The most identifiable one would be Gothicism, which was originally an art movement that took inspiration from many of the architecture, interweaving themes of ambiguity and intense horror within the writings. One of the easiest mistakes people make when reading the novel, Frankenstein, is calling the monster Frankenstein rather than the scientist, whose last name is Frankenstein. This is intended though, as the name itself derives fear and a grotesque feeling, something reader associate with the monster immediately due to its physical appearance, yet an underlying theme is revealed, in which in this case, the true monster is not only this unknown creature, who is “sublime in his ugliness, his simplicity, his passions, his wrongs and his strength, physical and mental, embodies in the wild narrative more than one distinct and important moral theory…” (2390) but the scientist as well. Such themes of horror would easily allow for romanticism characteristics, such as themes of the irrational and imaginative, which can be seen in the relationship Frankenstein has with his cousin, an illicit relationship that defies normal standards of relationships, which marrying your cousin was becoming socially unacceptable. Another example, again, the the creation of the creature itself, which was created from dead body parts that Frankenstein himself had dug up from a cemetery, experimenting with the unthinkable: raising the dead. It defies nature itself, and goes against all reasoning and logic, a clear rejection of the enlightenment movement, as what was intended by Mary, especially after her falling out with her father, siding with such a movement to lash out at
The most identifiable one would be Gothicism, which was originally an art movement that took inspiration from many of the architecture, interweaving themes of ambiguity and intense horror within the writings. One of the easiest mistakes people make when reading the novel, Frankenstein, is calling the monster Frankenstein rather than the scientist, whose last name is Frankenstein. This is intended though, as the name itself derives fear and a grotesque feeling, something reader associate with the monster immediately due to its physical appearance, yet an underlying theme is revealed, in which in this case, the true monster is not only this unknown creature, who is “sublime in his ugliness, his simplicity, his passions, his wrongs and his strength, physical and mental, embodies in the wild narrative more than one distinct and important moral theory…” (2390) but the scientist as well. Such themes of horror would easily allow for romanticism characteristics, such as themes of the irrational and imaginative, which can be seen in the relationship Frankenstein has with his cousin, an illicit relationship that defies normal standards of relationships, which marrying your cousin was becoming socially unacceptable. Another example, again, the the creation of the creature itself, which was created from dead body parts that Frankenstein himself had dug up from a cemetery, experimenting with the unthinkable: raising the dead. It defies nature itself, and goes against all reasoning and logic, a clear rejection of the enlightenment movement, as what was intended by Mary, especially after her falling out with her father, siding with such a movement to lash out at