Frankenstein Literary Techniques

Frankenstein will not be different and will adhere to the simple rules of Gothic novels. Shelley invokes the great works of Greek and English literature to act as guides and as a guideline for this work. He cites Homer's The Iliad, Shakespeare's Tempest and Midsummer Night's Dream, and Milton's Paradise Lostas works that are worthy of imitation and serve as exemplary models. He hopes that Frankenstein contributes to the body of English and world literature, perhaps equaling those previously mentioned works. Being the daughter of two famous parents, she was not destined to be a writer; it was an avocation that she worked at. She recalls as a child writing stories to pass the time and to amuse friends. Her only audience was the select few she

She remarks that she was less than enthusiastic about writing. Instead, she worked at home, travelled, studied, and read. It was a trip to Switzerland, however, that changed everything. This letter and the following three, which begin the novel, use a literary device called framing, which, like a picture frame, sets up the major premise of the novel. Mary Shelley returns the reader to the letter format at the end of the novel. This technique eases the reader into the story and adds a subplot that gives the main story texture and richness. The framing technique also makes the story more compelling because Walton will eventually see the monster at the end of the novel. The story about the creature would be merely hearsay if not for Walton's personal encounter with Frankenstein and his creation. Shelley uses Walton to add validity to the novel. Also, note that the letters to Margaret Saville in England have the initials "M.S.," which could also be interpreted as Shelley's own initials. Many Romantic writers at this time had little formal education. To make up for this lack of education, they undertook adventures to broaden the mind and soul. Shelley and her contemporaries are no