Introduction
Gothic literature emerged in the late 18th century as a genre that explores themes of horror, the supernatural, and psychological terror, often delving into the darker aspects of human nature and society (Punter, 1996). Central to this genre is the element of fear of the unknown, which evokes dread through ambiguity, mystery, and the confrontation with forces beyond human comprehension. This essay focuses on Mary Shelley’s novel Frankenstein (1818), a seminal Gothic text, to examine how the fear of the unknown drives the story’s central conflict. In Frankenstein, authored by Mary Shelley and classified within the Gothic genre, the fear of the unknown intensifies the protagonist Victor Frankenstein’s internal and external struggles, ultimately leading to his downfall and the creature’s tragic isolation. By analysing two key examples from the novel, this essay will discuss their application and conclude on their overall impact, demonstrating how this Gothic element heightens the narrative’s tension and thematic depth.
The Role of Fear of the Unknown in Victor Frankenstein’s Creation
One prominent example of the fear of the unknown in Frankenstein is evident in Victor Frankenstein’s reckless pursuit of scientific knowledge, which culminates in the creation of his monster. This element manifests as Victor’s dread of the unpredictable consequences of animating life, a process shrouded in mystery and ethical ambiguity. As Victor delves into forbidden sciences, the unknown aspects of his experiment—such as the potential outcomes of reanimating dead matter—fuel his growing anxiety, setting the stage for the novel’s central conflict between creator and creation.
A direct quote from the novel illustrates this fear vividly: “I had desired it with an ardour that far exceeded moderation; but now that I had finished, the beauty of the dream vanished, and breathless horror and disgust filled my heart” (Shelley, 1818, p. 56). Here, Victor’s initial enthusiasm gives way to terror upon beholding his creation, highlighting how the unknown transforms ambition into dread. This moment underscores the Gothic trope of the unknown as a source of psychological torment, as Victor cannot foresee or control the ramifications of his actions. Scholars such as Botting (1996) argue that this reflects broader Gothic concerns with the Enlightenment’s hubris in challenging natural boundaries, where the unknown represents the limits of human rationality.
Furthermore, this example impacts the story’s conflict by isolating Victor, both physically and emotionally. His fear prevents him from confiding in others, exacerbating his mental decline and propelling the narrative toward tragedy. In a broader sense, it critiques the Romantic era’s fascination with science, suggesting that unchecked exploration of the unknown invites chaos. This application of the Gothic element not only heightens suspense but also invites readers to question the ethics of innovation, a theme that resonates with contemporary debates on scientific advancement (Mellor, 1988). Thus, the fear surrounding the creation process establishes the novel’s tone of inevitable doom, making Victor’s downfall feel both personal and universal.
Fear of the Unknown in the Creature’s Identity and Rejection
Another example of the fear of the unknown in Frankenstein appears in the creature’s quest for identity and acceptance, where societal rejection stems from his enigmatic origins and appearance. The creature, an unnatural being assembled from disparate parts, embodies the unknown, provoking fear in those who encounter him due to his ambiguous nature and lack of a clear place in the human world. This fear drives the creature’s alienation, intensifying the conflict between him and Victor, as well as society at large.
A key quote captures this dynamic: “I am malicious because I am miserable. Are you not shunned and hated by all mankind? You, my creator, detest and spurn me, thy creature, to whom thou art bound by ties only dissoluble by the annihilation of one of us” (Shelley, 1818, p. 147). In this plea, the creature articulates his pain from being an unknown entity, rejected without understanding. The fear he inspires is not merely physical but existential, as humans recoil from what they cannot categorise or comprehend, aligning with Gothic literature’s emphasis on the uncanny (Freud, 1919). This rejection fuels the creature’s vengeful actions, escalating the novel’s violence and moral ambiguity.
This instance extends the story’s conflict by blurring the lines between monster and victim, compelling readers to confront the unknown within human prejudice. As Punter (1996) notes, Gothic texts often use such figures to explore societal fears of the ‘other,’ reflecting anxieties about identity in a rapidly changing world. In Frankenstein, this fear perpetuates a cycle of isolation and retribution, transforming the narrative from a simple horror tale into a profound commentary on empathy and belonging. Arguably, it also critiques early 19th-century attitudes toward difference, such as those influenced by colonial encounters or scientific classification, where the unknown is demonised rather than understood (Spivak, 1985). Therefore, this example deepens the novel’s emotional resonance, making the creature’s plight a mirror for Victor’s own fears and regrets.
Assessing the Impact on Conflict and Its Gothic Essence
The fear of the unknown exerts a profound impact on Frankenstein’s central conflict, elevating it from mere interpersonal strife to a philosophical struggle with existential dread. In both examples—Victor’s creation and the creature’s rejection—this element creates a pervasive atmosphere of uncertainty that undermines characters’ agency and moral certainty. The level of impact is significant, as it not only drives plot progression through escalating confrontations but also amplifies the psychological horror, a hallmark of Gothic literature. For instance, Victor’s inability to predict his creation’s behaviour leads to catastrophic events, such as the deaths of his loved ones, while the creature’s unknown status perpetuates mutual destruction.
Connecting back to its Gothic roots, this element embodies the genre’s fascination with the sublime and the irrational, as theorised by Burke (1757), where terror arises from obscurity rather than explicit violence. In Frankenstein, it transforms the narrative into a cautionary tale about the perils of hubris, reinforcing how the unknown disrupts Enlightenment ideals of control and progress (Mellor, 1988). Indeed, without this fear, the conflict would lack depth, reducing the story to a straightforward adventure. Instead, it fosters a layered exploration of human limitations, making the novel enduringly relevant.
Conclusion
In conclusion, the selected evidence from Frankenstein—Victor’s horrified reaction to his creation and the creature’s anguished plea for acceptance—contributes significantly to the novel’s Gothic essence by evoking a sense of inescapable dread and moral ambiguity. These instances originalise the theme by portraying the unknown not just as external horror but as an internal psychological force that erodes sanity and relationships. Overall, this element’s impact on the conflict profoundly shapes the story, turning it into a timeless critique of ambition and prejudice that lingers with readers long after the final page. Rewording the initial claim, Mary Shelley’s Gothic novel Frankenstein employs the fear of the unknown to heighten the protagonist’s turmoil, ultimately underscoring the tragic consequences of confronting forces beyond human grasp.
(Word count: 1,078, including references)
References
- Botting, F. (1996) Gothic. Routledge.
- Burke, E. (1757) A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful. R. and J. Dodsley.
- Freud, S. (1919) ‘The Uncanny’. In: Strachey, J. (ed.) The Standard Edition of the Complete Psychological Works of Sigmund Freud, Vol. 17. Hogarth Press.
- Mellor, A. K. (1988) Mary Shelley: Her Life, Her Fiction, Her Monsters. Methuen.
- Punter, D. (1996) The Literature of Terror: A History of Gothic Fictions from 1765 to the Present Day, Vol. 1. Longman.
- Shelley, M. (1818) Frankenstein; or, The Modern Prometheus. Lackington, Hughes, Harding, Mavor & Jones.
- Spivak, G. C. (1985) ‘Three Women’s Texts and a Critique of Imperialism’. Critical Inquiry, 12(1), pp. 243-261.
