Examples Of Monstrosity In Frankenstein

Gothic literature can objectively be boiled down to a series of commonalities that are prevalent in some way, shape or form throughout the figureheads of the genre. Themes tying monstrosity to that of bodily deformity, duplicity, desire and degeneracy are deeply rooted in the genres subtext raising many questions regarding humanity as opposed to the humanities. This view is in part, a product of the Victorian era in which this genre thrived. At the time, much study was being conducted in regards to the possible connection between physical appearance and criminality. This created an unnecessary link between the perceived atavistic properties of an individual and the probability of them housing a malicious nature. These perceptions are only further embellished
By this definition, in Mary Shelley’s Frankenstein both Victor and his creation can be perceived as monsters. Both characters breach socially established boundaries with the creature blurring the lines between life and death as well as humanity and bestiality through his combined circumstances of birth and outward appearance. Frankenstein’s creation is not of human origin, but rather exists as an amalgamation of corpses created through scientific experimentation, “a product of nature – his ingredients are 100 per cent natural – and yet by the process and the very fact of his creation, he is unnatural”. Admittedly, Frankenstein’s creation fits the definition of the archetypal monster as “a large, ugly, and frightening imaginary creature” however, this is only true in regards to his aesthetical appearance for he is shown throughout the novel to exhibit the essence of humanity through his morality, intelligence and emotional capacity. In fact