Many authors would agree that Frankenstein is one of the most famous Gothic tales of all time. It was first published in 1818 and is famous for its descriptions of landscape and nature, as well as its prophetic dimension. More than 60 years before the novel was published, Edmund Burke set out to analyze the sublime. By doing so, he actually took an important step towards founding the genre Shelley engaged in, in writing Frankenstein. His A Philosophical Inquiry into the Origins of our Ideas of the Beautiful and the Sublime published in 1757 became a great success.
This term paper sets out to shed light on a number of problem areas concerning the connection between Shelley’s novel and Burke’s theory of the sublime. The paper arose out of the Proseminar ‘Gothic Literatur’ by XY, M.A. in the Summer Semester 2011 at RWTH University Aachen. During the course, different topics concerning the Gothic novel were discussed in combination with four of the most famous novels belonging to the genre. Among them was Frankenstein as a novel and ‘Burke’s Theory of the Sublime and Its Reflection in the Gothic Fiction’ as a topic.
The central question to be examined in this paper is how Burke’s theory of the sublime is reflected in Shelley‘s Gothic novel. Further questions to be dealt with in this term paper are: what is the Burkean sublime? What was new and different about Burke’s concept of the Sublime – as the Sublime itself is by no means a groundbreaking, new concept. Does Shelley intentionally incorporate sublime features in her novel or comment on the use of Burke’s theory? Is there a social dimension to Burke’s theory? In what way does the novel reflect the sublime? Is a sense of the sublime only conveyed through descriptions of nature?
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The first part of the term paper presents Burke’s theory of the sublime, an analysis of the connection between Shelley and the sublime and an analysis of the social dimension of the sublime. The next part is going to shed light on how Frankenstein as a Gothic novel reflects elements of Burke’s theory of the sublime. A fuller discussion including an analysis of all scenes displaying sublime elements would go beyond the range of the paper. In this matter only five scenes were chosen. Those scenes are significant for the plot development, as well as they help to support the line of argumentation. Eventually, a conclusion will be drawn.
Table of Contents
1. Introduction
2. The Sublime
2.1 Burke’s Theory of the Sublime
2.2 Shelley and the Sublime
2.3 The Social Dimension of the Sublime
3. The Reflection of the Sublime in Frankenstein
4. Conclusion
Research Objectives and Themes
This paper examines how Edmund Burke’s aesthetic theory of the sublime is reflected and manifested within Mary Shelley's Gothic novel, Frankenstein, specifically exploring the connection between natural landscapes and the characterization of the creature.
- Analysis of Burke’s "A Philosophical Inquiry into the Origins of our Ideas of the Beautiful and the Sublime"
- The portrayal of alpine environments and arctic realms as sublime settings
- The role of the monster as an outcast living within the sublime
- The dichotomy between the "beautiful" as a social category and the "sublime" as an isolating force
- The influence of 18th-century aesthetics on Gothic literature
Excerpt from the Book
3. The Reflection of the Sublime in Frankenstein
The following section sets out to examine the reflection of the sublime in Mary Shelley’s novel Frankenstein. In the first part, it is explored in length how the Alps are often seen as a large part of how Burke’s sublime is conveyed in the novel. Also, Victor’s perception of the sublime will be discussed. And, in addition, further sublime settings such as the glacier and the arctic realm, are taken into account as well. Finally, the connection between Burke’s conception of the beautiful with its social dimension and Frankenstein’s reflection of the beautiful and the outcasts are compared briefly and exemplarily.
Martin states in his article on Romanticism that the alpine environment represents a large part of how a sense of the sublime is conveyed in Frankenstein. (cf. Martin 1998: 199) Similarly, Giacomoni argues in her article “Mountain landscape and the aesthetics of the sublime in Romantic narration”, that the recurrent appearance of mountains which at first seem to be “a place of recognition and of peacefulness” (Giacomoni 2008: 120) repeatedly turn to the opposite very quickly. They then appear dark and dangerous. (cf. ibid., 120) The scene with the encounter between the monster and Frankenstein on Victor’s return to Geneva after his brother William was found dead, murdered by the monster, is an good example for this.
Summary of Chapters
1. Introduction: This chapter outlines the research focus, detailing the connection between Burke’s 1757 theory and Shelley's 1818 novel while establishing the core research questions.
2. The Sublime: This section defines the historical and theoretical development of the sublime, specifically focusing on Burke’s distinction between the "beautiful" and the "sublime" and the psychological triggers of "delightful horror."
3. The Reflection of the Sublime in Frankenstein: This chapter analyzes specific scenes in the novel, demonstrating how mountain landscapes, glaciers, and the arctic realm serve as physical representations of the Burkean sublime and the isolation of the monster.
4. Conclusion: This section synthesizes the findings, confirming that Shelley effectively uses sublime aesthetics to mirror the monster's marginalization and Victor’s ultimate failure to bridge the gap between human society and the natural limits of existence.
Keywords
Edmund Burke, The Sublime, Mary Shelley, Frankenstein, Gothic Fiction, Romanticism, Aesthetic Theory, Nature, Delight, Terror, Landscape, Marginalization, Beauty, Social Dimension, Alps
Frequently Asked Questions
What is the core subject of this paper?
The paper explores the literary and philosophical connection between Edmund Burke’s "A Philosophical Inquiry into the Origins of our Ideas of the Beautiful and the Sublime" and Mary Shelley’s Gothic masterpiece, "Frankenstein."
What are the primary themes discussed?
Key themes include the aesthetic distinction between beauty and the sublime, the psychological impact of terror, the role of natural landscapes in Gothic narratives, and the social isolation of the monster.
What is the main research objective?
The objective is to analyze how Burke’s theory of the sublime is reflected in the setting and plot development of "Frankenstein," particularly regarding how the landscape influences the characters' emotions.
Which scientific or analytical method is employed?
The author employs a comparative literary analysis, utilizing primary text from the novel and secondary source research on 18th-century aesthetics and Gothic literary criticism.
What topics are covered in the main section?
The main section investigates the alpine and arctic settings of the novel, the psychological state of Victor Frankenstein in the presence of these environments, and the exclusion of the monster from human society.
Which keywords define this work?
The work is defined by terms such as Burkean sublime, Gothic fiction, Romanticism, aesthetic process, and the binary of the beautiful versus the sublime.
How does the author define the relationship between the monster and the sublime?
The author argues that the monster is uniquely at home in the sublime settings (such as glaciers and the Arctic), which serves as a metaphor for his status as an outcast excluded from human social structures.
What conclusion does the author reach regarding Victor Frankenstein?
The author concludes that Victor fails because he attempts to transcend natural boundaries through knowledge and hubris, ultimately proving unable to survive outside of human society in the harsh environments he creates or visits.
Why is the "beautiful" considered a social category?
Based on Burke’s theory, the "beautiful" is linked to sentiments of tenderness and affection, which are necessary for social cohesion, whereas the "sublime" is a selfish passion linked to self-preservation and fear.
What is the significance of the alpine setting in the novel?
The alpine setting is significant because it provides a space where the "marginalized" (the monster) can be heard and where Victor can temporarily find consolation, while also highlighting the indifference of nature to human affairs.
- Quote paper
- Alexandra Koch (Author), 2011, Edmund Burke's Theory of the Sublime and It's Reflection in Gothic Fiction: Mary Shelley's "Frankenstein", Munich, GRIN Verlag, https://www.grin.com/document/198423
