The Role of Women in Mary Shelley's Frankenstein

The Role of Women in Mary Shelley's Frankenstein

Whether an author is conscious of the fact or not, a fictional work cannot avoid reflecting the political, social, economic, and religious background of the author. Therefore, regardless of Frankenstein's categorization being that of science fiction, Mary Shelley reveals her own fears and thoughts, and, as a result, reveals a great deal about the time and place in which she wrote. She mentions specific geographical locations throughout Europe, she raises ethical questions concerning the synthesis of life, and she writes in the context of popular contemporary philosophy and the importance of environment vs. experiences. Most importantly to this essay, however, is the manner in which Shelley reflects the characteristics of the Romantic period in which it was written and its attitudes toward women.

In an article that discusses female authors during this time period, we find that Romanticism was a male-dominated movement. The same article states that this dominance prevented female authors from being given the same consideration as males (Behrendt 147). Moreover, women who crossed this "culturally-imposed boundary" were routinely charged with "unnaturalness" or "monstrosity" (Ibid.). This is clearly portrayed through the author herself, particularly in the introduction of the novel where her introduction is full of apologies for her work. Despite the self-proclaimed pressure to become a writer in the expectation of continuation of her parents' writing, the story is wrought with marks of difficulties of having been taken less than seriously.

One place where it is particularly evident is in the preface of the book, although parts were written by her husband, Percy Shelley in her voice. In one such part, he acknowledges that the "humble novelist" must explain why she might aspire to the heights of great poetry. Conversely, in parts that Shelley wrote herself, she says that book was conceived in a dream in which she saw a "pale student of unhallowed arts putting together the hideous phantasm of a man." She continues, "the idea so possessed my mind that a thrill of fear ran through me, and I wished to exchange the ghastly image of my fancy for the 'realities around.'" Ultimately, the entire story symbolically represents some of the pressures on a woman writer during the Romantic period in Europe and Shelley's critique of the culture that has created her but sees her as its "monster."

Besides the representation of the author, the Romantic view of women is evident in the general weakness of the female characters throughout the story. There is only one main female character, Elizabeth Lavenza Frankenstein, the "more than sister" of Victor Frankenstein. In addition to the lack of women characters, Elizabeth is developed as kind, devoted, mild-mannered and sweet. Each of these adjectives could also be used to describe the other female characters, including Caroline, Victor's mother, Justine, Caroline's adopted child, and Agatha DeLacey, the neighbor's daughter.

Additionally, women in nineteenth century Romantic Europe often catered to men, even if it was unbecoming to them (Kelly 220). Therefore, women's place is society is also represented in chapter six, in Elizabeth's letter to Victor. The letter is feminine and rather touching, and it reveals Elizabeth's genuine concern for him, thereby signifying women's expected nurturing of men in this society. In it, Elizabeth acknowledges the danger of a journey to see her cousin, yet says that she wants to make the journey because of her worry for his health. She finally ends it in a motherly tone saying, "anxiety returns upon me as I conclude" (101). This letter is also indicative of women's non-importance in Romantic writing. Because women did not speak in the narrative (Kelly 228), in order to express herself and her feelings, Elizabeth is forced to write a letter instead of actually speaking them aloud.

In addition, Elizabeth's self-imposed responsibility for William's death is also demonstrative of women's diminutive stature in nineteenth century Romantic Europe. In chapter seven, Victor's father writes a letter to Victor telling him of William's death. In it, he says, "poor Elizabeth...(should) cease her vain and tormenting self-accusations that are symbolic of the way that women accepted wrongful blame in the society. In this case, because it is presumed that William was murdered since a miniature portrait of Caroline that William carried with him is now missing, Elizabeth imposes the self-blame because she believes she is responsible for William's