Unit AS 2 - The Study of Poetry Written after and the Study of Prose 1800-1945
Instelling
CCEA
This document contains 5 highly detailed essay plans for 'Frankenstein', used for CCEA AS-1 Study of Prose Pre-1900 (100% UMS marked achieved)
This includes essay plans on the following:
• 'Frankenstein is a Gothic novel' Do you agree?
• The Creature is impossible to sympathise with' Do ...
Unit AS 2 - The Study of Poetry Written after and the Study of Prose 1800-1945
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FRANKENSTEIN
Gothicism ESSAY PLAN
Introduction
Gothicism in literature is characterised by an exploration of the supernatural,
the human psyche and the grotesque. It is an attempt to further understand
the fears and desires of both society and the individual and the manner in
which these are suppressed for stability.
Mary Shelley’s ‘Frankenstein’ is primarily a Gothic novel as its central, radical
discussion of the reanimation of life epitomises the unnerving and perturbing
quality that is synonymous with the genre
Indeed in her 1818 introduction, Shelley expressed her intention to ‘curdle
the blood and quicken the beatings of the heart’ providing an early indication
that her chilling narrative must unquestionably be considered not only a
member of, but a cornerstone of Gothic literature.
However, many would argue that ‘Frankenstein’ would be better placed
under the Romantic genre of literature as its undercurrent of the sublime
power of nature and its criticism of society in the Regency era, both key
characteristics of the genre, cannot be overlooked.
In spite of these arguments. however, the innumerable gothic tropes in
Shelley’s famous work must cause us to recognise that ‘Frankenstein’ is
indeed not only a Gothic novel, but a perfect example of the genre.
FOR 1 - The double
Main method: Victor’s embedded narrative
How does this relate to Gothicism? Joseph Kestner suggests the
‘similarities among the three protagonists - Walton, Frankenstein and the
Creature… include their desire to explore, their failure to love, their
loneliness and their egoism’
FRANKENSTEIN 1
, ‘I had turned loose into the world a depraved wretch’ - statement is
ambiguous, it could refer to both Victor or his creature causing us to
question the pair’s similarities
‘In the light of my own vampire, my own spirit let loose from the grave’
- Leads to the psychological interpretation that the creature is an
extension of Victor - he is a manifestation of Victor’s inner and darker
psyche.
FOR 2 - Wild landscapes
Main method: Symbolism and pathetic fallacy in Victor’s narrative
How does this relate to Gothicism? In the early 19th century, Luigi
Galvani was investigating the effects of electricity in restoring animation
to lifeless animals and it is likely that Shelley used these developments
as inspiration for the novel
‘It was a dreary night in November’ - Shelley makes use of analepsis,
significantly starts chapter five in which the creature is animated with
a depiction of the miserable weather, this foreshadows the
consequences of Victor’s decision to bring his creation to life and
usurp the role of God
‘A flash of lightning illuminated the object and discovered its shape
plainly to me; its gigantic structure… it was the wretch’ - links
tempestuous weather and the creature, reminds us of how Victor first
created the monster (with ‘lightning’)
FOR 3 - Transgression and religious language
Main method: Religious language and intertextuality
How does this relate to Gothicism? Transgression, or as Miller puts it
‘the dissolving of normative boundaries’ is heavily prominent in
Frankenstein, most notably through Victor’s restoration of life to the
Creature and subsequently the Creature’s violent murder of Victor’s loved
ones - both characters are presented as on the liminal boundaries
between life and death and the natural and supernatural
‘Life and death appeared to me ideal bounds… A new species would
bless me as its creator’ - Victor interferes with natures laws, sees
himself as a Godly figure, language is reminiscent of phrases from
the Christian Biblical tradition, his actions are blasphemous and
FRANKENSTEIN 2
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