34/40 Explore some of the ways in which Mary Shelley uses different settings to contribute to Gothic effects of the novel

Explore some of the ways in which Mary Shelley uses different settings to contribute to Gothic effects of the novel

Mary Shelley’s use of settings contributes to the reader’s sense of terror, whether witnessing a horror in the creation room, sensing fearful divinity in the Alps or the apprehension of a ruined romance on a honeymoon. Through this effect, these three settings raise question with the relationship between God and man, and the redundancy of judgement in the novel.

In chapter 5, the creation room employs the liminal and pathetic fallacy to evoke a feeling of oppression.  On a “dreary night in November”, the “rain pattered dismally against the panes”. Here, pathetic fallacy is used to discern to the reader that Victor’s excursions will inevitably not have a favourable outcome, creating terror. Moreover, the fact that the rain patters “against” the windows gives a feeling of entrapment, with the weather continuing on the outside, suggesting that Victor will not be able to escape from the crime he is committing in the “workshop of filthy creation. This use of pathetic fallacy could be an indicator of God’s disapproval, further shown by the personified description of the sky as “black and comfortless”, suggesting that Frankenstein’s sins are contemptible and that he will not be able to return as one of God’s children. Interestingly, if the weather is a signal of God’s judgement, the “comfortless” nature of the sky progresses the theme of neglect in the novel. Where the monster is neglected by Victor Frankenstein, Victor is neglected by his one creator. ”. On the other hand, this place of entrapment could be perceived as a sanctuary, with the wrath of God unable to touch the confines of the study. Although this does raise question whether Victor is exempt from God’s judgment, the liminality of the “half-extinguished light” suggesting a half-finished creation, the protection from the weather and secrecy of the room maybe reflective of the creation room as a “womb”. Mary Shelley may well have utilised this setting as a womb-like sanctuary to explore the concern of science replacing God as the role of creator, and God’s ‘inability’ to interfere. However, this claustrophobic setting may be reflective of Shelley’s post natal depression, having been pregnant for the duration of the writing process. The description of the creation room as a “cell” reflects Mary’s view of her life like living in a “dungeon”. Moreover, the personification of the “instruments of life” which are “gathered around”, depicts a sense of loneliness, perhaps felt by both Frankenstein and Mary Shelley. The rain-drenched, liminal quality of the creation room gives an effect of oppression, questioning God’s power of judgement and exploring the view that the sanctuary of motherhood is more a prison.

The Swiss Alps contributes to the sense of the sublime in ‘Frankenstein’, giving perspective and reminding both characters and readers of a divine role. The “immense mountains and precipices” and “mighty Alps” are used to overwhelm Victor Frankenstein, and remind him of his immateriality in comparison to the rest of nature and, perhaps, God. The sublime is a liminal threshold where the divine and mortal are closer- reminding the characters of the limitations of being human; something Frankenstein lacks.  This threshold therefore acts as an equalizer between the characters, with both Victor and the monster being reduced to mere mortals no matter how they came into being. The unparalleled power of the sublime is further shown by the description of the Alps as “belonging to another earth, the habitants of another race of beings”, perhaps indicative of Mount Olympus or even Victor’s arrogance, believing that he is a Promethean demi-God. His fall as a Promethean tragic hero and the burden of his crimes are predicted by the setting, the Alps also being grotesquely depicted. The abject nature of the trees “lying broken and strewed on the ground; some entirely destroyed, others bent” has connotations of mangled corpses, referencing the Monster’s murders of everyone Victor Frankenstein loves. However, it could show Frankenstein’s arts in the creation room and perhaps foreshadow his ruined creation of the monster’s bride later on in the novel.  Even in the Alps, something Victor found comfort in, his crimes are reflected in the barren setting, an effect Shelley has employed to contribute to Frankenstein’s guilt and add apprehension for the reader.

During Victor Frankenstein and Elizabeth’s honeymoon, light is employed to create an obscure and liminal setting which evokes terror and portrays a cynicism of Romance. A “transitory light” unfolds the newlywed’s story from joy to despair in the course of a night, and creates a (non-nuptial) threshold which creates apprehension for Elizabeth’s murder.  The unknown and nightmarish quality of the setting “obscured in darkness, yet still displaying their black outlines” creates a sense of terror and tension for the reader; the monster is lurking outside. Shelley also seems to be mocking romance, “the pale yellow light of the moon”- usually possessing romantic connotations- seems out of place, mocking Victor’s unfortunate situation. The “pale yellow” quality of it rather suggests waxy ill health than romance, foreshadowing Elizabeth’s death very soon afterwards. Although the supernatural quality of the moon in this setting has Victor in a “kind of panic”, it may be the romance that panics him.  In earlier chapters, he communicates his dread for the union as a “terrible marriage”. Although this could be because of the monster’s threat that he will be “there on your wedding night”, Frankenstein could be more terrified of the prospect of consummating his marriage with his “more than sister”. The light in the honeymoon setting aptly creates terror through obscurity, not only for the apprehension of the monster’s murder, but also for Victor’s fear of romance- due to his unknown sexuality and especially as the embodiment of the enlightenment in the 18^th century.

In conclusion, Shelley uses different settings to create terror, the main purpose of a Gothic noel- “to curdle the blood and quicken the beatings of the heart”. The use of the liminal, the sublime and obscurity explores the changing relationship between God and man in an era where science was influencing spirituality and Shelley’s views on motherhood.