Narrative Structure of ‘Frankenstein’

Narrative Structure of ‘Frankenstein’

“In Frankenstein, the stories appear to grow organically from one another: it is impossible to liberate the narratives from one another, as they are so closely linked and interwoven.” Go over the novel’s shifts in narrative point of view. What is the impact of presenting different character’s perspectives, especially those of Victor and the beast? Mary Shelley’s Frankenstein has an extremely complicated narrative structure: “the stories appear to grow organically from one another”. Within the novel, Shelley weaves characters and their different narrative perspectives together, developing a cyclical, triplicate layout to the story.

Her use of several narratives offers a variety of viewpoints on the story, enabling us insights to the perspectives of both Victor and the monster. However, there are some who argue that the book has lots of misunderstandings and narrative dispute. Frankenstein begins in epistolary form, which continues for 4 letters, allowing Shelley to introduce to her readers the character of Captain Walton, her automobile to tell the story. Frankenstein both opens and concludes with a letter from Walton to Mrs.

Saville, his sister, to whom he is describing the odd tale of Victor Frankenstein and his development: “so weird an accident has actually taken place to us that I can not forbear taping it”. There are striking parallels between the three storytellers: for instance, both Walton and the creature wish for a buddy: “I have no friend,” “I am alone, and miserable; male will not relate to me,” and Victor and Walton yearn to discover nature’s tricks: “I might there find the fascinating power that draws in the needle,” “the world to me was a trick which I wanted to divine. These similarities intertwine the narratives, making it seem like these point of views “grow organically from one another.” Walton could be considered the primary storyteller, as he is the one recording each account. Because of his position as chief writer, we should accept that he can recall perfectly Victor’s entire story, which Victor has remembered the creature’s story completely, and has actually not changed or embellished it in order to appear in the right.

For that reason Frankenstein’s story is unreliable– Walton and Victor are both biased, therefore leaving the unique open to interpretation. Certainly, Walton sees Victor as a “magnificent wanderer” leading us to believe that he does not see the full picture. Despite this, Shelley produces a natural circulation throughout, yet there is a clear distinction between each changing perspective. For example, the narrative effortlessly switches from Walton’s letters to Victor’s account: “Unusual and painful must be his story … thus! Through Victor’s story, she moves us on to the creature’s direct discussion by utilizing speech marks at the start of each paragraph: “he therefore starts his tale.” Frankenstein and Walton’s stories are incredibly similar in style, making it nearly “impossible to extricate the stories from one another.” Even Shelley’s choice of language draws parallels between the 2: for example, her usage of the words “massive structure” and “wretched” in Walton’s very first description of Frankenstein, which Victor subsequently uses in describing his creation.

Many critics have actually even gone so far regarding say that Walton is Victor’s doppelganger– his clone in every method. Nevertheless, there stand out differences in diction between the two: Frankenstein being the more eloquent of the pair, as Walton freely confesses: “Now I am twenty-eight and am in reality more illiterate than many school children of fifteen.” The monster has an extremely unique voice– his language is more poetic and articulate than that of Walton and even Victor. Therefore it is possible to liberate the narratives from each other.

The creature’s eloquence is unexpected– Shelley maybe presents the beast like this to show his mankind and to make the reader view him without prejudice. The aforementioned “doppelganger effect” can also be used to Victor and the Creature– the monster is Victor’s counterpart, and yet likewise his antithesis. This further links the narratives, linking the characters further. Frankenstein’s and his development’s accounts can be linked even more together by each of their tales’ fixation on appeal. However, although the animal’s story is appreciative of beauty, he is more concentrated on people’s generosity.

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Frankenstein is composed in a collective fashion: for example, Victor looks over Walton’s notes: “I made notes concerning his [Frankenstein’s] history: he … fixed them and augmented them in numerous locations.” Therefore the narratives within the book are not total or stand-alone: they are all interrelated and synergistic. The 3 storytellers are “inextricably connected” in an “alternative trinity” according to critic Phillip Allan, with Frankenstein as the “Daddy”, Walton as the “Boy”, and the Creature as the “Unholy Spirit. Mary Shelley was a travel writer, as is reflected in her character’s constant motion. Certainly, as Victor moves even more and further from his native Geneva, he moves closer and closer to his ultimate failure. His last days are invested in the Arctic– the furthest he might potentially go from Switzerland. The North Pole’s barren lands and frozen environment remain in direct contrast to the gorgeous landscape and balmy temperature of his house, reinforcing his torment and alienation in his passing away days.

The time scale of the letters Walton is composing to Mrs. Saville mirror Shelley’s conception and end simply two days before her mother’s death. She connects her own birth to Victor’s “hideous children” of the monster and both their dreadful effects. Shelley’s imaginative narrative structure is elaborately “interwoven”, and she uses this triplicate, cyclical structure and various viewpoints to enable us, as readers, to come to our own conclusions regarding the moral predicament she provides to us.