Frankenstein and the Gothic

When we think of the word “Gothic,” typically what comes to mind are over-dramatic teens dressed in all black. So, when this term is applied to a genre, it often results in some pretty confused looks. But the nature of the Gothic novel is unique and rooted far back in history than simply combat boots, piercings, and black lipstick.

Frankenstein, written by Mary Shelley in 1818, is by no means the first Gothic novel. However, combining both Romantic and Gothic elements, it did introduce an unforgettable horror story that would continue to be parodied in the coming centuries. Ok. So maybe it does involve a rather over-dramatic protagonist who might as well be dressed in all-black considering he is sick to the point of being on his deathbed throughout half the book, but, for now, let us focus on the more literary aspects of the Gothic.

In a nutshell, Frankenstein covers the life of Victor Frankenstein who, after merely two years at college, figures out how to bring a dead body constructed from pieces of various human corpses back to life. But, heaven forbid, the resulting creature is ugly! Naturally then, Victor abandons it. Throughout the rest of the book, this so-called “monster” learns, grows frustrated, and eventually kills everyone Victor cares about. Meanwhile, Victor spends his time being sick, admiring beautiful mountains ranges, and regretting his actions yet taking none. One could argue it is a rather simplistic story, yet it also captures much deeper themes.

Similar to the modern day horror story, Gothic novels focus on the supernatural, take place in dark settings, employ a sense of mystery, involve extreme landscapes, and often has a heroine prone to fainting. They are designed to be both thrilling and terrifying. In Frankenstein, the entire plot revolves around a man bringing the dead back to life and proceeding to run away while it childishly wreaks havoc. If that doesn’t suggest the supernatural, I don’t know what does. Furthermore, the circumstances in which Victor conducts his experiments are mysterious: little is known about how he brought the creature to life, though it is suggested it was done through the use of lightning, and, typical of horror stories, it was a dark and stormy night when the event occured. This not only incorporates the idea of the supernatural, but also a sense of mystery through the dark and dreary settings. Additionally, as mentioned before, Victor spends a large portion of time in remote locations such as the Swiss Alps entranced by the sublime, an idea continually portrayed throughout the book, and, though he is by no means a heroine, he is prone to falling ill in fear of the monster.

Shelley goes a step further, however, when it comes to evoking fear in the reader. The concept of alchemy and bringing the dead back to life is obviously (hopefully) unfamiliar to any reader, but by placing the story in continental Europe, where most of her readers would not have been, Shelley adds to this feeling of unfamiliarity, and thus, mystery. That, coupled with the chase scenes across countries and how we never knew when and where the monster would appear, incites horror, causing the average reader to wince in fear. Yet, it is that same fear which drove this novel through the centuries, leading to the birth of the all new myth of Frankenstein, a memorable story in the Gothic tradition.