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Romanticism in "Frankenstein"

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By HaiibaraPublished 2 years ago 5 min read
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What is the Creature isn't the real monster?

Romanticism was a literary, musical, and intellectual movement that originated in 18th century Europe with an emphasis on emotion, nature, the power of individuals, the elevation of innocence, and not relying on science and technology.

The movement was born out of opposition to Enlightenment views of science and reason, as well as the increasing prominence of the Industrial Revolution. As the movement grew in popularity, a wave of authors followed in its wake- including Mary Shelley and her famous novel Frankenstein. The story follows young scientist Victor Frankenstein who brings a creature to life- a creature with intelligence, cunning, emotion, and grotesque appearance. Frankenstein’s journey throughout the novel is a struggle between him and the creature, as the creature exacts its revenge on Frankenstein for making and abandoning it by killing off Frankenstein’s friends and loved ones. Shelley’s Frankenstein is ripe with Romantic themes of the embrace of nature and the elevation of innocence discovered throughout Victor Frankenstein’s narrative.

For starters, nature is portrayed as perfect and is religiously praised. Throughout the novel, nature is described as “sublime” countless times- “the sublime shapes of the mountains” (Shelley 31), “this valley is more wonderful and sublime” (Shelley 107), “ and these sublime and magnificent scenes” (Shelley 109)-to communicate to the readers its perfection, beauty, and power. On the contrary, Frankenstein’s perspective on human beings is that “we are unfashioned creatures, but half made up…” (Shelley 20). This quote reflects the Romanticist elements of glorifying nature since it claims that human beings are imperfect, flawed, weighed down by worldly things, and ultimately incomparable to the flawlessness of nature. Because men are ultimately incomparable to the perfection of nature, Frankenstein’s attempt to explore the “citadel of nature” (Shelley 36) by pushing science to its limits and attempting to overcome nature fails. Frankenstein’s unwise efforts at controlling nature backfire as the creature kills off his loved ones.

Moreover, nature is not only a perfect force in the novel, but it also serves as a form of comfort for Frankenstein. Near the beginning of the story and after the death of William Frankenstein, Victor Frankenstein looks to Mont Blanc for restoration and escape from the grim reality.

I wept like a child. ‘Dear mountains! my own beautiful lake! how do you welcome your wanderer? Your summits are clear; the sky and lake are blue and placid’ (Shelley 81).

Not only does Frankenstein look to nature for comfort during a time of mourning, but nature also serves as therapy and treatment whenever he is under stressful situations. When Frankenstein falls ill, his recovery is accredited to nature- despite the many months of care from his close friend Henry. “My health and spirits had long been restored, and they gained additional strength from the salubrious air I breathed…” (Shelley 75). Frankenstein has not only recovered from his illness but somehow has obtained extra health and strength from breathing the air. In addition, numerous walks in parks, trails, and trips to the outdoors with Henry have improved Frankenstein’s well-being. In other words, it is implied that there is a positive correlation between being healthy and interacting with nature, once again relating back to the Romantic theme of humans needing to embrace nature.

Furthermore, the theme of losing innocence is most dominantly seen in Victor Frankenstein. When he was a young child, he immersed himself in various sciences such as alchemy, and as a young man, he dedicated himself to studies of science at the university. When Frankenstein decides to explore the limits of science and create an animated creature of something that is dead, he does so with lofty ambitions and extreme determination. Yet, it is his success, pride, and irresponsibility that lead to the end of his innocence.

The creation of the creature reflects upon Frankenstein’s own flaws and results in a cunning bloodthirsty monster who vows to have his revenge against humanity and most importantly, his creator. At first, Frankenstein refuses to acknowledge his part in the tragedy and desperately holds onto his remaining innocence. As Veeder puts it, “Victor further deflects guilt through indignation” by portraying that the creature “shows unparalleled malignity and selfishness.” Unfortunately, Frankenstein’s own actions bring death to his loved ones: his bride Elizabeth, faithful friend Henry, kind brother William, and innocent friend Justine. Ultimately, his loss of innocence culminates in his conversation with aspiring explorer Robert Walton:

You seek for knowledge and wisdom, as I once did; and I ardently hope that the gratification of your wishes may not be a serpent to sting you, as mine has been (Shelley 22).

Just as an experienced elder would pass onto their years of wisdom and knowledge onto their pupils, Frankenstein is attempting to do the same to Walton- presumably someone he sees as like himself. Frankenstein’s journey from pure and innocent to someone whose actions have led to the deaths of many contributed to the Romantic theme of the loss of innocence.

In conclusion, the novel Frankenstein by Mary Shelley is expressive of many popular themes in the 18th-century Romantic European movement. There are numerous prevailing Romanticism themes such as the loss of innocence and purity as well as the glorification of nature.

Work Cited

Veeder, William. “The Negative Oedipus: Father, Frankenstein, and the Shelleys.” Frankenstein - Mary Wollstonecraft Shelley, Original Edition, Chelsea House, 2018. Bloom's Literature, online.infobase.com/Auth/Index?aid=102933&itemid=WE54&articleId=532050. Accessed 6 May 2022.

Shelley, Mary Wollstonecraft. Frankenstein, or, the Modern Prometheus. New American Library, 2000.

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About the Creator

Haiibara

Sometimes I wish I had the power to control the seas like Percy, call upon the name of the wind like Kvothe, or be as inspiring as Kelsier. But then I remember that we hold an even greater power: the power to create.

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