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Depicting the development of the creation, it could be argued Shelley uses this to describe her horror of society. The creation learns through time and experience to distinguish the various sensations a child develops. He learns to gather food through his observations of the De Lacey family and learns speech and education through reading such relevant books as Milton’s, Paradise Lost. It is through creation’s reception from society that horror is created and he decides, “Evil thenceforth became my good” p.
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212.
The injustices of several of the deaths in the novel coupled with the corruption of the church are horrifying. It is surely the materialistic views of society and the social climate that turn the creation into the monster. Similarly to the way a child develops ideals surrounding horror and what is horrific from the world around itself, the monster being born good, learns to be bad from society and rejection. Although Shelley era was a scientifically exciting time Frankenstein is distinctly related to the revolutionary period of 1780 to 1830 or the period of the first industrial revolution.

It is out of this social climate that the Gothic novel grew: a developing fearful genre for a developing fearful time.
In Chapter Five the novel hits its shocking climax with the monster coming to life. In what could be considered the horrific climax of the novel Victor realises the reality of his dream. Shelley creates a tense morbid atmosphere with words such as “dreary” p.55, “lifeless” p.55 and “agony” p.55. The candle being “nearly burnt out” p.
55 possibly signifying Victor’s life which will never shine brightly again as death is inevitable. The symbolic “rain pattering dismally”, p.5, is washing away Victors hopes and dreams of success.
Shelley’s use of words such as “luxuriances”, p.55, “lustrous”, p.55 and “pearly”, p.55 when describing the parts which made up the monster are effective when used in conjunction with contrasting words such as “shrivelled complexion” p.55 and “straight black lips” p.55 as they covey how all the elements may be right but put together they cause disaster and in this case great horror. Victor then turns to sleep and dreams to escape the monster but instead is thrown into another nightmare.
The dream that follows is out of Victors control and is a signifier of how Victor has lost control of his creation. The dream conveys Elizabeth turning into the corpse of Victors dead mother and provides a prediction for the future death of Victors loved ones. As Victor is awoken and “every limb became convulsed” p.66 parallels can be drawn between Victor and his creation who at birth had a “convulsive motion agitated its limbs” p.55. There is the thrill that goes with the sudden shock and prolonged anxiety we experience when we read this chapter. The imagery and atmosphere in this chapter is so strong but why do we read on? Shelley appears to have some bizarre control of playing with our fears.
There is no doubt that through Shelley’s language and tone she has the ability to create an atmosphere of terror evoking horrific imagery. Through examining the methods and effectiveness of creating horror in the novel I have concluded the most horrifying words of the novel are in the final chapter of the novel. Farewell, Walton! Seek happiness in tranquillity and avoid ambition, even if it be only the apparently innocent one of distinguishing yourself in science and discoveries. Yet why do I say this? I have myself been blasted in these hopes, yet another may succeed.p.210.
We could be tricked into thinking Victor has learnt his lesson giving us a reliable moral conclusion, but similarly to the way the monster plucks out Elizabeth heart, Shelley through Victor snatches our hopes away wishing “another may succeed” p.210, fighting his quest and the horror will continue. Mary Shelley seems almost psychic, predicting recent debates surrounding human cloning and genetically modified goods, so called ‘Frankenstein foods’.
This cautionary tale is very much rooted in its gothic nature in the nineteenth century although it is thoroughly applicable to the twenty first century. Mary Shelley’s novel is horrific in its bloody images of vaults and charnel houses but its real horror is in the depiction of man as a self-centred ambitious creature who can take life into his own hands. 1 Shelley, Mary, Frankenstein, (Penguin Group: Penguin Books, 1818; repr 1994), p. 5. Subsequent references are to this edition and are given parentheses immediately following the reference.

Benjamin Jefferson

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