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Mary Shelley's novel, Frankenstein, intricately weaves a narrative dominated by male characters, with female figures often relegated to peripheral roles. The prevailing notion of women as either 'hopelessly submissive' or 'significantly absent' presents a simplistic view of the female characters in the novel. Upon closer examination, it becomes evident that these women possess multifaceted qualities that extend beyond the constraints of such categorizations.
The character of Margaret Saville, sister to Robert Walton, exemplifies the idea of being 'significantly absent.' Introduced through the frame narrative's opening letters, Margaret remains a silent recipient of her brother's correspondence.
Shelley deliberately portrays Margaret's views through Robert's writings, providing the reader with a filtered perspective. This absence of direct female narration contributes to a gender bias, mirroring the societal dominance of men during the era in which the novel was written.
Elizabeth Lavenza, adopted by the Frankenstein family, challenges the notion of being 'hopelessly submissive.' While initially objectified as a "pretty present" for Victor, Elizabeth evolves into a character embodying individualism and resilience.
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Contrary to the stereotypical portrayal of women in gothic novels, Elizabeth engages in charitable acts, respects all social classes, and stands by Justine during her wrongful accusation. Mary Shelley, through Elizabeth, addresses the unfair treatment and objectification of women, showcasing a character that defies the conventional norms of the genre.
Victor's mother, Caroline Frankenstein, serves as a complex character embodying both 'hopelessly submissive' and 'significantly absent' qualities.
Her demise due to 'scarlet fever' leaves Victor without a maternal figure, impacting his mental well-being. The dream sequence where Victor holds the corpse of his dead mother accentuates the gothic elements of the narrative, illustrating the profound influence of absent mothers on the characters. Caroline aligns with the feminist theory of 'the angel in the house,' representing a maternal, domestic idealization for men. After her death, Elizabeth assumes the role of the maternal figure, challenging traditional gender roles and highlighting the transformative power of women within the narrative.
The reduction of female characters in gothic novels to the binary roles of 'hopelessly submissive' or 'significantly absent' oversimplifies the rich tapestry of women in Frankenstein. While Margaret remains consistently absent, other female characters exhibit diverse characteristics that defy such categorization. Elizabeth, for instance, transitions from a seemingly submissive role to one of strength and independence. Thus, the initial statement, when applied to Frankenstein's female characters, proves to be only partially valid, failing to account for the nuanced roles these women play within the narrative.
In conclusion, Mary Shelley's Frankenstein challenges conventional portrayals of female characters in gothic literature. The women in the novel, far from being one-dimensional, navigate a spectrum of roles that extend beyond mere submission or absence. As the narrative unfolds, Shelley masterfully crafts female characters that contribute to the thematic depth of the novel, defying stereotypical expectations and enriching the reader's understanding of the complexities inherent in gender dynamics.
Exploring Female Characters in Frankenstein. (2016, Mar 01). Retrieved from https://studymoose.com/in-gothic-texts-women-are-either-hopelessly-submissive-or-significantly-absent-essay
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