Introduction
Mary Shelley’s *Frankenstein; or, The Modern Prometheus*, first published in 1818, emerges as a profound literary work deeply embedded in the ideological currents of the late eighteenth and early nineteenth centuries. Written during a period marked by the aftermath of the French Revolution, the rise of Romanticism, and significant scientific advancements, the novel reflects and critiques the entrenched ideologies of its time, including the Enlightenment’s faith in human reason, societal anxieties about scientific overreach, and gendered power dynamics. This essay aims to explore how *Frankenstein* serves as a record of these ideological concerns, focusing on three key areas: the hubris of Enlightenment rationalism, the fear of unchecked scientific ambition, and the patriarchal structures underpinning human relationships. Through detailed analysis of the primary text, supported by relevant academic scholarship, this discussion will illuminate how Shelley’s narrative encapsulates the tensions and contradictions of her contemporary context, offering a critical lens on the ideologies that shaped her world.
Enlightenment Rationalism and the Hubris of Victor Frankenstein
One of the central ideologies reflected in *Frankenstein* is the Enlightenment belief in the power of human reason and the potential for progress through intellectual mastery. Victor Frankenstein embodies this ideology through his relentless pursuit of knowledge and control over nature, declaring, “I had worked hard for nearly two years, for the sole purpose of infusing life into an inanimate body” (Shelley, 1818, p. 56). His ambition mirrors the Enlightenment ideal of transcending natural limits through science, yet Shelley critiques this optimism by exposing the catastrophic consequences of Victor’s hubris. His creation of the Creature, initially driven by a desire for glory, quickly turns to horror as he abandons his responsibility, revealing the limits of rationalism when divorced from ethical considerations. Furthermore, Victor’s assertion that “the world was to me a secret which I desired to divine” (Shelley, 1818, p. 36) underscores an almost divine aspiration to conquer nature, a notion prevalent among Enlightenment thinkers but problematised by Shelley as reckless overreach. Indeed, as Baldick (1987) argues, Victor’s actions reflect a broader cultural anxiety about the dehumanising potential of unchecked reason, a concern that resonated in a post-Revolutionary era wary of radical change. This critique is evident when Victor laments, “Learn from me… how dangerous is the acquirement of knowledge” (Shelley, 1818, p. 52), suggesting a direct warning against the blind faith in intellectual dominance that defined much of Enlightenment thought. Thus, through Victor’s tragic arc, Shelley records a profound ideological tension between the allure of rational progress and the moral perils it entails.
Scientific Ambition and Societal Anxieties of the Industrial Age
Beyond Enlightenment ideals, *Frankenstein* also captures the growing unease surrounding scientific and technological advancements during the early Industrial Revolution, a time when innovations both fascinated and terrified society. Victor’s experiments, particularly his grotesque assembly of the Creature from “the dissecting room and the slaughter-house” (Shelley, 1818, p. 55), reflect contemporary fears about the ethical boundaries of science, especially in light of galvanism and anatomical experimentation prominent in the late eighteenth century. This image of unnatural creation invokes a visceral dread, arguably mirroring public apprehension about how far scientists might go in defying divine or natural order. Moreover, the Creature’s subsequent rejection and violence—evidenced in his bitter cry, “I, the miserable and the abandoned, am an abortion, to be spurned at” (Shelley, 1818, p. 224)—highlight the unintended consequences of scientific hubris, suggesting that such innovations could produce chaos rather than progress. Mellor (1988) notes that Shelley, influenced by her awareness of contemporary debates on electricity and life, uses the novel to question whether humanity is prepared to wield such power responsibly, a concern deeply rooted in her era’s ambivalence towards industrial and scientific change. Additionally, Victor’s lamentation, “I had selected his features as beautiful… but now that I had finished, the beauty of the dream vanished” (Shelley, 1818, p. 58), encapsulates the disillusionment with scientific ideals once their reality is confronted. Through these textual moments, Shelley records an ideological conflict of her time: the simultaneous reverence for and fear of scientific ambition, positioning *Frankenstein* as a cautionary tale against the unchecked momentum of the Industrial Age.
Patriarchal Structures and Gendered Power Dynamics
Finally, *Frankenstein* serves as a record of the entrenched patriarchal ideologies of the early nineteenth century, particularly in its portrayal of gender roles and power imbalances. The novel’s male-dominated narrative, centred on Victor’s obsessive control over creation, reflects a society in which men were seen as arbiters of knowledge and authority, often at the expense of female agency. Victor’s unilateral decision to create life without a female counterpart—“I resolved… to pursue nature to her hiding places” (Shelley, 1818, p. 53)—symbolises a rejection of natural reproductive roles, usurping a traditionally feminine domain and reinforcing male dominance over creation. Additionally, female characters like Elizabeth and Justine are depicted as passive victims, with Elizabeth’s murder by the Creature and Justine’s wrongful execution highlighting their expendability within a patriarchal framework; as Elizabeth herself resignedly states, “I have no power” (Shelley, 1818, p. 193). This dynamic is further complicated by the Creature’s demand for a female companion, which Victor ultimately denies, fearing “a race of devils” (Shelley, 1818, p. 170), thus illustrating male fear of female autonomy even in a constructed being. Gilbert and Gubar (1979) argue that Shelley critiques the patriarchal exclusion of women from spheres of power, using the Creature’s marginalisation as a parallel to female oppression in her society. Generally, these textual examples reveal how deeply ingrained gender hierarchies shaped interpersonal and creative dynamics, with Shelley’s narrative subtly challenging the ideological status quo by exposing its destructive consequences. Hence, *Frankenstein* documents the gendered anxieties and inequalities of its time, offering a critical perspective on the patriarchal ideologies that constrained both men and women.
Conclusion
In conclusion, Mary Shelley’s *Frankenstein* stands as a compelling record of the entrenched ideologies of the late eighteenth and early nineteenth centuries, encapsulating the era’s complex relationship with Enlightenment rationalism, scientific ambition, and patriarchal power structures. Through Victor’s hubristic pursuit of knowledge, the novel critiques the overconfidence of Enlightenment thought, warning of its moral pitfalls. Similarly, societal fears of industrial and scientific overreach are vividly portrayed in the grotesque creation of the Creature and its tragic aftermath, reflecting contemporary anxieties about humanity’s readiness for such power. Finally, the gendered dynamics within the text expose the patriarchal constraints of Shelley’s time, subtly challenging the marginalisation of women. Together, these elements demonstrate how *Frankenstein* mirrors the ideological tensions of its context, offering not just a gothic tale but a profound commentary on the cultural and intellectual currents of the period. The implications of this analysis suggest that literature can serve as a powerful historical artefact, providing insight into past ideologies while prompting reflection on their lingering influence in modern discourse.
References
- Baldick, C. (1987) In Frankenstein’s Shadow: Myth, Monstrosity, and Nineteenth-Century Writing. Oxford: Clarendon Press.
- Gilbert, S. M. and Gubar, S. (1979) The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination. New Haven: Yale University Press.
- Mellor, A. K. (1988) Mary Shelley: Her Life, Her Fiction, Her Monsters. New York: Routledge.
- Shelley, M. (1818) Frankenstein; or, The Modern Prometheus. London: Lackington, Hughes, Harding, Mavor & Jones.
