Mary Shelley's own account of the creative process and her aim to evoke terror in the reader. The chapter discusses the novel as a thought experiment exploring human psychology and the sublime.
3. Terror: This chapter defines "terror," drawing on the work of Edmund Burke and Ann Radcliffe. Burke's concept of terror as an extreme form of fear, connected to pain, danger, and the powerful passions of self-preservation, is explored. Radcliffe's distinction between terror (a prolonged state of apprehension) and horror (a sudden, intense shock) is also discussed, highlighting the more challenging task of creating sustained terror in literature.
4. Sublime and Obscurity: This chapter delves into the concept of the sublime, tracing its origins in Longinus' work and focusing on Edmund Burke's influential treatise. Burke's association of the sublime with terror, power, vastness, and obscurity is explored. The chapter also examines Ann Radcliffe's views on the sublime, emphasizing the role of obscurity in exciting the imagination and the interplay between terror and horror.
5. Terror in Frankenstein: This chapter analyzes the sources of terror in Frankenstein. It identifies three key contexts: the misuse of science, the creature's appearance and actions, and the fraught relationship between creator and creation. The chapter examines Shelley's use of literary devices, such as obscurity and the sublime setting, to heighten the atmosphere of terror and foreshadow the tragic climax. The chapter also discusses how the sublime setting enhances the sense of apprehension and danger.
Keywords
Frankenstein, Mary Shelley, Gothic novel, terror, horror, sublime, obscurity, Edmund Burke, Ann Radcliffe, creator and creation, monster, science, Romantic period, psychological horror, setting, atmosphere.
Frequently Asked Questions: Analysis of Terror in Mary Shelley's *Frankenstein*
What is the purpose of this document?
This document provides a comprehensive preview of an academic paper analyzing the creation and portrayal of terror in Mary Shelley's novel, *Frankenstein*. It includes a table of contents, objectives and key themes, chapter summaries, and keywords. The analysis focuses on the interplay between Gothic elements, the sublime, and the psychological impact of terror on characters within the narrative.
What are the key themes explored in the paper?
The paper examines the creation of terror in *Frankenstein*, focusing on the roles of the sublime and obscurity in evoking this feeling. It also explores the complex relationship between creator and creation, the psychological impact of terror on characters, and how setting and description are employed to enhance the atmosphere of terror.
What is the scope of the analysis of terror in *Frankenstein*?
The analysis delves into the definition of "terror," drawing on the work of theorists like Edmund Burke and Ann Radcliffe. It examines how Mary Shelley uses literary devices, such as obscurity and the sublime setting, to build suspense and foreshadow the tragic outcome. The analysis also considers the misuse of science, the creature's appearance and actions, and the creator-creation relationship as sources of terror within the narrative.
How does the paper define and differentiate "terror" and "horror"?
The paper defines "terror" based on the works of Edmund Burke and Ann Radcliffe. Burke's concept of terror as an extreme form of fear linked to pain, danger, and self-preservation is discussed. Radcliffe's distinction between terror (prolonged apprehension) and horror (sudden, intense shock) is also highlighted, emphasizing the difficulty of sustaining terror in literature.
What role do the sublime and obscurity play in the creation of terror?
The paper explores the concept of the sublime, tracing its origins and focusing on its association with terror, power, vastness, and obscurity, particularly as presented by Edmund Burke and Ann Radcliffe. It emphasizes how obscurity excites the imagination and how the interplay between terror and horror contributes to the overall effect.
What are the main sources of terror identified in *Frankenstein*?
Three key sources of terror are identified: the misuse of science, the creature's appearance and actions, and the fraught relationship between Victor Frankenstein and his creation. The paper shows how Shelley employs literary techniques to enhance these sources and create a heightened atmosphere of terror.
What is the significance of the novel's prefaces (1818 and 1831 editions)?
The paper analyzes the prefaces of both the 1818 and 1831 editions to understand Mary Shelley's intentions and the evolution of the novel's reception. It considers Percy Bysshe Shelley's comments on the novel's novelty and Mary Shelley's own reflections on the creative process and her aim to evoke terror.
What are the chapter summaries included in the document?
The document provides concise summaries for each chapter of the paper. These summaries outline the main points discussed in each chapter, including an introduction to *Frankenstein*, its classification as a Gothic novel, the definition and exploration of terror, the analysis of the sublime and obscurity, and the specific sources of terror within the novel itself.
What are the keywords associated with this analysis?
Keywords include: Frankenstein, Mary Shelley, Gothic novel, terror, horror, sublime, obscurity, Edmund Burke, Ann Radcliffe, creator and creation, monster, science, Romantic period, psychological horror, setting, atmosphere.
- Quote paper
- Sandra Kuberski (Author), 2011, The Creation of Terror in Mary Shelley’s „Frankenstein“, Munich, GRIN Verlag, https://www.grin.com/document/195953
