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The Outside Looking In

Good versus evil is the most prominent and over-utilized plot. A swashbuckling, fearless
hero battles it out against a depraved villain. Marry Shelley counters the clichd absolution of
evil and epitome of goodness in her work Frankenstein, creating two dynamic characters that
contest with their inner demons through their exploitation of one another. Both Dr. Frankenstein
and the creature exhibit villainous qualities that deter the audience from taking sides, instead
allowing for a character study of humanity. Man creates his own enemy in this world, and these
opposing forces are often more alike than either side is willing to admit.
Victor Frankenstein physically crafts his own abomination, and becomes a negligent
father figure to an unwanted being. Frankenstein proclaims that the monster is [his] own
vampire, [his] own spirit let loose from the grave and forced to destroy all that was dear to
[him] (Frankenstein, 8.51). This recognition of likeness establishes the creature as
Frankensteins inner demon incarnate. Both are well-read and knowledgeable, though
Frankenstein receives formal education at Ingolstadt and the creature is self-taught, deciphering
books left out by his cottagers. Possessiveness and want of belonging are prevalent in the way
Victor Frankenstein covets Elizabeth, deeming her [his] to protect love, and cherishsince till
death she was to be [his] only (1.18). The creature follows similar patterns of possession,
referring to Felix, Agatha, and De Lacey as his cottagers and his protectors. Their inability
to form truly substantial, interpersonal relations inculcates their loneliness and search for
completeness.
Both display certain fortitude in their transcending of limitations, fueled by their feverish
ambition. Frankenstein expounds that he seem[s] to have lost all soul or sensation but for this
one pursuit, and that it was a frantic impulse that urges him forward during the reanimation of

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the creatures corpse (6.33). The creature overcomes physical feats, journeying across rugged
terrains, venturing into dangerous snowy climes, and finally carving his way through the deadly
ice that separates him from the North Pole. Like Frankenstein, he senses no danger in his
crossing of boundaries, but undergoes it with the intense excitement of a crazed villain. Both
beings see life and death [as] ideal bounds they are worthy enough to break (4.32). The
creature arrogates himself to the task to taking lives, just as Dr. Frankenstein feels fit to bestow
life.
Perhaps their most poignant resemblance is their isolation. They covet their relationships,
yet live on the outside looking in. Frankenstein loses himself in his work, shunning [his] fellow
creatures as if [he is] guilty of a crime (4.34). The creatures most desperate desire is to be
accepted by his cottagers. He dare[s] to fancy amiable and lovely creatures sympathizing with
[his] feelings and cherishing [his] gloom to compensate for his abandonment and immeasurable
loneliness of being the only one of his kind (15.19). Frankensteins genius coupled with the
creatures existence establish these characters as tragically misunderstood by humanity.
Unfulfilled with society, they find consolation through nature, admiring the rugged beauty of the
Swiss Alps.
Frankenstein and the creatures similarities make them the deadliest of foes forever
bonded in endless battle. Fighting fire with fire, Frankenstein destroys the promised female
counterpartthe creature on whose future existence he (the original creature) depended for
happinessand the creature murders Frankensteins beloved Elizabeth in spite (20.121).
Frankenstein and the creature are one in their burning desire to seek revenge. Frankenstein
kneels next to the graves of his loved ones and vows, to execute this dear revengewith the
help of wandering ministers of vengeance (24.150). The creature alludes to his insatiable

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motivation to wreak destruction and seek revenge, owning that, You can blast [his] other
passions, but revenge remains (20.123). Their obsessive personalities allow their vengeance to
consume them, and Frankenstein and the creature perish as equalsequal in their misery and
destitution.
The theme of creating ones own rival prevails in other works of literature besides Mary
Shelleys Frankenstein. George Lucas Darth Vader fathers his foe Luke Skywalker. Vader and
Luke share parallel upbringings, growing up on the same planet (Tatooine) and being mentored
by Obi Wan Kenobi. There is a symbolic scene where Luke goes into a dark cave to battle his
inner demon and confronts a sinister hallucination of Darth Vader. Upon striking Vader down,
Luke sees the face behind the mask. It is his face. Though mortal enemies, Darth Vader and Luke
are very much the same. Vader, a man turned cyborg, loses his hand in a duel, symbolizing the
beginning stages of his loss of humanity. Vader marks Luke as his equal by cutting off Lukes
hand with his light saber at the end of The Empire Strikes Back (1980).
J. K. Rowlings Harry Potter confronts the dilemma of good versus evil through her
characters Harry Potter and Lord Voldemort. After hearing a prophesy about a boy with the
power to overthrow him, Lord Voldemort searches for such the aforementioned boy with the
intentions of killing him. He believes the boy to be much like himself, half-blood and capable
of great power. Voldemort unknowingly marks him as his equal, and bestows him with powers
the Dark Lord (Voldemort) knows not (Harry Potter and the Order of the Phoenix, 37.841).
Voldemort and Harry Potter bear brother wands, meaning the same phoenix gave the tail
feathers born into the centers of their wands. Both characters have the ability to talk to snakes.
Their similarities unite them and drive them to fear the other. Frankenstein says that he will go
on until he (the creature) or I (Frankenstein) shall perish in mortal combat (24.150) which

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greatly resembles the prophesy that neither shall live while the other survives (Harry Potter
and the Order of the Phoenix, 37.841) which is apparent in Harry Potter.
Even Paradise Lost contains the theme of creating ones adversary. God Almighty,
creator of all things, gives life to Satan, known once as the angel Lucifer. Like Frankensteins
monster, Lucifer feels wronged by God and seeks revenge. Like God, Dr. Frankenstein becomes
a father of creation.
Frankenstein and the monster are chained together through birth and circumstance. They
exude listless similarities, though they live completely different lives. Frankenstein has a loving
family, yet he cannot truly enjoy them, pursuing solitude instead. The creature envies
Frankensteins situation, believing that being alone is the worst fate of all. Frankenstein contests
this, promising that he would rather have banished [him]self forever from [his] native country,
and wandered a friendless outcast over the earth (22.141). Both Frankenstein and the creature
are willing to switch fates with one another, believing their personal suffering to be the greatest.
Selfish absorption and vanity curse them in ways far greater than their circumstances alone.
Frankenstein and the creature are desperately lost and struggle to regain their footing after a slip
from grace. Both are innocent in the beginning of the tale, but the characters delve deeper into
sin in the hopes of compensating for past transgressions.
Mary Shelley succeeds in communicating the horrors of unnatural birth and unjust
murder in her frightening gothic novel Frankenstein. Man creates his own monster just as light
casts all shadows. Frankenstein and the monster are men of the same intellect and temperament
who struggle with inner conflicts but end up taking it out on one another in a poorly meditated
attempt at consolation. While they are two beings on the outside of society, looking in, they

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should reevaluate themselves. To truly overcome the wrongdoings done to one by others, one
must first search inwardly to remedy ones soul from the depravity of sin.

21 November 2012