The Romantics were obsessed with the natural world. Nature to them acted as a spiritual spring, an eternal source of inspiration from which they drew to motivate their writing. Likewise, Shelley’s Frankenstein shows a fascination of nature characteristic of the Romantic Era. However, Frankenstein’s secondary themes also include the progression of science and technology, as well as exploration and discovery. Shelly unites these two themes with the concept of awe. As Victor Frankenstein ventures out into nature, he feels one half of awe, the wonder and amazement of the grandeur of nature. As he fulfills his duty as a natural philosopher, he experiences the other half—he sees the inherent primal sort of danger associated with discovery.
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When her protagonists relax their drive towards discovery, they simultaneously are awed and healed by nature. As Victor journeys with Clerval, he sees a tempest. He describes it as “so beautiful yet terrific… This noble war in the sky elevated my spirits; I clasped my hands and exclaimed aloud ‘William, dear angel!’” (Shelley 77). Shelley’s dipolar description of nature persists; she emphasizes its dual beauty and ominousness. More importantly, Shelley’s metaphor shows the inherent grandeur and purity of the natural world; she compares a storm to a noble war. Immediately, the metaphor elicits scenes of glorified fighting; the “sky” is reminiscent of a heavenly conflict—a Milton-esque war for the fate of the world. However, unlike his actions towards his Creation, when Frankenstein recognizes his appreciation of the natural phenomenon, he does not pursue it further. While his views on the tempest seem similar to those of some uneducated pagan who personifies natural actions out of ignorance, he never once tries to delve past the superficial, aesthetic aspects of nature. He recognizes that to actually understand the tempest to a high degree, he simultaneously must put himself in a great degree of danger. Thus, nature actually has a rehabilitating effect on Victor, but only when he avoids the risks associated with scientific exploration. Later, Victor again retreats among nature to recover from more of his life’s tragedies. He again feels awe as he sees “the glorious presence-chamber of imperial Nature… These sublime and magnificent scenes afforded [him] the greatest consolation” (Shelley 99). Shelley again uses a noble, royal connotation when describing nature. She uses a more in depth analysis of Victor’s relief; she finds that it comes from the perceived “magnificence” of nature. Thus, the
When her protagonists relax their drive towards discovery, they simultaneously are awed and healed by nature. As Victor journeys with Clerval, he sees a tempest. He describes it as “so beautiful yet terrific… This noble war in the sky elevated my spirits; I clasped my hands and exclaimed aloud ‘William, dear angel!’” (Shelley 77). Shelley’s dipolar description of nature persists; she emphasizes its dual beauty and ominousness. More importantly, Shelley’s metaphor shows the inherent grandeur and purity of the natural world; she compares a storm to a noble war. Immediately, the metaphor elicits scenes of glorified fighting; the “sky” is reminiscent of a heavenly conflict—a Milton-esque war for the fate of the world. However, unlike his actions towards his Creation, when Frankenstein recognizes his appreciation of the natural phenomenon, he does not pursue it further. While his views on the tempest seem similar to those of some uneducated pagan who personifies natural actions out of ignorance, he never once tries to delve past the superficial, aesthetic aspects of nature. He recognizes that to actually understand the tempest to a high degree, he simultaneously must put himself in a great degree of danger. Thus, nature actually has a rehabilitating effect on Victor, but only when he avoids the risks associated with scientific exploration. Later, Victor again retreats among nature to recover from more of his life’s tragedies. He again feels awe as he sees “the glorious presence-chamber of imperial Nature… These sublime and magnificent scenes afforded [him] the greatest consolation” (Shelley 99). Shelley again uses a noble, royal connotation when describing nature. She uses a more in depth analysis of Victor’s relief; she finds that it comes from the perceived “magnificence” of nature. Thus, the