It is no surprise that this phenomenon shows up in her novel and that it symbolized evil. Lightening has been a dramatic voice from heaven in many works and the romantic poets thought it to be a revelation signaling dramatic change. Clubbe thinks every appearance of thunderstorms in Frankenstein have inner significance, and, for Shelley, it signifies what cannot be know, the secrets of the universe. That lightening could both create and destroy life is the central theme surrounding the novel, and that it, and all things in creation, can be used for either good or for evil.
This novel is almost Gothic, which was what followed the romantic period, and the description of stormy weather often set the dark, morose mood. Shelley uses thunderstorms to signal doom in three important spots in the novel, first in chapter two when Victor discovers he wants to study science, next in chapter 7 when Victor sees the monster, and last in chapter 23, when the monster takes his revenge on Victor by killing Elizabeth, his new bride, because Victor destroyed the mate he promised to the monster.
Nature is the main force in this novel, the nature of man, the nature of the cosmos and the nature of good and evil. Shelley uses nature as the background, against which Frankenstein, his monster and man himself is very small. Nature sometimes restores Victor, only to bring on fear and loathing once more during the storms and the grayness of rain. Following the death of Justine we see good weather for a while, and Victor feels happy for a short time before succumbing once more to melancholy. Even the monster is affected by the beauty of nature until his human qualities are totally destroyed when he tries to rescue a drowning woman and is shot.
Renfroe suggests that Victor subverts nature replacing...
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Mary Shelley's Frankenstein Mary Wollstonecraft Godwin Shelley conceived her well-known novel, "Frankenstein," when she, her husband Percy Bysshe Shelley and their friends were at a house party near Geneva in 1816 and she was challenged to come up with a ghost story (Malchow 1993). Mary, then only 18 years old, produced the plot, largely drawn from her own experiences, perceptions and the personalities of the members of her family. These impressions
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