Victor Frankenstein
Character Analysis One
Victor’s character is complicated. He grows from a young, innocent, hopeful boy into a jaded, vindictive, vengeful man. Driven by a desire for knowledge and an exploratory nature, Victor’s crime is one of obsession. He oversteps the bounds of science in becoming the creator of a being that never should have lived.
His ultimate flaw – aside from being shallow, foolish, and generally unaware of the threats posed to his loved ones – is not providing for the creature to whom he gives life. But that’s not all. He is also unable to rectify the consequences of his inquiring mind. He doesn’t take responsibility for the monster, ever. He goes back on his promises, runs away from his problems, and seems to have no compassion for the creature of his own making.
So do we hate Victor? Actually, no. You could say that we understand Victor. We sympathize with his plight in a way that he is never able to do with his monster. You could even say, if you were feeling super gutsy, that Victor is the monster of our own making, of society’s making. He is born out of our own fears of technology and science. He encapsulates our negative qualities, our shallowness, and our ugliness. Or at least he did in the nineteenth century.
Another gutsy direction you could go is to say that Victor is a self-sacrificing hero, maybe even a Christ figure. What’s the rationale? He chooses to give his own life to save mankind from what he believes to be evil in the world. If said evil isn’t actually evil so much as loveably ugly, then he’s a misguided Christ figure. However, at the same time, he is a most wretched villain, bringing pain to the thing most dear in his life – the product of his own creativity.
Character Analysis Two
He is a young scientist, thirsty for knowledge. He studies the forbidden sciences, questions the principle of life and gives birth to an "inhuman" creature. In this venture, he overreaches himself. He gathers tremendous knowledge, defies his parents and dabbles in the supernatural. He shows a natural human tendency to pursue the forbidden. But his knowledge nevertheless leaves him ignorant of the consequences of his act. His burning ambition influences him in such a way that he is no more an ordinary mortal but can be compared to Dr. Faustus. (Faustus, or Faust, is a character from literature and legend who enters into a pact with the devil in exchange for knowledge and power.) Victor undergoes emotional and mental change. He suffers from feelings of remorse and guilt at seeing the untimely deaths of the people around him. However, he never once truly repents for what he has done. Instead his fury is always directed against the monster. He is afraid of confessing his guilt for fear of being labelled a madman.
One can say that he never really changes as a person. In the end, one sees this clearly, as he reprimands the sailors for wanting to go back home empty-handed. He tells them to be "men," who fight and conquer all obstacles. The burning ambition has still not left him. And he still believes he can avenge his familys death by killing the monster.
Character Analysis Three
Victor Frankenstein suffers decision paralysis in any time of crisis. While valiant in his struggles to create life, he immediately becomes the coward, assuming his creation to be a menace and running from it in terror: “one hand was stretched out, seemingly to detain me, but I escaped and rushed downstairs” (Shelley 51). It’s hard to trust Victor to be a reliable narrator, when he claims helplessness with such vigor, for example, in the second encounter with his monster, he recounts, “I thought of pursuing the devil, but it would have been in vain” (70). When the creature kills little William and frames Justine, Victor does nothing to save her from her unjust execution: “a declaration would have been considered as the ravings of a madman and would not have exculpated her who suffered through me” (76). He is merely pacifying his conscious with a shallow justification.
This aversion to action is a persistent theme throughout the novel. These examples just scratch the surface:
• “I could not answer” (83).
• “The being finished speaking and fixed his looks upon me in the expectation of a reply. But I was bewildered, perplexed, and unable to arrange my ideas sufficiently” (146).
• “I would have seized him, but he eluded me” (172).
• “I was unable to pursue the train of thought . . . and I wept bitterly” (189). Frankenstein finds solace in crying over his dilemma.
This is his flawed argument for destroying the female monster: “she might become ten thousand times more malignant than her mate and delight, for its own sake, in murder and wretchedness” (169). Has Victor not already heard the monster’s lengthy tale of how he became soured on humanity? It is established that the monster’s malice is due to others mistreating him, so Victor’s argument seems merely an excuse to abandon his work.
Dr. Frankenstein continually underestimates the being’s malice and power. Even after two murders, he taunts, “you may torture me, but I will never consent” (146). Is he so blind to not see that he is condemning his friends and family to death, rather than himself? Further, he interprets “I shall be with you on your wedding-night” (172) to mean that Elizabeth is not in danger. He looks ahead: “in that hour I should die and at once satisfy and extinguish his malice,” the only negative being the “tears and endless sorrow, when [Elizabeth] should find her lover so barbarously snatched from her” (173). Victor justifies going forward with the wedding, purporting that the monster will do what he pleases anyway: “he did not consider that threat as binding him . . . he had murdered Clerval immediately” (194). Yet somehow, he is shocked and dismayed when it Elizabeth that is murdered (202). Did he not hear his creature’s pleas for a companion, or is he blind to both apportioned revenge, and the axiom, “misery loves company”? Is not the death of Victor’s wife the most logical revenge for the death of the monster’s would-be wife? The monster promises such revenge outright: “Shall each man . . . find a wife for his bosom . . . and I be alone? . . . Are you to be happy while I grovel in the intensity of my wretchedness?” He goes on to say, “you shall repent of the injuries you inflict” (172), foreshadowing drawn out misery for the doctor, rather than a hasty death. Apparently, Mr. Frankenstein never learns.
Why did Shelley write Victor this way? First, we can identify a literary element: if Victor stops the monster before he commits murders, the book would not be interesting. But it is more—perhaps it is because we are so quick to trust and empathize with Victor, as he is the narrator throughout the tale, that we must come to see, through his indifference, he is actually more evil than his creation. When I first read the book, I pegged Frankenstein as good. Even though he admits to being the murderer several times, such as this lamentation: “I, not in deed, but in effect, was the true murderer” (88), to me, he is only crying for help, like Justine’s coerced confession (81-82). However, through the above analysis, we find that Frankenstein is apt to be an unreliable narrator, biased to support his inaction. His warning of the monster: “he is eloquent and persuasive; and once his words had even power over my heart: but trust him not” (216), may better describe himself. As in legal tort, he has a “duty to rescue” his family from his now malevolent creation, yet he continually ignores it; his best idea is repeatedly shouting “wretched devil!” and “abhorred monster!” (95), followed by promising to create a woman, only to “[tear it] to pieces” (170). For the monster, this is sadistic torment, but the doctor excuses himself again, claiming it to be preferable to “[inflicting] this curse upon everlasting generations” (170). In the words of Edmund Burke, “no passion so effectively robs the mind of all its powers of acting and reasoning as fear,” and I see that Frankenstein is crippled by fear, wavering on any decision. Shelley has written a subtle allegory between the lines: do not believe narration immediately, as even if it appears trustworthy, it is always written in the interests of the narrator. Frankenstein tells us many times that his fate is sealed: “destiny was too potent, and her immutable laws had decreed my utter and terrible destruction” (33), but he really is a man who loves misery—a murderer through negligence, who wishes for pity in his twisted account. He is the real devil.
Going further, there is a connection that suggests Frankenstein subconsciously desires William and Justine to be struck dead. As a youth, he thinks of Elizabeth as “[his] more than sister, since till death she was to be [his] only” (26). In her ominous letter, she writes to the newly homesick Victor, “Justine has returned to us, and I assure you I love her tenderly,” and “little darling William” has “sweet laughing blue eyes, dark eyelashes, and curling hair” (60). His reluctance to pursue the monster (70) or exonerate Justine (76) could be out of selfishness—he will now have Elizabeth’s love all to himself, despite her crushed spirit.
But wait—are you ready to take this to the next level? Maybe, just maybe, Frankenstein and his monster are one in the same. Frankenstein is Dr. Jekyll and the monster is Mr. Hyde, not through a scientific transformation, but dualistic personalities. Whenever the two appear together, be it in their discussions in the mountains, or encounters in the forest or arctic, there is no one around to see them. This quote is merely Frankenstein’s dark side overtaking him: “you are my creator, but I am your master; — obey!” (171). After Elizabeth’s murder, Frankenstein recollects, “I rushed towards the window, and drawing a pistol from my bosom, fired; but he eluded me” (202), followed by the monster vanishing, not to be found even after a search of several hours in and about the lake. Frankenstein himself admits, “we returned hopeless, most of my companions believing it to have been a form conjured up by my fancy” (202). Perhaps this is the truth? Afterwards, Victor mourns, “a fiend had snatched from me every hope of future happiness; no creature had ever been so miserable as I was” (203). Remaining “silent when [he] would have given the world to have confided the fatal secret” (191), I see that the secret is not that he created a monster; the secret is that he is the monster. This intensifies his guilt and seclusion, adds weight to his terrible illness and remorse, and gives truth to the statement he makes in his nightmarish haze: “Justine, poor unhappy Justine, was as innocent as I, and she suffered the same charge; she died for it; and I am the cause of this — I murdered her. William, Justine, Henry — they all died by my hands” (190). This is not the remorse of a moral but self-blaming man, but rather the admission of a bipolar assassin who is tortured by having no one with whom to share his monstrous deeds. When he says about the dæmon: “once his words even had power over my heart” (216), he is talking about the dark side of his conscious. The whole act of creating a woman is to satisfy Frankenstein himself; he realizes that Elizabeth would never be his wife if she knew he was a blood-thirsty murderer, and so he wants a monster so that “we shall be more attached to one another,” “cut off from all the world” (147). I propose that all the references to monstrousness are metaphors for Victor’s black heart, and that Shelley has created a work of art that is truly Romantic; the entire novel miserable and revolutionary, a battle of light versus dark, good versus evil, all wrapped up in one self-contradictory character. Shelley, by writing in such a complex undertone, has given her novel depth; it is infinitely more interesting than the standard good versus bad, white hat versus black hat, or even the edgier hubris (flaw of arrogance). The dualism is in the narrator’s very statements: “Justine . . . was as innocent as I,” yet “they all died by my hands” (190); the inactive reader skips right over it. Frankenstein is the veiled villain.
Character Analysis Four
The creator of the monster, Victor spends most of the novel trying to defeat the monster. Victor is the oldest son of Alphonse and Caroline Beaufort Frankenstein. Victor's childhood is a good one. His doting parents lavish him with attention. He even receives a present, in the form of Elizabeth Lavenza, from his parents. Caroline Beaufort Frankenstein's last wish before dying is for Victor and Elizabeth to be happily married.
He later attends the University of Ingolstadt, where his interest in the teachings of the physical sciences prompt him to study them while there. He seeks to combine the best of old and new science to create a new being. Victor becomes obsessed with the idea of creating the human form and acts upon it. Immediately after creating the monster, Victor falls into a depression and fear. He leaves the university and returns home to his family, only to find tragedy there. Convinced his youngest brother's murderer is his creation, he sets off to find the creature.
Victor is a modern scientist unleashed upon an unsuspecting society. Not fully aware of the consequences of his creating a new race of humans, he spends his entire life trying to destroy the same creation. Victor is also the unbridled ego who must satisfy his urge to know all and use that learning to create a new race of man. His excesses ultimately destroy him. Victor represents the id, the part of the psyche that is governed by the instinctive impulses of sex or aggression.
Character Analysis Five
Victor is born in Geneva as the eldest son in a distinguished family. As described by himself in the novel, he has a very pleasant childhood mostly thanks to two kind and indulgent parents and Elizabeth. Even as a child he has a violent temper, vehement passions and a thirst for knowledge. His first interest is poetry but after some time his attention focuses on science. This interest quickly turns into an obsession: he is completely dedicated to learning "the secrets of heaven and earth". His obsession is marked by radical changes in his character and health. He changes from a gentle, kind and healthy man to a selfish, sickly being who even loses contact with his beloved family for several years. Later, Victor says that he had been "misled by passion" and that he was under "the evil influence" of "the Angel of Destruction, which asserted omnipotent sway over me from the moment I turned my reluctant steps from my father's door".