Gilbert, Sandra M. and Susan Gubar. "Mary Shelley's Monstrous Eve." Reprinted in Mary Shelley's Frankenstein. Norton Critical Edition. 1979; New York: W. W. Norton, 1996.
Emotional isolation in Frankenstein is the most pertinent and prevailing theme throughout the novel. This theme is so important because everything the monster does or feels directly relates to his poignant seclusion. The effects of this terrible burden have progressively damaging results upon the monster, and indirectly cause him to act out his frustrations on the innocent. The monster's emotional isolation makes him gradually turn worse and worse until evil fully prevails. This theme perpetuates from Mary Shelley's personal life and problems with her father and husband, which carry on into the work and make it more realistic.
New York, London, 1988. Shelley, Mary. Frankenstein or the Modern Prometheus. Edited with an Introduction and notes by Maurice Hindle. Penguin books, 1992
Additionally, Shelley’s creation of the monster in her novel could be seen to reveal the toxic effect of a world without female influences. Finally, Victor Frankenstein’s creation of his monster may have been to reveal the detrimental effects isolation can have on any living being. Thus it is revealed that Mary Shelley’s novel, through the creation of the monster, has many allegories to comment on society’s condition. Firstly, it is significant to observe the initial depiction of the monster and the dialogue with his creator, Victor Frankenstein, to understand Shelley’s comment on the harmful effects of a negative relationship and the significance of the monster’s portrayal. It is understood that the monster’s physical appearance in the novel is created to represent an object of terror, which is an integral element of the gothic genre.
Victor’s strong desire for maternal love is transferred to Elizabeth, the orphan taken into the Frankenstein family. This idea is then reincarnated in the form of a monster which leads to the conclusion that Mary Shelley felt like an abandoned child who is reflected in the rage of the monster. After reading the article by Baldick, I immediately thought of Ursula K. Le Guin’s “The Ones Who Walk Away from Omelas.” I was forced to read the story again having an open mind and the idea that everything has an alternative meaning. After doing so, I realized that it contains the same concept of abandonment and anger. In order to keep everything in Omelas prime and perfect one person has to be sacrificed.
Mary Shelley's Frankenstein examines two phenomena of human nature, scientific curiosity and loneliness; the latter will serve as the focus of this essay. The very manner in which Frankenstein begins, that of the correspondence of an unattached explorer who longs for a companion on his voyage, with no one to write to but his sister, establishes the theme of loneliness immediately. Frankenstein's creation is a complex character whose true motives cannot be determined easily. Although one cannot excuse his actions, they should certainly not be viewed out of context. The creature is exposed to the painful reality of loneliness from the moment of his creation.
Societal Prejudices in Frankenstein Mary Shelley's novel, Frankenstein, sheds light on the importance of appearance through the tale of an unwanted creation that is never given a chance by society. Ironically, the supposed beast was initially much more compassionate and thoughtful than his creator, until his romantic and innocent view of the human race was diminished by the cruelty and injustice he unduly bore. Not only does the creature suffer the prejudice of an appearance-based society, but other situations and characters in the novel force the reader to reflect their own hasty judgment. The semi- gothic novel includes several instances of societal prejudice that include the isolation and outcast of Frankenstein's creation, the creature's biased opinion of the cottagers, and the unbalanced and inappropriate classification of Victor. Throughout the course of the creature's isolated and pathetic journey, he is never given the opportunity to participate in human interaction, as he so deeply deserves.
Her Life, her Fiction, her Monsters. Methuen. New York, London, 1988. Shelley, Mary. Frankenstein or the Modern Prometheus.