Isolation in Shelley’s Frankenstein

Alexandra Byrne (CO L6)

Isolation, both literal and metaphorical, is depicted in myriad novels; it is one of the key themes of literature, and often it calls for introspection. Literature acts as a catalyst for self-reflection, whereby characters are able to discover elements to their character, personality and very existence that they have not had access to previously. The very act of reading is often a solitary experience, for a particular period of time, and whilst you are reading, you are detached from your own world and thrown into another. Yet simultaneously, you engage in a profoundly intimate one-sided dialogue with the author, one that overcomes earthly limitations, and which remains through time. The impact of isolation in literature is so great because humans often fear to be alone, and fear what they might discover: ‘All of humanity’s problems stem from man’s inability to sit quietly in a room alone,’ declared Blaise Pascal (Pensées).

Frankenstein is a book of murder, tragedy and despair, and simply put, all of these evils stem from isolation and a lack of connection to any normality, from family, and from society. This isolation is the true evil in Frankenstein. Shelley presents two alternative views on isolation. In the first, we see that Victor Frankenstein imposes on himself a seclusion which ultimately leads to debilitating depression. In contrast, in the second, we see that the creature which he creates is ostracised, not from its own fault, but because it was created to be monstrous, and to incite fear; ’I am an unfortunate and deserted creature, I look around and I have no relation or friend upon earth’.

Victor loses any notion of the world which exists outside of his vision, and as a result, the severity of the consequences of his actions is lost on him. He has been alienated throughout his entire life; he is a man of science, and has no quarrel with being alone, attempting to understand the miracles of the world. Victor places his scientific pursuit above all else. Other relationships which do not benefit his work are thoughtlessly pushed away, whilst every essence of love which he possesses is channelled towards his creation. His isolation is a choice, made for the sake of his science. ’I must absent myself from all I loved while thus employed. Once commenced, it would quickly be achieved, and I might be restored to my family in peace and happiness.’ However, after he creates the monster, he is then forced to continue in his isolation as he attempts to destroy it.

The monster is isolated because of fear caused by its hideous appearance. Humans are intrinsically flawed, and apparently unable to look beyond the monster’s appearance to see that all it really wants is to be loved. The creature’s first experience of the world is seeing Victor’s, his creator’s, naked fear when it opens its eyes. It is left alone, completely unaware of what it is, and where it is, and this rejection continues through its interaction with the villagers. ’I had hardly placed my foot within the door before the children shrieked, and one of the women fainted. The whole village was roused; some fled, some attacked me.’ Fundamentally, all the creature wants is acceptance, of family, of friends, which is particularly ironic as it is family that Victor fled from in order to create it. The creature, however, is just an assortment of limbs; it has no ties, no relatives, and although it has human features, its appearance makes it impossible for it to fit into human society. Despite possessing more humanity than most humans, the monster is rejected, and this offers a suggestion that perhaps it isn’t humanity that humans most value.

The impact of this isolation is manifest. The monster’s evil is not inherent, it wasn’t created evil, instead it is forced into it by its isolation. It is vengeful, filled with hate and anger, because this is how the world has taught the creature it should be. ’Should I feel kindness towards my enemies? No; from that moment I declared ever-lasting war against the species, and more than all, against him who had formed me and sent me forth to this insupportable misery.’ The monster responds to humans in the same way that they have responded to it – with violence. In no way could it be said that the monster itself is responsible for its murderous actions. It kills innocently. It resents Victor for making it this way, and it somewhat understandably wants Victor to be just as isolated as it is, resulting in it killing Elizabeth, Victor’s wife.

In massive contrast to these two characters, we can observe Walton. He represents a ‘normal’ healthy human being. Although Walton chooses isolation, in a similar vein to Victor, like the monster, he also craves

companionship. He is the balance. He accepts relative isolation in his singular pursuit of knowledge; ’there is a love for the marvellous, a belief in the marvellous, intertwined in all my projects, which hurries me out of the common pathways of men, even to the wild sea and unvisited regions I am about to explore.’ But he also demonstrates an awareness of the consequences of his actions, so that whilst he is massively driven, he does not lose touch with his morals.

Through the literary offering of Frankenstein, Shelley delivers a moral commentary on the world, on the importance of companionship and the catastrophic consequences that can follow if one does not remain connected to others (Victor), and on the harsh judgements which society can impart on innocent people (the monster). The novel could be taken as a lesson, one applicable to today’s society, that appearances can be deceptive and that it is often those who are different who are ostracised, regardless of whether or not they are morally virtuous or repugnant.

December 2020 by Mr E.F.J. Twohig