Examples Of Barbarity In Frankenstein

The creature is described as a ‘fiend of unparalleled barbarity.’

Explore Shelley’s presentation of the creature in the light of this statement.

In the novel ‘Frankenstein’ the creature is presented through many narrative voices, it is through Victor's narrative that we see the Creature as a 'wretch', 'daemon' and a 'fiend'. Mary Shelley chooses to present the creature as a ‘fiend’ due to circumstance beyond the creature’s control

Written in 1818, the latter stages of the Gothic literature movement, at face value this novel embodies all the key characteristics of the Gothic genre. It features the supernatural, ghosts and an atmosphere of horror and mystery. However a closer reading of the novel presents a multifaceted tale that explores

themes such as: isolation, injustice and scientific knowledge.

Victor Frankenstein describes his creation as a ‘fiend of unparalleled barbarity.’ The noun ‘barbarity’ connotes cruelty and someone who is monstrous; this shows how Frankenstein sees the creature as the ultimate symbol of a savage. Furthermore the use of the adjective “unparalleled” suggests that Frankenstein thinks that no one will ever be equal the levels of brutality that the creature exhibits. Victor indulges in a determined, almost compulsive hyperbole that distances himself and demonizes his creation. In the process Victor comes to identify himself with "the whole human race" against the anomalous alien being he would cast out from it. However throughout the novel the creature is an eloquent and rational character whereas Victor Frankenstein relies on passion bursts of rage often fainting in the process. Lee Sterrenburg writes “The monster speaks like a philosophe, while Victor rages in Romantic agony” , Mary Shelley uses these differences to blur the boundaries between the civilised and savage.as we are able to see that the creature is someone who we are able to sympathise with ; society has made him a fiend, it is not innate this is from a theory formulated by french philosopher Jean Jacques Rousseau called the Tabula Rasa . M.A. Goldberg writes "

Rousseau had seen society as a force destructive to natural benevolence"; from this we can see that the creature is made a fiend by Victor by his cruel abandonment and the destruction of his female mate. The dichotomy of civilised versus savage is thoroughly dissected and explored by Shelley; the creature has come to symbolise the marginalised in society, his name or lack of it shows the insurmountable barrier created between him and humankind.

The creature in Frankenstein experiences excruciating loneliness he continually finds himself ostracised from society.

Shelley chooses to highlight the psychological damage than can occur from continual isolation. Unlike his creator, Victor Frankenstein the creature’s isolation is not self imposed, rather he craves affection and friendship. The creature suffers two rejections in this novel firstly from Victor and secondly from the De Lacey family. This second rejection is far more painful because from afar the creature feels like he has become a part of their family; he merely knows Victor as his creator but nothing else, there is no time for them to create a paternal bond .The De Lacey’s are able to provide the Creature with skills that Victor never did. From them, he learns how to read and write , countless times in the novel we see the creature’s benevolence; as he tries to help the poverty stricken De Lacey’s “I discovered also another means through which I was enabled to assist their labours.” However when he tries to initiate contact they treat him with violence “Who can describe their horror… Agatha fainted... Felix darted forward… in a transport of fury, he dashed me to the ground and with supernatural force tore me from his father...” The repetition of active verbs such as “fainted” are able to quicken the pace and builds the suspense of the events that are carried out. The noun “fury” suggests an idea of uncontrollable rage and passion, Felix reacts on instinct

and does not attempt to listen to the creature’s story. Furthermore he decides not act with reason but rather relies on animalistic behaviour. The fact that he uses “supernatural force” shows how Felix is going beyond the normal boundaries of being human as a result Mary Shelley shows how humans react to the unknow. We, denounce civilised conduct and we resort to impulsive actions when we deal with the fear of the other. Using a Freudian reading this could present the overpowering of the Id, the part of our brain that controls instinctual behaviours such as the need for food, shelter and drink, over our Super Ego which plays the critical and moralizing role. However this can only be analysed through Freudian readings retrospectively as Freud discussed this model in the 1920 essay Beyond the Pleasure Principle, and fully elaborated upon it in The Ego and the Id (1923), 102 years before the novel was first published. Though the Creature does not act like a monster he is treated like one no matter what he does to try and redeem himself.