Frankenstein, A Romantic Work.

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12/10/03

Frankenstein, A Romantic Work

        It is hard to imagine that the novel of a twenty-year old author, written almost two centuries ago, could make such mark on the field of Literature.  Written as a Romantic commentary on the progression of the Industrial Revolution, Mary Shelley’s Frankenstein captures themes that seem as relevant today as they were at the dawn of the nineteenth century.  As the early promises of the Industrial Revolution created despair and environmental degradation alongside scientific and mechanical innovation, the Romantic Movement cautioned society through an emphasis on the beauties of nature and a glorious past.  Frankenstein captured these themes, warning of the dangers to the natural world that could arise from the unbound pursuit of knowledge and the selfish capitalism of an industrial age.

A student of the history of the nineteenth century, and the Romantic Movement in particular, is keenly aware of the extent to which Romantic artists and authors were reacting to the changing world around them.  The tremendous potential promised by the beginnings of industrialization, and the early advancements that were made, gave hope to science and knowledge being able to cure all of humanity’s ills.  New agricultural techniques created an unprecedented abundance of food; new machines changed the way people worked, reduced their workload, and produced products never before imagined; Science was beginning to explain the mysteries of life, and reduce the ever-present threat of death by disease.  The natural world, which had previously been an element man encountered in a daily battle for survival, was beginning to appear conquerable.  “The new fruits of chemistry, physics, mathematics, etc. were seen as contributing to a future in which increasing knowledge would give increasing power over nature, and consequently increasing wealth.” (Damyanov)  However, while elements of life changed for the better, the initial promise of the early decades of industrialization began to give way to pollution, despair, and new hardships of life.  This would be the focus of much of the Romantic Era’s critique of early nineteenth century industrial society.

The scientific advances, which developed in concert with the Industrial Revolution, created a modern view of science that emphasized a rational, methodical approach for analyzing human life, and the natural world.  The science of previous generations had relied on supernatural, and fantastical explanations for natural occurrences.  These were the types of theories that piqued the interest of Victor when, during his teen years, he became “imbued with a fervent longing to penetrate the secrets of nature,” from the works of Cornelius Agrippa, Paracelsus, and Albert Magnus (Shelley 25) Whereas those scholars of ‘science’ had concerned themselves with the search for “the philosopher’s stone and the elixir of life,” “the modern masters [scientists] promise very little…but …have indeed performed miracles.” (Shelley 26, 33) Nineteenth century Science’s focus on the more essential, and tangible elements of the natural world, combined with the dissemination of knowledge afforded by industrial advancements, thrust the field into a new position of importance.  Science had previously been an occupation whose methods were only understood by an educated elite.  Industrialization resulted in a proliferation of scientific academies, wider access to education, and an increased appreciation for the impact of scientific innovation.  The work of scientists were elevated to new heights, “They ascend into the heavens… They have acquired new and unlimited powers; they can command the thunders of heaven, mimic the earthquake, and even mock the invisible world with its own shadows.” (Shelley 33)   Scientists were able to take the mystery and fear out of diseases that had ravaged European society for centuries, resulting in a growing faith in science that undermined the religious faith of many people. (Spielvogel 154)  This change can be seen in Victor as he digs deeper into his research, in a possible attempt to reverse the misery brought to his life with the death of his mother.  As his knowledge brings him closer to the secret of life, Victor began to believe that the power of reanimation and creation was within his grasp; an ability previously attributed only to God.  With the death of his mother weighing heavy on his mind, Victor imagines “If I could bestow animation upon lifeless matter, I might in the process of time…renew life where death had apparently devoted the body to corruption.” (Shelley 39)  During this period, it appeared as if men were acquiring the power of gods.  

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This deification of science, as illustrated in Shelley’s work, depends on the defiance of God, as science becomes a type of substitute for religion. (Bushi)  The reader witnesses the transformation that takes place within Victor as his pursuit increases his knowledge, and his obsessive belief that he is mastering the secrets of life.  Victor becomes almost intoxicated with power and the promise of greatness.  Reflecting this, he states,  “Life and death appeared to me ideal bounds which I should first break through…a new species would bless me as its creator and source; many happy and excellent natures would owe their ...

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