Frankenstein: Birthing the New Female Gothic

Frankenstein represents an entirely new vision of the Female Gothic. And while Mary Shelley's story certainly has implications for a multitude of literary thematics (religion, science, colonialism, and myth, just to name a few), the horrific deptiction of the monster's creation suggests a link to the most feminine of activities: childbirth. The excerpts here explore that link, between Shelley's myth of "motherhood" and the new Female Gothic it engendered.


From Frankenstein, 85-6.

It was on a dreary night of November that I beheld the accomplishment of my toils. With an anxiety that almost amounted to agony, I collected the instruments of life aroundme, that I might infuse a spark of being into the lifeless ting that lay at my feet. It was lready one in the morning; the rain pattered dismally against the panes, and my candle was nearly burnt out, when, by the glimmer of the half-extinguished light, I saw the dull yellow eye of the creature open; it breathed hard, and a convulsive motion agitated its limbs.

How can I describe my emotions at this catastrophe, or how delineate the wretch whom with such infinite pains and care I had endeavored to form? His limbs were in proportion, and I had selected his features as beautiful. Beautiful! Great God! His yellow skin scarcely covered the work of muscles and arteries beneath; his hair was of a lustrous black, and flowing; his teeth of a pearly whiteness; but these luxuriances only formed a more horrid contrast with his watery eyes, that seemed almost of the same colour as the dun-white sockets in which they were set, his shrivelled complexion and straight black lips.

The different accidents of life are not so changeable as the feelings of human nature. I had worked hard for nearly two years, for the sole purpose of infusing life into an inanimate body. For this I had deprived myself of rest and health. I had desired it with an ardour that far exceeded moderation; but now that I had finished, the beauty of the dream vanished, and breathless horror and disgust filled my heart. Unable to endure the aspect of the being I had created, I rushed out of the room and continued a long time traversing my bedchamber, unable to compose my mind to sleep.


Ellen Moers, Literary Women (New York:Anchor Press, 1977).

As early as the 1790's Ann Radcliffe firmly set the Gothic in one of the ways it would go ever after: a novel in which the central figure is a young woman who is simultaneously persecuted victim and courageous heroine. But what are we to make of the next major turning of the Gothic tradition that a woman brought about, a generation later? Mary Shelley's Frankenstein, in 1818, made the Gothic novel over into what today we call science fiction. Frankenstein brought a new sophistication to literary terror, and it did so without a heroine, without even an important female victim. Paradoxically, however, no other Gothic work by a woman writer, perhaps no literary work of any kind by a woman, better repays examination in the light of the sex of its author. For Frankenstein is a birth myth, and one that was lodged in the novelist's imagination, I am convinced, by the fact that she was herself a mother...

Mary Shelley was a unique case, in literature as in life. She brought birth to fiction not as realism but as Gothic fantasy, and thus contributed to Romanticism a myth of genuine originality: the mad scientist who locks himself in his laboratory and secretly, guiltily works at creating human life, only to find that he has made a monster...That is very good horror, but what follows is more horrid still: Frankenstein, the scientist, runs away and abandons the newborn monster, who is and remains nameless. Here, I think, is where Mary Shelley's book is most interesting, most powerful, and most feminine: in the motif of revulsion against newborn life, and the drama of guilt, dread, and flight surrounding birth and its consequences. Most of the novel, roughly two of its three volumes, can be said to deal with the retribution visited upon monster and creator for deficient infant care. Frankenstein seems to be distinctly a woman's mythmaking on the subject of birth precisely because its emphasis is not upon what precedes birth, not upon birth itself, but upon what follows birth: the trauma of the afterbirth.


Sandra Gilbert and Susan Gubar The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination (New Haven: Yale University Press, 1979).

...It eventually becomes clear that though Victor Frankenstein enacts the roles of Adam and Satan like a child trying on costumes, his single most self-defining act transforms him definitively into Eve...After much study of the "cause of generation and life," after locking himself away from ordinary society int he tradition of such agonized mothers as Wollstonecraft's Maria, Eliot's Hetty Sorel, and Hardy's Tess, Victor Frankenstein has a baby. His "pregnancy" and childbirth are obviously manifested by the existence of the paradoxically huge being who emerges from his "workshop of filthy creation," but even the descriptive language of his creation myth is suggestive...And like Eve's fall into guilty knowledge and painful maternity, Victor's entrance into what Blake would call the realm of "generation" is marked by a recognition of the necessary interdependence of those complementary opposites, sex and death: "To examine the causes of life, we must first have recourse to death," he observes, and in his isolated workshop of filthy creation filthy because obscenely sexual he collects and arranges materials furnished by the "dissecting room and slaughterhouse." Pursuing "nature to her hiding places," as Eve does in eating the apple, he learns that the "tremendous secrets of the human frame" are the interlocked secrets of sex and death, although, again like Eve, in his first mad pursuit of knowledge he knows not "eating death." But that his actual orgasmic animation of his monster-child takes place "on a dreary night in November," month of All Souls, short days, and the year's last slide towards death, merely reinforces the Miltonic and Blakean nature of his act of generation.