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Frankensteins monster is, perhaps, one of the most sympathetic characters in the pantheon of monsters that have become emblematic of the horror genre. Although modern readers are unlikely to find the novel quite as chilling as their predecessors did, Frankenstein raises quite several disturbing themes that still hold relevance for modern society. Despite being rather straightforward, these themes are given a chance to develop in Frankenstein, gaining additional poignancy and showing the complexity of social relationships, the role of prejudices, and the challenges of changing the mindset and attitudes of a community.
Of the multitude of complex issues that Frankenstein covers, the ones of prejudice and lost innocence seem to stand out since they are interlaced with the characters journey. As a result, throughout the novel, the themes in question evolve. For instance, the concept of prejudice transforms from people being averted by the monster to the monster becoming convinced in peoples malevolence. At first, even Frankenstein rejects the monster: All men hate the wretched; how, then, must I be hated, who am miserable beyond all living things! (Shelley). In turn, the theme of the lost innocence starts with the creator being completely naïve to what he unleashed on humankind and slowly realizing the outcomes of tampering with nature, concerning the serpent being an allusion to Millers Paradise Lost (Shelley; Ryan 25). Therefore, the author addresses the complexity of thematic development directly in the novel.
In addition, the choices that Shelley makes throughout her book are consistent with the Plot Diagram, yet they make the reader linger for a seemingly disproportionate amount of time on the rising action. One might argue that the specified change of pace disrupts the narrative, yet it, in fact, contributes to building the tension, thus making the final reveal all the more devastating for the audience. Specifically, the use of the technique known as the embedded narrative, where the correspondence between Victor Frankenstein and his sister seemingly interfere with the main narrative, creating three separate speaker entities, serve as a powerful tool for building tension (Barth 10). Thus, the Plot Diagram elements allow emphasizing the key themes in the novel, namely, the ones of isolation and the complexity of social interactions, setting the tone for the rest of the novel.
Similarly, Shelley uses the Methods of Characterization framework in a way that allows emphasizing the claustrophobic nature of the book. The contrast between the physical description of the monster and the initially peaceful nature of his actions creates the setting for exploring the theme of prejudice quite thoroughly, as Basiya remarks: The only source of his energy is his hate for people who do not accept his existence and who only live according to prejudice (176). As a result, the problem of prejudices and the unwillingness of the public to reconsider their perception of the unconventional as inherently evil is outlined impeccably.
By using the Methods of Characterization and the Plot Diagram in an innovative and refreshing manner, Shelley emphasizes the importance of the themes raised in her book. Namely, the issues of prejudices and the complexity of interpersonal relationships, as well as the linked idea of changing peoples attitudes, are represented quite vividly in the book. Thus, Shelley creates a compelling narrative that might seem a bit slow at first, yet quickly escalates to a series of drastic events.
Works Cited
Barth, Florian. Annotation Guideline No. 5: Annotation Guidelines for Narrative Levels and Narrative Acts. Journal of Cultural Analytics, vol. 11201, 2019, pp. 1-12.
Basiya, Rajesh V. The Monster Is Alive: 200 Years of Mary Shelleys Frankenstein. Language in India, vol. 18, no. 7, 2018, pp. 174-187.
Ryan, Faith. Monstrous Femininity: The Female Abject in Mary Shelleys Frankenstein and John Miltons Paradise Lost. The Albatross, vol. 8, 2018, pp. 24-32.
Shelley, Mary. Frankenstein; or, the Modern Prometheus. Gutenberg.org, 2008.
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