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
6. Conclusion
7. Bibliography
Objectives & Themes
This academic paper explores the techniques employed by Mary Shelley to construct an atmosphere of terror in her novel Frankenstein. The research examines the psychological and narrative strategies that bridge the gap between scientific ambition and the traditional aesthetics of the Gothic genre.
- The influence of 18th-century literary theories on the concept of the "sublime" and "terror."
- A comparative analysis of the definitions of "terror" versus "horror" as established by Edmund Burke and Ann Radcliffe.
- The functional role of landscape descriptions and "obscurity" in heightening narrative tension.
- The manifestation of the creature as a physical embodiment of the sublime and a catalyst for terror.
Excerpt from the Book
5.1 Terror within the Story Itself
In “Frankenstein” there are basically three contexts on which terror is evoked: first, on the level of the terrifying result of misused science, second, on the level of the creature itself, and third, on the level of the relationship between creator and his creation.
During his studies in Ingolstadt, Victor Frankenstein comes to know a secret: he discovers how to animate the lifeless. At first he feels astonishment, then “delight and rapture”43. He begins to work obsessively on the formation of new life. Chapter five contains the first climax of the novel: the event Frankenstein has yearned for such a long time comes true. In this chapter Mary Shelley assimilates the ideas from the dream she had during her stay at Lord Byron’s in Switzerland. The dream yet shall also threaten the reader. Shelley writes: “It was already one in the morning; the rain pattered dismally against the panes, and my candle was nearly burnt out, when, by the glimmer of the half-extinguished light, I saw the dull yellow eye of the creature open; it breathed hard, and a convulsive motion agitated its limbs.”44 As in her own dream, the terrifying events happen late in the night, for this is traditionally the best time for ghostly appearances. Here the motive of obscurity can be found, an obscurity of light. Shortly after the so called “witching hour” the monster awakens. The weather condition (“the rain pattered dismally”), too, is conducive to the gloomy atmosphere. The half-burning candle creates an obscure light, which must have formed spectrally dancing shadows. This atmosphere adds to the apprehension of terror and leads to the horrific moment of the coming to life of the monster.
Chapter Summaries
1. Introduction: Provides an overview of the reception of Frankenstein and sets the goal of analyzing the author's intent and the atmosphere of terror in the novel.
2. Frankenstein as Gothic story: Examines how the novel departs from traditional Gothic tropes and utilizes prefaces to frame the author's psychological and scientific interests.
3. Terror: Defines the term "terror" through the lens of 18th-century philosophy and aesthetic theory, focusing on Edmund Burke and Ann Radcliffe.
3.1 The Term „Terror“: Concentrates specifically on Burke's understanding of terror as a self-preservatory passion linked to pain and danger.
4. Sublime and Obscurity: Investigates the intellectual foundations of the sublime and its role in literature.
4.1 Edmund Burke on the Sublime: Analyzes Burke's theories on how terror, vastness, and power produce the strongest emotions in the human mind.
4.2 Obscurity: Explores why the unknown and the imprecise are necessary components for triggering sublime emotions and imaginative fear.
5. Terror in Frankenstein: Applies the theoretical findings of the previous chapters to the narrative structure of the novel.
5.1 Terror within the Story Itself: Details how the creature’s creation and its physical presence act as conduits for terror.
5.2 Terror Achieved through Other Features: Analyzes how the sublime setting of the Swiss Alps and natural landscapes enhance the sense of foreboding.
6. Conclusion: Summarizes how Shelley’s deliberate composition of character, plot, and setting creates a lasting atmosphere of terror.
7. Bibliography: Lists the primary and secondary sources used for the analysis.
Keywords
Frankenstein, Mary Shelley, Gothic fiction, Terror, Sublime, Edmund Burke, Ann Radcliffe, Obscurity, Human psyche, Romantic period, Literature, Psychological insight, Monster, Landscape, Aesthetics.
Frequently Asked Questions
What is the core focus of this research paper?
This paper examines how Mary Shelley creates and sustains an atmosphere of terror throughout her novel Frankenstein.
Which specific themes are addressed?
The central themes include the philosophical distinction between terror and horror, the aesthetic concept of the "sublime," the use of "obscurity" as a literary device, and the role of the landscape in Gothic narratives.
What is the main research question or objective?
The objective is to analyze the methods Shelley employs—such as character motivation, setting, and rhetoric—to evoke profound fear and fascination in the reader.
What scientific or academic methods are applied?
The paper utilizes a literary-analytical approach, incorporating 18th-century aesthetic theories (Burke) and contemporary literary criticism to evaluate the novel's structure.
What does the main body of the work cover?
It covers the definition of terror, the philosophical concept of the sublime, and practical applications of these theories to the characters, setting, and plot of the novel.
Which keywords best characterize the work?
The most important keywords include Frankenstein, Terror, Sublime, Gothic fiction, and the Human psyche.
How does the author define the "sublime" in the context of the novel?
The author, referencing Edmund Burke, defines the sublime as an overwhelming experience linked to power, vastness, and danger that, while terrifying, can be perceived as "delightful" when experienced from a safe distance.
What distinguishes "terror" from "horror" according to the paper?
Following Radcliffe’s distinction, the paper defines terror as an apprehension of danger or a state of anxious anticipation, while horror is described as a sudden, sharp shock triggered by realization.
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- Sandra Kuberski (Autor:in), 2011, The Creation of Terror in Mary Shelley’s „Frankenstein“, München, GRIN Verlag, https://www.grin.com/document/195953
