Monday, 18 July 2011

Mary Shelley, Frankenstein (1818)

You can read an essay I wrote on this classic and, according to some, originary SF novel over on Ian Sales' estimable SF Mistressworks site. In it, amongst other things, I give voice to my Patent Original Theory as to the true meaning of the title character's name. You may find this Patent Original Theory less convincing than I do, of course. That's possible:
What about the creator’s name, ‘Frankenstein’? It’s a common-enough Germanic moniker (the invaluable Wikipedia tells us: ‘Mary Shelley maintained that she derived the name “Frankenstein” from a dream-vision. Despite her public claims of originality, the significance of the name has been a source of speculation. … The name is associated with various places in Germany, such as Castle Frankenstein (Burg Frankenstein) in Hesse or Castle Frankenstein in Frankenstein, Palatinate.’) But I have a fanciful theory about the name; or half-fanciful, and I intend to air it here. The half that’s less fanciful is the first syllable, which seems to me very likely, in its reference to France, to encode a symbolic allusion to the French Revolution. The half that’s more fanciful would link the stone (‘-Stein’ in German) with the French for stone, –pierre, as a sort of sidestep towards Robespierre, architect of the French revolutionary Terror … like Frankenstein, a well-bred, well-educated man impatient with old forms, who wished to conquer the injustices of the world but who ended up creating only a monster of Terror. This may strike you as more tortuously implausible than it does me, not just because I tend to see in this rebus (Frankenstein = French ‘stone’ = French [robes]-pierre) an example of the way the creative subconscious works, but because there are a great many people who share my sense than the novel is in a symbolic sense ‘about’ the French revolution. Chris Baldick’s book, In Frankenstein’s Shadow: Myth, Monstrosity and Nineteenth-Century Writing (Oxford 1987) traces the many appropriations of Shelley’s monster in the culture of the century noting how very often revolution, upheaval or popular dissent was troped precisely as a ‘Frankenstein’s monster’. Like the Revolution, the monster is a creature of power and uncanny novelty, brought into being with the best intentions, but abandoned by its architect and running into bloodsoaked courses of remorseless violence and terror. Which is to say: the monster emblematises Revolution because it focuses terror. Indeed, for an English liberal in the first decades of the 19th-century there were two key Revolutions in recent history: the French and the American. It may not be a coincidence that, after making his European monster, the French-Swiss Frankenstein is persuaded to make a second, on the understanding that the pair will emigrate to America. He changes his mind:
Even if they were to leave Europe and inhabit the deserts of the new world, yet one of the first results of those sympathies for which the daemon thirsted would be children, and a race of devils would be propagated upon the earth who might make the very existence of the species of man a condition precarious and full of terror.
That last word—terror—is crucial for the novel. The word ‘terror’ chimes like a bell through the whole text. Terror, of course, was Robespierre’s touchstone: here, for example, he is in his Discours sur les principes de morale politique (February 1794):
Si le ressort du gouvernement populaire dans la paix est la vertu, le ressort du gouvernement populaire en révolution est à la fois la vertu et la terreur : la vertu, sans laquelle la terreur est funeste ; la terreur, sans laquelle la vertu est impuissante. La terreur n’est autre chose que la justice prompte, sévère, inflexible ; elle est donc une émanation de la vertu ; elle est moins un principe particulier, qu’une conséquence du principe général de la démocratie, appliqué aux plus pressants besoins de la patrie. [If virtue be the spring of a popular government in times of peace, the spring of that government during a revolution is virtue combined with terror: virtue, without which terror is destructive; terror, without which virtue is impotent. Terror is only justice prompt, severe and inflexible; it is then an emanation of virtue; it is less a distinct principle than a natural consequence of the general principle of democracy, applied to the most pressing wants of the country.]
Terror is an emanation of virtue because it is the purest form of justice; and Frankenstein’s mythic heft and potency derives surely in large part from the sense that there is a cruel, implacable justice behind the monster’s violence. If people had treated him well, and seen past his hideous exterior, he would have repaid their trust. Because they treated him with violence and disgust, those are the human qualities he mirrors back.
You heard it here first.

1 comment:

ricaugjnr said...

The etymology of Frankenstein you put forward is a really interesting one, and, for me, it immediately brought to mind Alexander's dream of the Satyr dancing on the shield and Aristander's interpretation of it and from there, into the murky waters of Freudian analysis.

I only mention this because I have, in places, argued that Tarkovsky's Solaris is, in many ways, an effective parallel of Frankenstein and that Freudian analysis is a very useful expositionary tool with regards to the symbolism of Solaris, and, by extension, Frankenstein. Specifically, the Oedipal connotations of the wasteland and the pursuit of the father/self, within it (although, I admit I did drift into the abstrusities of Lacanian thought here, because its easier to make it suit a theory!) Just thought it might be an interesting thought to proffer, with regard to your ideas.

I only mention it because the test match hasn't really got going yet and I only mention THAT because I'm avoiding writing my novel. Bye!