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The contrast of good and evil is a common theme in literature. In Frankenstein, Mary
Shelley highlights the duality of humanity, in showing that Frankenstein and creation are
neither solely good nor evil, but are capable of both. In doing so, we are also shown that
evil does not exist in isolation – and that it does not exist without cause.
One of the themes of Frankenstein is nature, and what is natural and what is not.
The appreciation of nature and weather is used to portray the humanity of the monster.
For example, in chapter 16 the creature describes the events of his life since he fled from
Frankenstein’s basement laboratory on the night of his creation. He tells of how he has
plunged into despair following the rejection of the De Lacey family, and feels uplifted by
warm weather: “the day, which was one of the first of spring, cheered even me by the
loveliness of its sunshine and the balminess of the air. I felt emotions of gentleness and
pleasure, that had long appeared dead, revive within me.” (Shelley, pX) The monster’s
ability to take pleasure in nature shows his human side. The contrast of this with the
monster’s actual errand – enacting revenge upon Frankenstein reinforces the monster’s
humanity, in highlighting the duality of his nature. Like humans, the monster is capable
instances. In chapter seven, journeying home after William’s death, he finds comfort in
the eternal nature of the Alps – “My country, my beloved country! who but a native can
tell the delight I took in again beholding thy streams, thy mountains, and, more than all,
thy lovely lake!” (Shelley, pX) Overshadowing this, however, is the complete overthrow
of the natural order that he has already undertaken in creating the monster. Frankenstein
has stitched together body parts stolen from buried corpses and infused them with life.
The immediate rejection of his creation, the “breathless horror and disgust” that he feels
at the first sight of the monster-child, is not even related to remorse for his actions.
(Persson 2002)
Frankenstein’s act is an evil one. He has created life without regard for the
consequences, and when he finds his new creation distasteful he flees without regard for
the safety of either the monster or the people around it. His refusal to deal with his
responsibilities causes the deaths of family members and his closest friend, and
ultimately his own as well. His disregard for the sanctity of human life, his self-
absorption and his selfish attitude towards his immediate family are unnatural – much
The monster has killed, and killing is an evil act, but it is in reaction to fear,
pain, and suffering. By showing us the human side of the monster, Mary Shelley evokes
chapter ten, and the reader is shocked to discover that the “abhorred monster” is actually
a sensitive, gentle, and emotional creature whose actions are driven by the desire for
companionship and the very human need for love: “believe me, Frankenstein, I was
benevolent; my soul glowed with love and humanity; but am I not alone, miserably
alone?” (Shelley, pX) The monster began life as an impressionable and naïve “child”,
knowing neither good nor evil. Hated and feared by all who see him, and rejected by the
very person who gave him life, the monster has been taught evil only through his
<http://www.lysator.liu.se/~unicorn/criticism/artif_men/node3.html>.
Shelley, Mary. (1818). Frankenstein, or the Modern Prometheus. New York: Collier
Books, 1961.
<http://cgi.sparknotes.com/hlite.mpl?words=frankenstein&pd=0&page=themes.ht
ml&nfs=0&guide=%2flit%2ffrankenstein>.