With Frankenstein or The Modern Prometheus (1818) Mary Shelley succeeds to create a milestone in Horror fiction, which enjoys popularity to this day. Mary, the daughter of the famous writer William Godwin and the feminist author Mary Wollstonecraft and the wife of one of the major English Romantic poets Percy Bysshe Shelley, lived from 1797 to 1851. She accomplishes her masterpiece before the age of 20. Its prominent elements are supernatural incidents, scientific danger, persecution, distorted human beings, the sublime and terror. It is the fruit of a horror romance writing competition with her friends and a threatening nightmare.
Table of Contents
1. Introduction
2. Basics
3. Gothic elements in Mary Shelley’s Frankenstein
3.1. Incest
3.2. Science
3.3. Doppelgänger
3.4. Body Horror: The Monster
3.5. The Sublime
3.6. Setting
3.7. The Victim and The Villain
4. Conclusion
5. Bibliography
Objectives and Themes
This academic paper examines the presence and functional role of Gothic elements within Mary Shelley’s novel "Frankenstein or The Modern Prometheus," analyzing how these elements bridge the gap between the Enlightenment and the Romantic era.
- The intersection of Gothic literary traditions and Romanticism.
- The portrayal of the "mad scientist" and scientific discovery as a source of terror.
- The symbolic function of the "Doppelgänger" and the reversibility of victim and villain.
- The influence of setting and environmental conditions on psychological states.
- The concept of "the sublime" as a central component of horror fiction.
Excerpt from the Book
3.4. “Body Horror”: The Monster
I resolved […] to make the being of gigantic stature; […] about eight feet in height. […] His yellow skin scarcely covered the work of muscles and arteries beneath; his hair was of a lustrous black, and flowing; his teeth of a pearly whiteness; but these luxuriances only formed more a horrid contrast with his watery eyes, that seemed almost of the same colour as the dun white sockets in which they were set, his shriveled complexion and straight black lips. 21
Horror and disgust of distorted, morbid and inhuman beings are as old as humanity. People are frightened by any human being that diverges from the rule because this threatens their sense of security and identity. Horror fiction mirrors these fears by using monsters, as does Mary Shelley in Frankenstein.
From the moment of birth, Victor Frankenstein is disgusted and disappointed by his own creation. “[He] had desired it with an ardour that far exceeded moderation; but now that [he] had finished, the beauty of the dream vanished, and breathless horror and disgust filled [his] heart.” 22 Not only Victor but also every other human being that beholds the monster reacts with horror. Even though at first the creature is a gentle, helpful and cooperative being, the only respond he gets is fear and loathing, as “its unearthly ugliness [is] almost too horrible for human eyes.” 23
Only because his desire for human love and friendship is rejected the monster is driven to vengeful murderous crimes.
Summary of Chapters
1. Introduction: Presents the central focus of the work, defining the emergence of Gothic and horror fiction in the late 18th and early 19th centuries.
2. Basics: Outlines the historical and literary context of the Gothic novel, highlighting the conflict between the Enlightenment’s rationalism and Romantic sensitivity.
3. Gothic elements in Mary Shelley’s Frankenstein: Serves as the main analytical section, dissecting specific motifs such as incest, science, the Doppelgänger, body horror, the sublime, settings, and the shifting dynamics between villain and victim.
3.1. Incest: Explores how taboo family relations are utilized to evoke the forbidden and abnormal.
3.2. Science: Analyzes the dangers of unchecked scientific progress and the trope of the mad scientist.
3.3. Doppelgänger: Examines the psychological conflict represented by split selves and the monster as Victor's double.
3.4. Body Horror: The Monster: Discusses the physical repulsion and fear generated by the creation of an inhuman, distorted being.
3.5. The Sublime: Investigates how majestic and terrifying nature is used to elicit "delightful horror."
3.6. Setting: Details how isolating and gloomy environments contribute to the uncanny atmosphere of the novel.
3.7. The Victim and The Villain: Explores the reversal of roles between creator and creation, suggesting that both can be viewed as victims and villains.
4. Conclusion: Summarizes the lasting significance of Frankenstein as a foundational work of modern science fiction and its role in humanizing the fear of the unknown.
5. Bibliography: Lists the primary and secondary academic sources used for the analysis.
Keywords
Frankenstein, Mary Shelley, Gothic Literature, Horror Fiction, Romanticism, The Sublime, Doppelgänger, Mad Scientist, Body Horror, Enlightenment, Literary Analysis, Victim, Villain, 19th Century Novel.
Frequently Asked Questions
What is the core focus of this academic paper?
This paper explores the various Gothic elements present in Mary Shelley’s "Frankenstein" and analyzes their functional role in character development, atmosphere, and the expression of thematic concerns like morality and science.
What are the primary themes discussed in the work?
The core themes include the tension between Enlightenment rationality and Romantic emotion, the consequences of scientific overreach, the psychological depth of the Doppelgänger, and the definition of the sublime in literature.
What is the main objective of the research?
The objective is to demonstrate how Mary Shelley employs established Gothic conventions to create a transformative work that explores human psychology and the dangers of playing God.
What methodology does the author use?
The paper utilizes a literary analysis approach, drawing upon historical context, psychological theories, and established literary criticism to interpret the text.
Which topics form the main body of the work?
The main body focuses on critical Gothic components such as incestuous subtext, the archetype of the mad scientist, the Doppelgänger motif, body horror, the aesthetic of the sublime, and the evolving relationship between the creator (Victor) and his creation.
Which keywords best describe the paper?
The work is defined by terms such as Gothic Literature, Frankenstein, The Sublime, Doppelgänger, Romanticism, and Horror Fiction.
How does the paper interpret the character of the monster?
The author argues that the monster is not a simple villain, but rather a victim of Victor's rejection and societal prejudice, whose actions are a desperate cry for love and connection.
What role does "the sublime" play in Frankenstein?
The sublime is used to evoke "delightful horror," where vast and dangerous natural landscapes and supernatural elements combine to make the reader feel a mix of admiration and terror.
- Quote paper
- Dorothea Wolschak (Author), 2009, Gothic elements in Mary Shelley's "Frankenstein", Munich, GRIN Verlag, https://www.grin.com/document/275964
