frankenstein literary analysis essay

Frankenstein

Mary shelley, everything you need for every book you read..

Welcome to the LitCharts study guide on Mary Shelley's Frankenstein . Created by the original team behind SparkNotes, LitCharts are the world's best literature guides.

Frankenstein: Introduction

Frankenstein: plot summary, frankenstein: detailed summary & analysis, frankenstein: themes, frankenstein: quotes, frankenstein: characters, frankenstein: symbols, frankenstein: literary devices, frankenstein: quizzes, frankenstein: theme wheel, brief biography of mary shelley.

Historical Context of Frankenstein

Other books related to frankenstein.

• Full Title: Frankenstein, or, The Modern Prometheus
• When Published: 1818
• Literary Period: Switzerland and London, England: 1816–1817
• Genre: Gothic novel
• Setting: Switzerland, France, England, Scotland, and the North Pole in the 18th century
• Climax: The Monster's murder of Elizabeth Lavenza on her wedding night to Victor
• Antagonist: The Monster
• Point of View: Frankenstein is told through a few layers of first person narratives. Walton is the primary narrator, who then recounts Victor's first-person narrative. In addition, Victor's narrative contains the monster's first person story as well as letters from other characters.

Extra Credit for Frankenstein

A ghost story. On a stormy night in June of 1816, Mary Shelley, her husband, and a few other companions, including the Romantic poet Lord Byron, decided to try to write their own ghost stories, but Shelley couldn't come up with any ideas. A few nights later, she had a dream in which she envisioned "the pale student of unhallowed arts" kneeling beside his creation—the monster. She began writing the story that became Frankenstein the next morning.

The Tale of Two Frankensteins. Shelley published the first edition of Frankenstein anonymously, perhaps due to her concern that such a grim and violent tale would not be well received by her audience if they knew her gender. She revised the novel and published it under her real name in 1831. Some key differences exist between the editions, namely that in the first edition, Elizabeth is Alphonse's niece and, therefore, Victor's cousin. (In the 1831 edition, the more popular version and the one used in this Outline, the Frankensteins adopt Elizabeth from another family).

Frankenstein Themes

‘ Theme ’ is a central idea present in a literary piece. It serves as an essential ingredient that makes a story appealing and persuasive. Frankenstein by Mary Shelley has various themes woven together to complete a narrative which teaches value, warns of possible consequences of abusing science or intelligence, highlights a futuristic outlook. Some of the overarching themes of the novel are given below.

Themes in Frankenstein

The theme of creation is at the center of the novel, Frankenstein. The story shows how Victor creates a monster and instills life in it after gaining scientific knowledge of life at Ingolstadt. Victor plays God or pretends to become one to create life. His ambition of creating life and emulating his own creation fails. The creature, he has created, forces him to create a companion. When Victor denies he turns into a real monster. In other words, Victor’s secret toil, as Mary Shelley had stated, was an unnatural and irreligious act which costs him dearly. The theme also signifies that interrupting natural order may cost lives and sanity and it is important to stay within boundaries.

Although depicted at the secondary level, the novel also explores the theme of alienation. It might be possible that Victor creates the monster to end his isolation. However, in the process of doing an unnatural thing, he creates a creature, who is also his enemy. The creature, who is innocent feels alienated. Hence, he asks for a companion. When humans hate him for the way he looks, he begins to kill to persuade his creator, Victor Frankenstein. Another alienation is of Robert Walton who seeks his sister’s love and writes her letters. Victor, too, seeks Elizabeth’s and his family members’ love as he alienates from them and immerses in the world of science.

Although several characters are trying to align themselves with one another. For instance, Robert Walton with his sister through letters and Victor Frankenstein with his family, they feel quite isolated from the world. Victor is engaged in his experiments, and Robert Walton goes on expeditions, where he meets Victor. In the same way, the creature, Frankenstein’s Monster tries to seek the companionship of the poor family to end its isolation.

Crossing Boundaries

Mary Shelley has very beautifully woven the idea of the crossing limits in this novel. Through Victor Frankenstein, she explains that humans have certain limits despite grand ambitions. When these limits are crossed, the natural order is destroyed. This interruption rebounds when the limits are crossed. Victor’s attention to Waldman’s lectures and his obsession with the idea of creating a new life is equated to the crossing of boundaries set by nature. Victor eventually pays the price as he loses his family members and friends until he dies while chasing the Creature.

Under the overarching theme of creation, the theme of ambition also runs parallel in the novel. Although since the ancient period, ambition is associated with negative passion, here Victor’s ambition leads him to create a human deemed as a monster physically. It proves that ambition is not good when it comes to unnatural directions. The creation of a new life defying the natural order of life and death is clearly an incorrect ambition. Later, it proves to be fatal when the Creature begins to kill Victor’s closest family and friends.

Another secondary theme in Frankenstein is an injustice. Mary Shelley has demonstrated this theme in two ways. The first is Justine’s trial in the court on the accusations of murdering William. The court awards her death sentence even though Victor has clear hints of the creature having killed William and Justine was framed for the murder. The second example of injustice is when the Creature request for a companion Victor denies. The Creature was helpless and innocent turns into a killer.

Responsibility

The novel, Frankenstein, highlights the theme of individual responsibility as well as social responsibility. Victor’s ambitious project of the creation of a new life reflects the lack of realization of the individual responsibility and the lack of government control. Victor does not show any fear in creating a new life and playing with the laws of nature until it takes the lives of several of his family members. Justine’s death signifies that entire the judicial process lacks responsibility when they punish an innocent. In other words, individuals and society often fail to respond to their duties and responsibilities toward the family and community .

Natural Laws

Although this is not an explicit theme, the theme of natural laws is implicitly put into the mouth of characters and the narrator in Frankenstein. Natural laws keep the balance of life on this earth. ‘Life and death’ cycle is a natural law. However, when Victor Frankenstein uses science to create life using dead human organs and chemicals, he violates the natural law of life and death. The result is the birth of innocent yet monstrous creature who turns violent when his needs aren’t met.

Parental Responsibility

The parental responsibility is another theme apparent in the upbringing of Victor Frankenstein. His father, Alphonse Frankenstein, has done his best to educate him in the top university Ingolstadt to study science. Victor whole-heartedly completes his education which shows his good upbringing. However, when Victor creates the Creature, he forgets to give this monster the moral and social education about how to live and behave in a society. In other words, he forgets his parental responsibility towards his creation.

One of the secondary themes that stay in the background is the theme of revenge. Victor Frankenstein creates the monster but stops short of creating its companion which leads the Creature to take revenge on him. The Creature kills his family members to make him realize the pain of loneliness. In the same way, Victor runs after the monster to exact revenge of his family members but dies during the chase.

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Victor Frankenstein Analysis

• Categories: Frankenstein Responsibility

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Words: 618 |

Published: Mar 19, 2024

Words: 618 | Page: 1 | 4 min read

Table of contents

Introduction, victor's ambition, the admirable and dangerous nature of victor's ambition, the devastating consequences, victor's lack of responsibility, the dangers of unchecked scientific progress, victor's character as a reflection of the human condition.

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How to Write a Literary Analysis Essay | A Step-by-Step Guide

Published on January 30, 2020 by Jack Caulfield . Revised on August 14, 2023.

Literary analysis means closely studying a text, interpreting its meanings, and exploring why the author made certain choices. It can be applied to novels, short stories, plays, poems, or any other form of literary writing.

A literary analysis essay is not a rhetorical analysis , nor is it just a summary of the plot or a book review. Instead, it is a type of argumentative essay where you need to analyze elements such as the language, perspective, and structure of the text, and explain how the author uses literary devices to create effects and convey ideas.

Before beginning a literary analysis essay, it’s essential to carefully read the text and c ome up with a thesis statement to keep your essay focused. As you write, follow the standard structure of an academic essay :

• An introduction that tells the reader what your essay will focus on.
• A main body, divided into paragraphs , that builds an argument using evidence from the text.
• A conclusion that clearly states the main point that you have shown with your analysis.

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Table of contents

Step 1: reading the text and identifying literary devices, step 2: coming up with a thesis, step 3: writing a title and introduction, step 4: writing the body of the essay, step 5: writing a conclusion, other interesting articles.

The first step is to carefully read the text(s) and take initial notes. As you read, pay attention to the things that are most intriguing, surprising, or even confusing in the writing—these are things you can dig into in your analysis.

Your goal in literary analysis is not simply to explain the events described in the text, but to analyze the writing itself and discuss how the text works on a deeper level. Primarily, you’re looking out for literary devices —textual elements that writers use to convey meaning and create effects. If you’re comparing and contrasting multiple texts, you can also look for connections between different texts.

To get started with your analysis, there are several key areas that you can focus on. As you analyze each aspect of the text, try to think about how they all relate to each other. You can use highlights or notes to keep track of important passages and quotes.

Language choices

Consider what style of language the author uses. Are the sentences short and simple or more complex and poetic?

What word choices stand out as interesting or unusual? Are words used figuratively to mean something other than their literal definition? Figurative language includes things like metaphor (e.g. “her eyes were oceans”) and simile (e.g. “her eyes were like oceans”).

Also keep an eye out for imagery in the text—recurring images that create a certain atmosphere or symbolize something important. Remember that language is used in literary texts to say more than it means on the surface.

Narrative voice

Ask yourself:

• Who is telling the story?
• How are they telling it?

Is it a first-person narrator (“I”) who is personally involved in the story, or a third-person narrator who tells us about the characters from a distance?

Consider the narrator’s perspective . Is the narrator omniscient (where they know everything about all the characters and events), or do they only have partial knowledge? Are they an unreliable narrator who we are not supposed to take at face value? Authors often hint that their narrator might be giving us a distorted or dishonest version of events.

The tone of the text is also worth considering. Is the story intended to be comic, tragic, or something else? Are usually serious topics treated as funny, or vice versa ? Is the story realistic or fantastical (or somewhere in between)?

Consider how the text is structured, and how the structure relates to the story being told.

• Novels are often divided into chapters and parts.
• Poems are divided into lines, stanzas, and sometime cantos.
• Plays are divided into scenes and acts.

Think about why the author chose to divide the different parts of the text in the way they did.

There are also less formal structural elements to take into account. Does the story unfold in chronological order, or does it jump back and forth in time? Does it begin in medias res —in the middle of the action? Does the plot advance towards a clearly defined climax?

With poetry, consider how the rhyme and meter shape your understanding of the text and your impression of the tone. Try reading the poem aloud to get a sense of this.

In a play, you might consider how relationships between characters are built up through different scenes, and how the setting relates to the action. Watch out for  dramatic irony , where the audience knows some detail that the characters don’t, creating a double meaning in their words, thoughts, or actions.

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Your thesis in a literary analysis essay is the point you want to make about the text. It’s the core argument that gives your essay direction and prevents it from just being a collection of random observations about a text.

If you’re given a prompt for your essay, your thesis must answer or relate to the prompt. For example:

Essay question example

Is Franz Kafka’s “Before the Law” a religious parable?

Your thesis statement should be an answer to this question—not a simple yes or no, but a statement of why this is or isn’t the case:

Thesis statement example

Franz Kafka’s “Before the Law” is not a religious parable, but a story about bureaucratic alienation.

Sometimes you’ll be given freedom to choose your own topic; in this case, you’ll have to come up with an original thesis. Consider what stood out to you in the text; ask yourself questions about the elements that interested you, and consider how you might answer them.

Your thesis should be something arguable—that is, something that you think is true about the text, but which is not a simple matter of fact. It must be complex enough to develop through evidence and arguments across the course of your essay.

Say you’re analyzing the novel Frankenstein . You could start by asking yourself:

Your initial answer might be a surface-level description:

The character Frankenstein is portrayed negatively in Mary Shelley’s Frankenstein .

However, this statement is too simple to be an interesting thesis. After reading the text and analyzing its narrative voice and structure, you can develop the answer into a more nuanced and arguable thesis statement:

Mary Shelley uses shifting narrative perspectives to portray Frankenstein in an increasingly negative light as the novel goes on. While he initially appears to be a naive but sympathetic idealist, after the creature’s narrative Frankenstein begins to resemble—even in his own telling—the thoughtlessly cruel figure the creature represents him as.

Remember that you can revise your thesis statement throughout the writing process , so it doesn’t need to be perfectly formulated at this stage. The aim is to keep you focused as you analyze the text.

Finding textual evidence

To support your thesis statement, your essay will build an argument using textual evidence —specific parts of the text that demonstrate your point. This evidence is quoted and analyzed throughout your essay to explain your argument to the reader.

It can be useful to comb through the text in search of relevant quotations before you start writing. You might not end up using everything you find, and you may have to return to the text for more evidence as you write, but collecting textual evidence from the beginning will help you to structure your arguments and assess whether they’re convincing.

To start your literary analysis paper, you’ll need two things: a good title, and an introduction.

Your title should clearly indicate what your analysis will focus on. It usually contains the name of the author and text(s) you’re analyzing. Keep it as concise and engaging as possible.

A common approach to the title is to use a relevant quote from the text, followed by a colon and then the rest of your title.

If you struggle to come up with a good title at first, don’t worry—this will be easier once you’ve begun writing the essay and have a better sense of your arguments.

“Fearful symmetry” : The violence of creation in William Blake’s “The Tyger”

The introduction

The essay introduction provides a quick overview of where your argument is going. It should include your thesis statement and a summary of the essay’s structure.

A typical structure for an introduction is to begin with a general statement about the text and author, using this to lead into your thesis statement. You might refer to a commonly held idea about the text and show how your thesis will contradict it, or zoom in on a particular device you intend to focus on.

Then you can end with a brief indication of what’s coming up in the main body of the essay. This is called signposting. It will be more elaborate in longer essays, but in a short five-paragraph essay structure, it shouldn’t be more than one sentence.

Mary Shelley’s Frankenstein is often read as a crude cautionary tale about the dangers of scientific advancement unrestrained by ethical considerations. In this reading, protagonist Victor Frankenstein is a stable representation of the callous ambition of modern science throughout the novel. This essay, however, argues that far from providing a stable image of the character, Shelley uses shifting narrative perspectives to portray Frankenstein in an increasingly negative light as the novel goes on. While he initially appears to be a naive but sympathetic idealist, after the creature’s narrative Frankenstein begins to resemble—even in his own telling—the thoughtlessly cruel figure the creature represents him as. This essay begins by exploring the positive portrayal of Frankenstein in the first volume, then moves on to the creature’s perception of him, and finally discusses the third volume’s narrative shift toward viewing Frankenstein as the creature views him.

Some students prefer to write the introduction later in the process, and it’s not a bad idea. After all, you’ll have a clearer idea of the overall shape of your arguments once you’ve begun writing them!

If you do write the introduction first, you should still return to it later to make sure it lines up with what you ended up writing, and edit as necessary.

The body of your essay is everything between the introduction and conclusion. It contains your arguments and the textual evidence that supports them.

Paragraph structure

A typical structure for a high school literary analysis essay consists of five paragraphs : the three paragraphs of the body, plus the introduction and conclusion.

Each paragraph in the main body should focus on one topic. In the five-paragraph model, try to divide your argument into three main areas of analysis, all linked to your thesis. Don’t try to include everything you can think of to say about the text—only analysis that drives your argument.

In longer essays, the same principle applies on a broader scale. For example, you might have two or three sections in your main body, each with multiple paragraphs. Within these sections, you still want to begin new paragraphs at logical moments—a turn in the argument or the introduction of a new idea.

Robert’s first encounter with Gil-Martin suggests something of his sinister power. Robert feels “a sort of invisible power that drew me towards him.” He identifies the moment of their meeting as “the beginning of a series of adventures which has puzzled myself, and will puzzle the world when I am no more in it” (p. 89). Gil-Martin’s “invisible power” seems to be at work even at this distance from the moment described; before continuing the story, Robert feels compelled to anticipate at length what readers will make of his narrative after his approaching death. With this interjection, Hogg emphasizes the fatal influence Gil-Martin exercises from his first appearance.

Topic sentences

To keep your points focused, it’s important to use a topic sentence at the beginning of each paragraph.

A good topic sentence allows a reader to see at a glance what the paragraph is about. It can introduce a new line of argument and connect or contrast it with the previous paragraph. Transition words like “however” or “moreover” are useful for creating smooth transitions:

… The story’s focus, therefore, is not upon the divine revelation that may be waiting beyond the door, but upon the mundane process of aging undergone by the man as he waits.

Nevertheless, the “radiance” that appears to stream from the door is typically treated as religious symbolism.

This topic sentence signals that the paragraph will address the question of religious symbolism, while the linking word “nevertheless” points out a contrast with the previous paragraph’s conclusion.

Using textual evidence

A key part of literary analysis is backing up your arguments with relevant evidence from the text. This involves introducing quotes from the text and explaining their significance to your point.

It’s important to contextualize quotes and explain why you’re using them; they should be properly introduced and analyzed, not treated as self-explanatory:

It isn’t always necessary to use a quote. Quoting is useful when you’re discussing the author’s language, but sometimes you’ll have to refer to plot points or structural elements that can’t be captured in a short quote.

In these cases, it’s more appropriate to paraphrase or summarize parts of the text—that is, to describe the relevant part in your own words:

The conclusion of your analysis shouldn’t introduce any new quotations or arguments. Instead, it’s about wrapping up the essay. Here, you summarize your key points and try to emphasize their significance to the reader.

A good way to approach this is to briefly summarize your key arguments, and then stress the conclusion they’ve led you to, highlighting the new perspective your thesis provides on the text as a whole:

If you want to know more about AI tools , college essays , or fallacies make sure to check out some of our other articles with explanations and examples or go directly to our tools!

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By tracing the depiction of Frankenstein through the novel’s three volumes, I have demonstrated how the narrative structure shifts our perception of the character. While the Frankenstein of the first volume is depicted as having innocent intentions, the second and third volumes—first in the creature’s accusatory voice, and then in his own voice—increasingly undermine him, causing him to appear alternately ridiculous and vindictive. Far from the one-dimensional villain he is often taken to be, the character of Frankenstein is compelling because of the dynamic narrative frame in which he is placed. In this frame, Frankenstein’s narrative self-presentation responds to the images of him we see from others’ perspectives. This conclusion sheds new light on the novel, foregrounding Shelley’s unique layering of narrative perspectives and its importance for the depiction of character.

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Mary Shelley’s Monster in Frankenstein Literature Analysis Essay

Introduction, background information.

Writers of fictional works of art often come up with characters that are not real in a bid to convey a certain message to the audience. In most cases, the imaginary characters are given attributes that personify human beings in real life. In this paper, the author places emphasis on monsters as fictional characters.

Daragh (382) argues that certain character traits associated with monsters can be used to explain themes that relate to human society. To this end, the author of this paper examines Frankenstein, a monster. Details about the traits of this character are explained in a bid to draw parallels between him and human behaviors.

Whenever monsters are depicted in a text, the creators are often interested in bringing out the fears of the people in a given society. According to Daragh (382), monsters are presented as villains and as creatures whose purpose is to terrorize others.

However, there are cases where the characters harbor no ill intentions at all. In such situations, the monsters are used to illustrate the monstrous behavior of actual beings. An example of the same is presented in the character of Frankenstein. In the book, the author uses the monster to show how real people behave in society.

A number of specific characteristic features are discussed in this paper. They include, among others, appearance, emotions, and articulations associated with the character. Each of the traits addressed is essential in understanding the reasons why Frankenstein was created. More specifically, the role of the character as a monster helps to appreciate the place of such creatures and other fictional figures in a given literary piece of art. Daragh (383) suggests that monsters advance important themes in a story. In light of this, a closer look at the role played by Frankenstein reveals the irony of a creature that should elicit fear among people but ends up experiencing terror instead.

Statement of the Research

The underlying principle of this research undertaking is to examine the character traits of Frankenstein as a monster. The analysis is best realized in the context of a thesis statement that the arguments revolve around.

Thesis statement

The following is the thesis statement of this research paper:

An assessment of the Frankenstein character reveals that monsters are a creation of society.

The author of this paper draws most of the arguments from the opinions made about monsters in peer-reviewed articles. For example, the Master’s thesis by Story (1) seeks to outline the background of monsters in a bid to illustrate their nature. Such arguments are important as they inform the reader why these characters are created. The analysis made in this paper will borrow from Story and other relevant sources.

A Formalist Review of Frankenstein the Monster

Characteristics of frankenstein.

In many narratives, monsters are depicted as creatures that are larger than human beings. Most of the times, these characters are given abilities that are superior to those of humans. Works of art that rely on the technique of appearance suggest that monsters are creatures whose sole purpose is to harm humans.

That is the underlying principle in the majority of these narratives. In their research paper, Story (1) advances the idea that giants and ogres are best understood as villains. One way of depicting a villain is by giving them features that would allow them to terrorize people. The same includes anatomical and morphological features associated with the creatures.

Frankenstein is depicted as a relatively large creature. Estimates of the monster’s height suggest that he is about 8 feet tall. Story (1) argues that a reader will only identify a giant as a towering figure. If a storyteller fails to exaggerate the height of this character, the reader may have problems identifying with it.

A case in point is a scenario where a 5 feet character encounters one who is 17 feet taller. The first reaction from the shorter one may be outright intimidation. In most cases, humans are intimidated by anything that is larger than them. They will do anything to try and overcome that thing. The towering height is used to ensure that Frankenstein attains the much needed intimidating attributes associated with a villain.

In terms of physical attributes, the monster is depicted as a human who has had all their organs stitched together. The terror sought from a villain is often amplified by ensuring that their physical looks are not very appealing to the reader. Daragh (383) makes a similar assertion by insisting that monsters are essentially creatures that seek to instill maximum fear among people. To achieve this objective, the character that takes the role of the monster must be made as unappealing as possible.

At this juncture, the appearance of Frankenstein is symbolic of a typical scary monster. A tall figure of a man who is made up of body parts sewn together is already scary enough. According to Story (1), most humans associate body organs with death. As such, the monster that is Frankenstein is given a character that symbolizes death. Essentially, the physical appearance of the ‘creature’ is made horrid to ensure that the reader is intimidated and terrorized to the point of believing that nothing good can come out of it.

The physical appearance of Frankenstein connotes the various opinions held by a human with regards to real and imagined monsters. To illustrate this point, Story provides a comparative analysis of monsters and humans with defects. Story (2) suggests that the horror associated with ogres is a reflection of the thoughts held by individuals in relation to their counterparts who are afflicted by various disabilities.

In the thesis, Story (2) argues that dwarfs and giants are often characterized as monsters in various narratives. The towering figure of Frankenstein is used to illustrate gigantism. The condition often exhibits itself through distortions of the hormones responsible for growth. As such, humans who are afflicted by such conditions are regarded as strange apparitions by their peers. The same applies to monsters.

Frankenstein’s body, as mentioned earlier, is a series of organs and limbs that have been loosely bound together. Such kind of an appearance is symbolic, given the fact that the monster is created by a human being. His appearance is the imagination of a person keen on creating life (Story 3). In this case, the symbolic gesture is that Frankenstein personifies all the horrors created by human beings in the name of science.

An appearance like the one suggested above is an example of how monsters are depicted by individuals. Daragh (383) argues that grotesque characters derive their horrid attributes from their paranormal nature.

Frankenstein is an example of such a paranormal creature. The same explains why his interactions with people in the Story elicit fear. However, it is important to note that appearances can be deceiving. A look at the personality of the ‘monster’ will illustrate whether they are misunderstood creatures or not.

Emotional attributes of the giant

Many scholars and critics pose the question of whether monsters have emotions or not. Such individuals seek to understand whether or not the actions of these characters are driven by some form of the emotional deficit. Daragh (383) poses these questions as they try to make sense of the various themes illustrated in monster-related narratives.

Frankenstein, on his part, is depicted as a character capable of expressing emotions. Right after his ‘birth,’ he is keen on interacting with other people. The ‘monster’ gets emotional when he realizes that he cannot live alone. His desire for friendship drives him to seek the companionship of other people. However, his appearances scare everyone off. He is even branded as an evil person.

In most cases, monsters are highly misunderstood, creatures. In The Beauty and the Beast, a similar fate befalls the beastly character (Weaver 290). The monster in this narrative is a beast that was put under a spell to appear hideous. In spite of these various attempts to make friends with other people, his appearances relegate him to a life of loneliness.

At times, the character gets emotional owing to his lack of friends. The same situation befalls Frankenstein. His interactions with the rest of the society are likened to the manner in which a wild animal escapes a sanctuary. He is viewed as an outsider. People work on the assumptions that he is a giant who has escaped from ‘monster land.’

Perhaps it is the feeling of loneliness on his part that drives Frankenstein to seek friendship. Upon his creation, he clamors for companionship. However, the behavior of his maker shocks him even more. In what would be a classic case of a man creating life, the birth of Frankenstein should have heralded joy on the part of his creator.

However, the maker rejects him, setting into motion a series of events that would suggest sadness on the persona of the ‘monster’s.’ Story (3) uses the same analogy of emotional distress to explain the interaction between monsters and humans.

All forms of interactions result from the desire for emotional fulfillment. The only way one can have emotional satisfaction is through participation in societal activities. Frankenstein’s rejection by his own creator forces him to seek companionship elsewhere. However, due to his appearances, nobody wants to interact with him.

If anything, he only instills fear and terror among the people. Story (5) argues that classical monsters are creations of elements that desire companionship. When this companionship is absent, the characters tend to sink into an emotional abyss and sometimes engage in horrible acts.

The emotional conduct of Frankenstein is an illustration of human behavior. There are instances where people exhibit shortcomings in their appearances and personality traits.

When they are rejected by others due to circumstances beyond their control, their emotions are shattered. As a result, such individuals may end up confining themselves to their lonesome states (Weaver 291). The argument that monsters are a misunderstood lot is supported by the perception that their hideous appearances depict their attempts to attack human beings. However, this is not always the case.

Frankenstein represents the idea that monsters seek emotional satisfaction, just like human beings. The two forms of creatures share the same need for social and emotional company. Story (5) makes a similar assertion by arguing that the interaction between monsters and human beings should not always be seen as the former’s intent to cause terror.

Perhaps, ogres and giants are driven out of their world by the absence of emotional satisfaction, as was the case between Frankenstein and his creator. As such, it is prudent to be realistic when analyzing monsters in a narrative. To this end, attention should be given to their emotional status before passing judgment on their actions.

Frankenstein: The Articulate Monster

One of the most common traits of monsters is their inability to communicate. Daragh (384) suggests that most of these characters produce very intimidating sounds, such as roars and growls. It is very rare to find a monster that is depicted as articulated in speech. Interestingly, Frankenstein is quite capable of communicating, as illustrated in the novel.

He is capable of making coherent speech both with himself and with other people. The ‘monster’ is depicted as having traits similar to a civilized gentleman. He is able to engage in conversation in an action that goes against all the stereotypes of a monster.

As already mentioned in earlier sections of this paper, monsters are imaginary beings. In essence, they do not exist. However, their depiction in literary works of art has evolved over time. Story (2) supports this position by arguing that the phenomenal traits of these characters are changing ‘periodically.’

The thesis by Story (2) introduces the reader to monsters in different categories. The traditional giant is depicted as a brute. Such actions as eloquent speech and ‘gentlemanly’ behavior were not common among monstrous characters in novels.

Frankenstein belongs to the category of monsters that can be regarded as traditional. According to Story (2), such creatures are, at best, meant to inspire fright and terror. Everything about them is designed to scare away the reader. However, the case is different for Frankenstein. Regardless of his hideous looks, the monster’s ability to express himself is derived from his interest in literature.

The attribute is illustrated in the character’s ability to make reference to other narratives. The grammatical correctness with which Frankenstein articulates his issues is an example of the divergence of the character from traditional monsters.

There are other instances where monsters are depicted as having some grasp of a language. Story (2) suggests that most traditional monsters are unable to enunciate their words properly. An improvement in the roaring and growling of monsters is seen in the manner in which other horrid creatures are depicted as having incoherent speech.

However, the fluency and coherence of Frankenstein set him apart from other traditional monsters. Perhaps, he is not a monster after all, given his gentlemanly behavior. Frankenstein’s title of an ogre must have resulted from people’s reaction towards his appearance.

His articulate nature is also evident in the way he presents himself. Regardless of his intimidating looks, Frankenstein acquires a taste for the formal presentation. The development is evident in the manner in which the character learns the art of grooming as a measure of presentation.

While making reference to Frankenstein’s narrative, Story (2) suggests that the man learns all about grooming in less than one year. At the time, reading was considered to be the preserve of the elegant. Frankenstein demonstrates his cultural aptitude when he proves that he has the ability to read in French and German.

The eloquent nature of Frankenstein is a character trait that enables him to adopt an almost human persona. Such an attribute can be used to support the argument that monsters can turn out to be like humans if they are provided with the right environment to thrive.

Frankenstein: the determined monster character

When an individual is said to be determined, the first thing that comes to the mind of the audience is the resolute ability to achieve a certain objective. Frankenstein comes out as an individual intent on making friends with others. However, his monster personality discourages the formation of social bonds. Alker (110) suggests that most monsters are determined to fit into the human world. Frankenstein’s intention of seeking companionship from his MMaster and other people is an example of his determination.

Under many circumstances, monsters are depicted as a face of chaos whenever they are introduced in a narrative. According to Story (3), traditional monsters are often determined to perpetuate terror in society. However, Frankenstein deviates from this form of traditional desire. In his quest to fit into society, he goes to great lengths to develop the necessary behaviors. The same is evident in the way he teaches himself such habits as reading and grooming.

Determination can also be seen in the manner in which he decides to become vengeful. Frankenstein’s initial interactions with people are genuine and sincere. However, after facing rejection, he becomes spiteful. In their study, Weaver (287) describes rage as a characteristic that is largely associated with monsters.

It is apparent that vengeance is fuelled by the negativities the characters experience from people. In Frankenstein’s case, even his maker rejects him. The said rejection inspires his determination to “extract his pound of flesh” from people who demonstrate open hostility towards him (Weaver 287). The determination is an affirmation of the fact that all monsters draw their behavior from certain factors. As a result of their resolve, they are able to realize their objective, whether evil or good.

Desire for companionship

In the previous sections, it was determined that Frankenstein is not existing for the mere reason of causing terror like traditional monsters. As illustrated by his grooming abilities, it is evident that the character is interested in finding a person to comfort him. However, it is unfortunate that he cannot find friendship and companionship even in his own creator.

Alker (113) argues that most monsters find something worth attachment themselves to in the human world. As such, it is common to find a monster looking for friendship in humans, as was the case with Beast in “Beauty and the Beast.”

Companionship is one of the priceless aspects of life. Even among human beings, the absence of this element is known to bring out the worst in people. Frankenstein represents the many individuals whose desire for the company is endless.

There are certain narratives where the absence of companionship has the potential to give rise to retaliation, as was the case with Frankenstein. Once he realized that people were repulsed by his person, he resorted vengeance. Weaver (113) argues that such issues as a lack of social company among monsters are a trigger to their acts of terror.

Frankenstein’s monstrosity is highlighted in the manner through which he tortures and kills his victims. As illustrated by Story (3), traditional monsters are known to inflict harm upon their prey. When the reasons behind their acts are unearthed, it becomes apparent that they are vengeful. The monster that is Frankenstein can be said to be a creation of the rejection he faces in his attempts to find companionship.

Frankenstein the Lone Ranger

The moment this character comes to life, he realizes that he is a species on his own. At one point, he suggests to his MMaster that he would prefer to get a mate. However, his requests fall on deaf ears. Sloggett (126) makes reference to Frankenstein by suggesting that his loneliness is one of the reasons behind his need for companionship. However, the rejection he faces from other people isolates and drives him to loneliness.

The biggest blow as far as rejection is concerned is the hostility directed towards Frankenstein by the womenfolk. At one point in the passage, the monster appeals to the audience to empathize with his situation. He argues that humans have mates, while his heart remains shunned. He goes on to lament about his unfortunate situation, wondering why people reject him, while even animals have partners (Story 24).

The lone ranger in the monster becomes apparent when he resorts to his vengeance against humans. Even in his terror escapades, Frankenstein operates like a one-man army of assassins. Such habits suggest that he is a lone ranger. In addition, it is possible to determine his character as a loner by looking at the kind of food he eats.

Story (24) points out that Frankenstein was the only monster who does not eat meat. The comparison is made with reference to traditional ogres. Most conventional monsters are known to be flesh-eating beasts. Frankenstein’s habit of eating vegetables puts him in a league of his own as a lone ranger.

There are various instances where a monster is seen as the savior of people in a given situation. For instance, when Frankenstein ponders about his build, he illustrates to the audience that he does not have the normal characteristics of a man. According to Daragh (387), in classical times, superheroes were viewed as beings with extraordinary body features. Frankenstein, in a monologue, suggests that he has capabilities that are not possessed by normal men. The abilities include agility, build, and tolerance to weather, and a unique diet.

The bodies of most heroes are structured to respond to the demands of carrying out extraordinary tasks. Frankenstein is depicted as a character who is trying to come to terms with his body features. In the process, he asks himself fundamental questions as to why he exists with such an overly large and hideous body.

Story (34) argues in spite of their unpleasant looks; some monsters use their super-human abilities to benefit mankind. The same explains why Frankenstein is thinking very hard about his intended role, given that he has features that are lacking in mere mortals.

Frankenstein’s heroic nature may not have come out clearly in the narrative. However, his attempts to conform to the requirements of a normal life make him carry out extraordinary tasks.

For instance, his abilities to groom himself and learn how to read and write are examples of extraordinary tasks. Such an undertaking can be seen as a heroic act to a reader who is full of despair owing to certain shortcomings in their life. Daragh (390) introduces an aspect that would explain the benign superhero status of the monster. Daragh suggests that human negativity killed the hero and turned him into a villain.

Frankenstein describes himself as a character who presents both hope and despair. According to Alker (114), most monsters are capable of caring about others. However, the ability is hidden by the vile nature of their appearances.

In relation to his affection towards women, Frankenstein demonstrates how he will use the opportunity to provide love and care. In his monologues, he describes how he will be romantic to any lady who agrees to enter into a relationship with him. He argues out this point as if to suggest that ordinary men lack the care and affection capabilities he possesses.

At one point, Frankenstein decides to perform a heroic act by rescuing a dying girl. He does this regardless of the hatred directed towards him by the ordinary folk. The character uses his energy and time to rescue someone he has no ties with. Unfortunately, his caring nature does not endear him to the public. On the one hand, the spectators overlook the kind gesture and assume that he is about to kill the girl. Elsewhere, the girl’s father scampers for safety fearing that the monster intends to inflict harm on him (Story 7).

The argument that Frankenstein is caring transcends his heroic gestures. At the heart of the matter is a man who has been branded as a monster by members of society. He is regarded negatively in spite of his attempts to be a gentleman to these people. A wicked being would rejoice at the misfortunes of the people who have caused him harm.

However, help comes from unlikely quarters in the name of Frankenstein, “the monster.” Only a caring person would overlook societal hate and negativity and continue to engage in good deeds without expecting rewards in return (Daragh 388).

Many behavior patterns that connote terror are derived from people’s bitterness. Evidently, Frankenstein’s attempts to blend into the society are met with hostility from the members of the public. His own creator despises him.

The major reason behind this rejection and hostility is his appearance. According to Alker (114), unlike human beings, monsters do not have control over their appearances. As such, discriminative treatment results in bitterness. As illustrated, Frankenstein’s only desire was companionship with others. Instead, society treats him with a lot of hate. His only response is vengeance.

His vengeful behavior embodies his ruthless nature. As already indicated in this paper, Frankenstein engages in ruthless killings in spite of his earlier kind and caring nature. According to Story (2), the ruthlessness of monsters results from a direct provocation of their person. The same is true even in cases where the provocation was done in the past.

In the case of Frankenstein, the hate and spite he receives from society are seen as an irritant. By assuming that his appearances are intimidating, the society fails to understand that his looks are beyond his control. The actual trigger to the provocation is evident in the manner his own creator joins the hate bandwagon. The agony appears to be too much for him to bear. He fails to win over his own creator.

In this paper, the author highlighted a number of issues in relation to Frankenstein, the monster. Story (2) was used to introduce an element of traditional monsters. The author of this paper highlighted the characteristics of such monsters.

With regards to hideous appearances, Frankenstein fits into this profile. However, the actions of this monster are reactions to the hostile treatment he receives from people. Initially, Frankenstein expresses the desire to fit into human society. The aspirations are made apparent by his grooming and literacy skills. To this end, he defies most of the stereotypes associated with monsters, such as being chaotic.

In spite of his caring nature towards members of society, Frankenstein is not treated nicely. When it dawns on him that his own creator does not like him, his ruthless nature is revealed. Daragh (388) suggests that the behavior of individuals towards monsters is responsible for the latter’s character. The monstrosity associated with Frankenstein can be attributed to the hate and discrimination in society. As such, it is logical to conclude that monsters are a creation of people’s attitudes and behaviors.

Works Cited

Alker, Zoe. “The Monster Evil: Policing and Violence in Victorian Liverpool.” Social History 37.1 (2012): 113-114. Print.

Daragh, Downes. “‘Excellent Monsters’: The Railway Theme in Dickens’s Novels.” English : Journal of the English Association 61.235 (2012): 382-393. Print.

Sloggett, Maria. “‘Delirious Monologues’: Christina Stead’s ‘Egotistical Monsters’.” Journal of the Association for the Study of Australian Literature (2013): 121-128. Print.

Storoy, Ina Helen. The Evolution of Monsters in the Romantic and Victorian Eras, Seen through Frankenstein and the Strange Case of Dr. Jekyll and Mr. Hyde . Diss. University of Tromso, 2013. Print.

Weaver, Harlan. “Monster Trans: Diffracting Affect, Reading Rage.” Somatechnics 3.2 (2013): 287. Print.

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Bibliography

IvyPanda . "Mary Shelley's Monster in Frankenstein Literature Analysis." August 21, 2022. https://ivypanda.com/essays/mary-shelleys-monster-in-frankenstein-literature-analysis/.

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