However Shelley's blurring of distinctions; between the monster and victor, villain and victim, forces the reader to think about who is to blame for the monstrosities in the novel, is it Victor's for creating the monster? Or is it Victor's because he abandoned the monster? Or the DeLacy's for rejecting the monster? Or the monster himself for committing the crimes? All of these questions remain valid when trying to decipher who the villain of the novel is, however the answer can only be found in Shelley’s use of the gothic genre, as by subverting this use of Victim and Villain Shelley has achieved what can be seen as a Marxist piece of literature. By apportioning the blame onto several characters that are a product of society Shelley can be seen to criticise society for the sin and destruction in society. However this is most clearly shown through the monster, as he is a creation, a blank canvas at the beginning of the novel, and all his actions and feelings simply mirror what he has learnt from his observations of society, therefore by leaving the monster nameless Shelley can be said to be suggesting that society doesn't breed people anymore, but in fact monsters.
The descriptive qualities attributed to the monster which undoubtedly provokes the poor treatment of the monster add to the criticism of society, as he is seen as a monster based not on his nature, but his appearances, 'his watery eyes, that seemed almost of the same colour as the dun white sockets in which they were set, his shrivelled complexion and straight black lips' which seemingly conjures images of death and decay. However here Shelley seems to be blurring the distinctions further as although monstrous in appearance the monster remains more expressive and articulate then Victor throughout the novel when expressing himself, whereas Victor seems to speak as though panic stricken throughout the novel adding a slight irony to the novel. Shelley is manipulating the reader to feel compassion for the monster as well as Victor who seems unable to cope with the consequences of his actions. Similarly Wilde uses the description of the character of Dorian to invoked sympathy from the reader, forcing us to question our judgement of his actions, 'this young Adonis, who looks as though he was made out of ivory and rose-leaves'. As the imagery associated with beauty seems to go hand in hand with the imagery associated with innocence, and the two throughout the novel remain inextricably linked in the eyes of society. Both Shelley and Wilde use the doppelganger to represent what can be seen as the repressed psyche of their two main characters using the supernatural to 'exaggerate beyond reality, to become symbols, ideas, passions', which in both cases seem to reflect a sense of duality on society.
The supernatural is a customary element of the gothic genre, and it is therefore a feature of both novels at hand, however the supernatural aspects of both novels remain realistic to an extent to make it more applicable to society. 'Every gentleman is interested in his good name', can be seen almost as the underbelly of 'A Picture of Dorian Gray', a novel which undoubtedly highlights society's dependence on respectability, and the importance of a gentleman's name as one of Wilde's beliefs is reflected in the character of Dorian, who although emulates Henry's distain for daily pieties, still considers others opinions as important, 'he was not really reckless, at any rate in his relations to society'. The notion of bodily metamorphises and physical consequences due to moral reasons encapsulates the novel; however the corruption does not appear in flesh and blood, but rather on the portrait of Dorian Gray. The portrait becomes an alibi almost for Dorian’s actions as although people here rumours about him, they refuse to believe them, 'I don't believe these rumours at all. At least, I can't believe them when I see you', mainly due to the concept of physiognomy popular at the time, which stated that morality is represented in appearance. Although at first the portrait doesn't appear to follow the traditional constraints of the gothic genre, ( ghosts and phantoms of the supernatural aspect for example), it can be seen to haunt Dorian in the novel resulting in him destroying it at the end, and therefore himself as one cannot exist without the other; just as society can't exist without corruption. Dorian is a Faustian figure which means a devil character is lacking in the novel, and the supernatural aspects of the novel are concentrated only in the painting. It is due to this therefore that the reader must consider the satanic aspects of society, as in 'Frankenstein', Dorian is a creation of Henry, who is a creation of society. It seems that both Wilde and Shelley were keen on pinpointing the criticisms to be made of society, circling around the idea that it is impossible to ever judge someone as evil, as it is difficult to distinguish between an innate sense of evil, or an evil that is simply a result of social conditioning. Wilde's highly sophisticated use of the supernatural continuously blurs the divisions between the natural and the supernatural obviously intended by Wilde to show how difficult it is to make a clear distinction between good and evil, and therefore how easy it is to move between the two.
The presence of magical subtly mingled with reality serves a purpose in Frankenstein, with the monster given supernatural attributes. For example the monster is somehow able to know and be where Victor is at all times in the novel having the stalking presence of a ghost perhaps, with this sense of omniscience reflecting how he now governs Victor's life, and if the monster is said to reflect society at this point, it could be said to be representing a restricting society with negative consequences. This may be due to the fact that Shelley had to publish the first draft of 'Frankenstein' as an anonymous author as women were greatly repressed, with Shelley herself being surrounded by highly gifted men all fighting for a chance in the spotlight. It is due to the unnatural creation of the monster that Shelley has describes him with monstrous attributes as it reflects the consequence of severance from femininity, which therefore causes Victor to reject him, reflecting a patriarchal society which rejects anything not fulfilling the quota considered normal, causing the marginalization of not only the monster, but of woman, drawing a connection between the two, as the monster could be said to reflects women’s helplessness caused by a male dominated society. Similarly women are repressed in 'A picture of Dorian Gray' although not to the same extent present in Frankenstein. Henry, as the main proclaimer in the novel, seems to disregard women, 'women inspire us with the desire to do masterpieces, and always prevent us from carrying them out', overlooking them as they are not considered to be intellectual equals. The character of Henry is an embodiment of a patriarchal society, 'we have emancipated them, but they remain slaves looking for their masters', of which women were mere possessions. Wilde choose to write a novel based on male friendships, and therefore did not ponder on developing the female characters in his book, however Sibyl Vane still remains an important character Dorian's corruption stems from her, as although he states that he loves her when asked when she is herself he relies 'never' loving her simply for her embodiment of art. It is here where Henry's views can be seen through Dorian, as women are given no real importance, but are simply things to be admired and adored.
Both novels can be assessed as critiques of the 19th century, however both, especially 'Frankenstein' do not focus in one particular area, but rather in multiple settings, which causes the issue of universal ethics to arise. There are roughly 12 settings in 'Frankenstein' which not only broadens the story but reflects the broadness of society. Again although there are not castles or monstrosities, the setting still seems to use the gothic genre to an extent, as the settings such as The Alps and The Arctic circle can certainly be seen as extreme exotic landscapes common of the gothic genre. The Arctic in particular shows the extremities of Victor's actions, the isolation of the monster and the secrecy of both characters. These extreme settings cause a breakdown of boundaries, and allowed for a more psychoanalytical approach, as the physical journey could be said to reflect the spiritual journey. This is best reflected through the links with 'The Rime of the Ancient Mariner' and 'Frankenstein', drawn from the inspiration Coleridge's poem gave the young Mary Shelley. Like the Ancient Mariner Victor must tell his cautionary tale (to Walton) for both altruistic and cathartic reasons, travelling through the icy regions of the arctic that parallel, employing extreme locations allowing imagery of a harsh natural world that reflects the extremity of the situations felt by the protagonists. The extreme settings in 'Frankenstein' also serve to show the loneliness of the characters within the novel, the monster being 'solitary and abhorred, with there being an 'insurmountable barrier' between Victor and fellow man due to the death that has been a result of his actions, presenting an isolation that is inescapable, as the characters seem not to be running from something, but rather someone, and with the use of the doppelganger, it is easy to see that the characters seem not to be running from each other but rather themselves.
On the otherhand 'A picture of Dorian Gray' seems to reflect the complexities of the human psych through its settings, and again reflects a critique of society. The setting of the novel mostly circle around the houses of various gentlemen, reflecting a repetitive lifestyle, showing everything to be of similar features. It is through the repetitive nature of the setting in the novel that Wilde can be seen to be critiquing the recapitulation of society, also known as the upper class. However unlike 'Frankenstein', 'A picture of Dorian Gray' doesn't contain many extreme landscapes; however he presents the idea of corruption through his settings. For example after killing Basil Hallward Dorian is able to go to an upper class party 'exquisitely dressed' feeling the 'terrible pleasure of a double life'. Wilde chooses also to use pathetic fallacy throughout the novel, using dreary weather to show Dorian's shame when it is felt, and using the edenic sun to reflect his innocence at the beginning of the novel. Dorian is just as able to visit the derelict opium dens of London as he is an upper class party, as both setting seem to reflect his character, the gentleman, and the wretch whose soul is continuously disintegrating. Wilde is attempting through Dorian to show the extent to which people lived double lives in the 19th century, due to a restrictive society in which reputation meant everything, this is the most obvious interpretation that can be pulled from the novel and it seems to represent Wilde's own life, as even though he was married he was a homosexual, which was a crime that Wilde was later charged with. Although 'Frankenstein' seems to follow the gothic genre more strictly concerning settings, the settings used in 'A picture of Dorian Gray' reflect the corruption of the soul, and the psychological aspect of the gothic more predominantly.
Upon reading both 'A picture of Dorian Gray' and 'Frankenstein', it is clear that the latter follows the gothic genre in a more conventional sense when compared with the former. This is again shown through the use of the multiple narrative common of the gothic tradition, which seems to cause a variety of emotive responses to the characters, which again makes it difficult to distinguish the characters intended to be evil, and those intended to be good. In 'Frankenstein' the monsters narrative is completely enclosed by Victor's which is in turn enclosed by Walton, although everything links opt the monster, who represents the marginalized in society, whether that be women, the poor, or simply the repressed. the detailed parallels between the lives of Walton, Frankenstein and the monster emphasises the danger Walton is in if he continues his strive for knowledge, which can also be imposed upon everyone, including the reader who should therefore read 'Frankenstein' as a cautionary tale. 'A Picture of Dorian Gray' on the otherhand has a linear structure reflecting the continuous deterioration of his soul, with the third person being used by an ambiguous omniscient narrator which manipulates the reader into criticising the repressive Victorian society. Unlike 'Frankenstein', Wilde does not allow detachment to the characters as it is a criticism of society of a whole, whereas 'Frankenstein’s' use of the first person and epistolary form seems to challenge the people of the enlightenment more then society.
It remains arguable whether both 'Frankenstein' and ‘A picture of Dorian Gray’ can be considered a works of gothic fiction morsel then. However both authors skilled subversion of the genre results in a complete almost confusing blurring of distinctions. It is clear that both novelists wanted not the challenge the conventions of the gothic genre, but instead challenge the conventions in society used to restrict and repress people. It is for this reason that both texts can be read from a feminist, psychoanalytical, and Marxist view, as all reflect a fraction of society marginalized. The issue of universal ethics is clearly highlighted in both novels, suggesting that there are broader issues to be considered at hand. Although neither author produced a conventional traditional work of gothic fiction, it cannot be said that neither produced a work reflecting the sinister and the macabre, i an almost realistic way, which in fact seems to evoke more horror form the reader.
