Frankenstein

Frankenstein can be described as a story, within a story, within a story! We are initially introduced to the character of Robert Walton, the captain of a ship, who is attempting to reach the North Pole – a feat never before achieved by man. It is evident from the outset that Walton is a truly pioneering and ambitious individual. He narrates the text through a series of letters to his sister Margaret Saville. It is during this pursuit that Walton becomes aware of his own isolation, admitting to his sister his desire for a companion. Not long after, members of Walton’s crew spot and invite aboard a man who had been floating in the icy water below them. It is at this point that readers are introduced to Victor Frankenstein. Walton perceives Victor as a friend he had wanted for so long and immediately seeks to care for and restore Victor back to health. However, as he becomes the trusted carer of Victor, Walton is led to realise that his guest will never be able to recover. Victor stresses to Walton that he has committed actions in his past that will prevent him from ever being able to live happily within society again. After a time, Victor becomes strong and comfortable enough to recount his story to Walton. Importantly, Shelley suggests Victor is most inclined to share his journey in order to ensure Walton does not follow the same destructive path in search of personal glories that Victor did. Victor then assumes narration (though technically, Walton is still narrating, as he is writing down Victor’s words into his letters to Margaret!) as he imparts his story. Whilst we generally say that Victor assumes narration, note that the narrative is retrospective. It starts when Victor is near death and we need to understand what has led to the downfall of a seemingly “noble man.”

Starting from his childhood Victor paints a picturesque scene, focusing on the love and care he received from his closest family and friends. However, Victor’s childhood obsession with the secrets of heaven and Earth, in conjunction with a series of events including him observing lightning destroying a tree trunk, discovering the outdated works of scientist Cornelius Agrippa and moving to the isolated Ingolstadt University results in him becoming committed to the spontaneous creation of human life. He isolates himself from all those close to him and becomes blind to the sublime nature of the world as he creates a gigantic being from dead bodies and electricity. However, upon infusing this creation with the spark of life, Victor is horrified. Contrary to his idealistic delusions about being extolled as the creator of a new species, the reality of Victor’s creation is a monstrous being that blurs the distinctions between living and dead, human and non-human. In fear, Victor abandons the Creature.

Victor’s decision catches up with him when the Creature murders his younger brother William, and his childhood servant and friend Justine Moritz is unfairly condemned to death for the murder. These two deaths, which Victor considers to be partly his fault, spur Victor on to find the Creature and extinguish the life that he had once given. Finding the Creature at the summit of the Alps, the Creature then assumes narration as he urges his creator to listen to his journey since his abandonment. (Remember how I said this novel was a story, within a story, within a story?) Structurally, the Creature’s narrative is the central piece – it is valuable to consider what this may mean in the whole scheme of the text.

The Creature outlines his story and how lost he was without any understanding of nature or humankind. He comes across the De Lacey family whom he observes for many months, so as to gain knowledge relating to human society. It is here that the Creature learns about language, emotion and companionship. However, it is also here that the Creature becomes aware of his own alterity. In trying to befriend the De Lacey family, he is rejected based on his terrifying visage, and when he saves a young girl from drowning, he is not thanked, but rather shot at by the father. These instances contribute to his descent into monstrosity and animalistic tendencies, with a central desire to seek revenge on the creator who unfairly bought him into a society where he could never happily coexist. The Creature then begins to murder those close to Victor.

Back to Victor’s narration, we learn that the Creature desires a female companion. He provides this to Victor as an ultimatum: if Victor can create a female for the Creature, he and his family will be left alone forever. But Victor has learnt his lesson about failing to consider the consequence of his actions and subsequently does not create the female creature. In fury, the Creature once again pursues Victor, killing his wife, Elizabeth and best friend, Henry Clerval during this period.

It is back on Walton’s ship, and where the text had begun, that from Walton’s direct narration the readers learn that neither the Creature nor Victor may die whilst the other survives. So, when Victor dies and the Creature arrives on the ship, he pines for forgiveness and ultimately resolves to take his own life. Walton, however, is able to learn from Victor’s didactic tale. Rather than continue to pursue the dangerous quest to the North Pole and risk the lives of so many of his crew members, he decides to turn the ship around. Therefore, the conclusion of the text leaves audiences to consider the fallibility of ambitious individuals and the dangers associated with trying to usurp the natural boundaries placed on mankind.