The Importance of Names in Frankenstein and the Handmaid's Tale

Names, which are given shortly after birth, are crucial as they serve as the word or words by which a person, thing, or place is known (Cambridge Online Dictionary, 2011). They are used to identify individuals instead of referring to them as "it", a term typically used for inanimate objects. Furthermore, a name reflects someone's love and affection towards us, as it shows that they have carefully chosen it for us.

Names play a significant role in shaping the characters and themes of various novels.

In Frankenstein, the main character Victor shares the penname of Percy Bysshe Shelley, who was Mary Shelley's husband. Similarly, in The Handmaid's Tale, Margaret Atwood uses feminist influences to create names for the female characters, reflecting their personalities. The names of male characters in both novels also reflect the eras in which they are set - Victorian for Frankenstein and Modern for The Handmaid's Tale.

In the novel, Victor exemplifies his name, which comes from the word 'victory', by displaying hubris, particularly when he begins to create the monster: ".

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..I was thus engaged, heart and soul, in one pursuit." The term "engaged" is associated with marriage and a lifelong connection to someone or something, yet Victor rejects the creature he creates. The words "heart and soul" imply humanity and indicate Victor's expectation that the creature will be human like himself. (Online Dictionary (2012), Retrieved November 6th 2012).

Victor may be attempting to show Walton that he is still fully human, and not a crazed individual fixated on animating inanimate objects.

Hubris, characterized by excessive pride and self-confidence, often leads to punishment - in Victor's case, his own death and the demise of his loved ones. This concept of hubris is reminiscent of the tale of Prometheus, who defied Zeus for the betterment of humanity and faced severe consequences as a result.

Victor's hubris, like Satan's in John Milton's Paradise Lost, is illustrated through his desire for power. Similar to the fallen angel who famously declared "Better to reign in Hell than to serve in Heaven," Victor's pursuit of scientific knowledge leads him down a dangerous path. As Anne Mellor noted, Victor's scientific project is ultimately about attaining power and control. (Wikipedia (2012), Retrieved November 8th 2012; A Feminist Critique of Science)

Victor's punishment is evident in his speech about creating the Creature and his struggles. Through his mention of losing "one by one" of his friends, Victor reveals his desolation. The choice of the word "friends" implies a lack of connection to his brother, William. By not including "family" in his statement, the true extent of his punishment is highlighted. The phrase "one by one" paints a picture of a domino effect, where each death is interconnected, as suggested by the repeated use of "one."

Victor Frankenstein had no control over the loss of his friends, who were forcefully taken from him. The violent verb "snatched" portrays the creature in a savage manner. Despite having caring individuals around him, the adjective "desolate" conveys Victor's profound loneliness. Henry Clerval, Victor's close friend whose name echoes "clear", served as Victor's moral compass. Throughout the story, Henry consistently offers support and solace to Victor. Martin Tropp argues that Clerval consistently reminds Frankenstein of the importance of loving humanity and nature in Mary Shelley's Monster.

When Henry advises Victor to write a letter to his father and cousin, he shows how much they would appreciate hearing from him. Victor has been isolated from his family, but Henry urges him to reach out to his loved ones, emphasizing their care for him. The use of the word 'very' highlights the depth of Victor's family's longing for him, and Henry believes contacting them will aid in Victor's recovery. However, Henry admits that he cannot comfort Victor after William's death.

Despite the fact that he is supposed to comfort Victor, he understands that some things cannot be consoled. The male names in The Handmaid's Tale also have great significance. The protectors of the Handmaids are men known as 'Angels' which implies protection and ideals of Heaven. These Angels are soldiers fighting for a better country, akin to Heaven. However, it remains unclear who exactly the country would be better for after the war. The primary male figures in the novel are the Commanders.

"The ruling class" in Gilead includes the "Commander", who is seen as the highest authority with connotations of war, and the "Guardians", who are perceived as "little Angels" associated with Heaven, angels, and protection. Despite their angelic image, the Guardians are actually posted around Gilead to ensure Handmaids comply with the new regime, enforcing orders that can be interpreted as either protection or control. Similarly to The Handmaid's Tale, Shelley assigns names to male characters that reflect their personality and status.

In both novels, the male names are significant, but the female characters' names also play a crucial role. In "Frankenstein," Victor's mother is named Caroline Beaufort, a combination of the French words 'beau' (meaning pretty) and 'fort' (meaning strong). This is fitting for Caroline as she is praised for both her beauty and resilience, characteristics valued in women during the 1800s. Despite her father's illness, she worked hard to provide for them by taking on tasks such as plaiting straw, symbolizing the toughness of her work.

The harsh sound may represent her resolve and power. During the Victorian Era when Frankenstein was written, it was uncommon for a woman to be employed as there were men available to perform those tasks. The term "plain" indicates that Caroline's tasks were basic, implying that while Shelley allowed Caroline to work, she did not assign her a significant job like a doctor or teacher. Victor's cousin is named Elizabeth, which translates to "Gift of God."

When Victor first meets Elizabeth, she is presented to him as a "pretty present". Describing her as "pretty" emphasizes that she is valued for her appearance. The use of the plosive, alliterative metaphor suggests that Elizabeth is viewed as a possession or object to be controlled by Victor. This idea is reinforced when Victor declares, "I looked upon Elizabeth as mine." By using the possessive pronoun "mine", Victor reveals his belief that Elizabeth is his property. This aligns with the Victorian belief that women should be owned and controlled by men.

Paul O’Flinn noted that Mary Shelley, as a female writer, effectively portrays elements of women’s experience with patriarchy and the family in her text. This is evident in the female characters of Frankenstein, particularly Elizabeth. Margaret Atwood similarly uses the names of female characters to symbolize their roles. For example, in her novel, a woman assigned as a Handmaid relinquishes her name and adopts the title 'Of' followed by her Commander's name. The main character's Commander is 'Fred,' resulting in her being called 'Offred.'

This highlights the idea that women are seen as being owned by male authority figures, even if they are not their husbands. The women who instruct the Handmaids before they are assigned to families are referred to as ‘Aunts’. Despite the warm and nurturing connotations associated with the term “Aunt”, these women are anything but caring – they carry out surveillance using “electric cattle prods”. The word “patrolled” suggests a sense of restriction, forcefulness, and conflict. By comparing the Handmaids to cattle, they are being dehumanized. Like in The Handmaid’s Tale, Shelley also uses female names to symbolize the characters in Frankenstein.

In Frankenstein, the Creature is a central character who remains nameless, highlighting the lack of care for him. Referred to with demeaning nouns like "wretch," he faces rejection and disdain from others. When attempting to befriend William Frankenstein, he is called a "wretch" which carries negative connotations of disgust and misery. The Creature himself admits to Victor that he "sat down and wept" after being created and abandoned, conveying a sense of sorrow and misfortune.

The Creature's unexpected act suggests that he does not deserve the derogatory names he is given. He later calls himself Adam, linking to Victor's creation of him as "Adam of your labours." This parallels Paradise Lost, where Victor created him similarly to how God created Adam. Both Frankenstein and The Handmaid’s Tale use names to symbolize their characters, with Mary Shelley using actual names and Margaret Atwood delving into deeper connotations. Even without a name, a character's purpose is still evident.