Perceptions of nature are central to much romantic literature, whereas notions of the supernatural can rather be found in a type of literature that is associated with the Romantic period: the Gothic. Lacking a precise and stable meaning, the term commonly refers to literature that dramatizes the fantastic, supernatural, and macabre and features narrative suspense that creates horror. In this essay, different aspects of the relationship between the natural and the supernatural will be examined in two Gothic texts: Mary Shelley’s Frankenstein; or, the Modern Prometheus and Edgar Allan Poe’s ‘M.S. Found in a Bottle’ .
In Frankenstein, nature is presented in harmony with the actually unnatural, in some respects even supernatural, creature, whereas it appears to oppose as well as soothe the creator who transgressed the boundaries of natural science. On the other hand, in Poe’s ‘M.S. Found in a Bottle’ natural force, embodied in the sea, does not have a counterpart, whether natural or unnatural, but culminates in a supernatural, all-devouring abyss. This culmination, though, links the two texts: Frankenstein’s desire, his ‘almost supernatural enthusiasm’ (Shelley 30), is realized in bringing to life the supernatural creature which ultimately, like natural forces in Poe’s story, proves destructive. Another common ground situated on the border of natural and supernatural is the reoccurring notion of sublimity, which will be considered rather extensively.
Table of Contents
I. INTRODUCTION
II. DEFINITION OF TERMS
III. NATURAL AND SUPERNATURAL IN THE TWO TEXTS
IV. CONCLUSION
Research Objectives and Themes
This essay explores the complex relationship between the natural and the supernatural within Mary Shelley’s "Frankenstein" and Edgar Allan Poe’s "M.S. Found in a Bottle." It examines how both authors utilize settings and characters to traverse the boundaries of natural science and human perception, ultimately questioning the thin line between creation and destruction.
- The interplay between the natural world and the supernatural manifestations in Gothic literature.
- The role of the "sublime" as a bridge between the physical world and the beyond.
- Characterization of the "monster" as a product of unnatural scientific intervention.
- The destructive consequences of human hubris and the violation of natural laws.
- Comparative analysis of how Shelley and Poe employ landscape and environment to reflect internal human states.
Excerpt from the Book
II. NATURAL AND SUPERNATURAL IN THE TWO TEXTS
Several aspects make Frankenstein’s creature unnatural and other attributes render it supernatural. Though consisting of natural parts and intended as a ‘human being’ (Shelley 31), the so called monster is ‘unearthly in his ugliness’ (153). It was created in an unnatural way by an unnatural method, and can therefore only be unnatural. Its physical power exceeds that of human beings and it is not as prone to harsh weather conditions, which renders it superhuman. The supernatural facet can be put down to circumstances surrounding the creation: ‘a spark of being’ (34) is used to bring the creature to life. Among other things, a spark is ‘a bright or glittering emanation, flash, or gleam of light’ (OED “spark”). Accordingly, Frankenstein abused electricity, a natural force, to stimulate ‘the lifeless thing’ (Shelley 34). By artificially and miraculously bringing his inanimate project to life, Frankenstein leaves the ordinary course of nature and produces something abnormal and supernatural.
Strikingly, throughout the novel nature is identified as female. Frankenstein admires how ‘Nature adorns her dwelling places’ (Shelley 109) and pursues ‘nature to her hiding places’ (32). By doing so in a womblike laboratory, he brings to life the creature, which has been interpreted as a ‘predatory violence against nature’ (Woodring 104) or even a ‘rape of nature’ (Mellor 281). Anne K. Mellor points out that by failing to create a female companion for his monster, Victor Frankenstein strives to ‘control and even destroy female sexuality’ (279). Thus encouraging patriarchy, Frankenstein makes his way towards an unnatural society without women. Fatally for Frankenstein, nature is not as non-violent as he believes ‘her’ to be and seeks retaliation.
Summary of Chapters
I. INTRODUCTION: The introduction establishes the framework for comparing the Gothic elements in Shelley and Poe, focusing on the ambiguous definitions of nature and the supernatural.
II. DEFINITION OF TERMS: This section provides a linguistic basis for the analysis by defining "natural" and "supernatural" according to the Oxford English Dictionary.
III. NATURAL AND SUPERNATURAL IN THE TWO TEXTS: The main body examines how Frankenstein’s creature and the environmental forces in Poe’s work manifest the supernatural, often through the lens of the sublime.
IV. CONCLUSION: The conclusion synthesizes the findings, noting that while nature provides nourishment, it also serves as an agent of vengeance when its boundaries are transgressed by human hubris.
Keywords
Frankenstein, M.S. Found in a Bottle, Romantic literature, Gothic, Nature, Supernatural, Sublime, Mary Shelley, Edgar Allan Poe, Doppelgänger, Alchemy, Electricity, Human hubris, Tabula rasa, Narrative strategy.
Frequently Asked Questions
What is the primary focus of this academic essay?
The essay investigates the intricate relationship between the natural and the supernatural in the Gothic works of Mary Shelley and Edgar Allan Poe, specifically analyzing how these concepts define the thematic structures of their stories.
What are the central themes discussed?
Central themes include the ethical implications of scientific creation, the gendered perception of nature, the psychological impact of the sublime, and the destructive power of human ambition.
What is the main research question of this study?
The study aims to determine how the boundaries between the natural and the supernatural are established, blurred, and eventually violated by the protagonists, and how these violations lead to catastrophic outcomes.
Which scientific or analytical method is applied here?
The author uses a comparative literary analysis, relying on lexicographical definitions (OED), philosophical frameworks (such as Kant’s and Burke’s theories on the sublime), and scholarly interpretations of Romantic and Gothic literature.
What does the main body of the text cover?
The main body examines the creation of Frankenstein’s monster through "unnatural" methods, the metaphorical "female" nature that seeks retaliation, and the shared reliance on the sublime to evoke terror in both Shelley and Poe.
Which keywords best describe this work?
Key terms include Gothic literature, the sublime, supernatural, nature, Frankenstein, Poe, Doppelgänger, and scientific hubris.
How does the author characterize Frankenstein’s creation process?
The author argues that Victor Frankenstein’s process is a transgression of natural law, using electricity—a natural force—to animate "lifeless" matter, thereby creating an "abnormal" entity.
What role does the "sublime" play in Poe’s story?
In "M.S. Found in a Bottle," the sublime is embodied by the sea, which transitions from a natural force into an overwhelming, supernatural abyss that eventually consumes the rational narrator.
- Quote paper
- Theresia Knuth (Author), 2006, The Relationship between the Natural and Supernatural in Shelley's Frankenstein and Poe's M.S. Found in a Bottle, Munich, GRIN Verlag, https://www.grin.com/document/70042
