After analyzing the monster through multiple schools of analysis, it is safe to say that finding a concrete representation of the monster is often very difficult. The intentional fallacy tells us readers that we would be mistaken to base our understanding of a work on what we presume to be the author’s intention in writing, and this holds true as we readers try to decipher Mary Shelley’s cryptic layers of symbols and themes. However, the frustration involved with trying to discover the monster’s true meaning only serves to bolster the ambiguity surrounding the monster, creating a figure that is dark and mysterious, and making the terror that the monster inspires all the more tangible.

Even before reading Frankenstein we encounter ambiguity in the fact that “Frankenstein” is the name of the creator and not the creation. Applying Edmund Burke’s ideas of the sublime versus the beautiful and the ugly we see that the monster elicits the beautiful quality of sympathy with his eloquent prose, while contradicting this sympathy with his sublime and fear-inspiring murderous actions. A Marxist analysis makes the monster a symbol of the suppressed proletariat, yet the monster is still depicted as powerful and in control of Frankenstein, who is a symbol of the should-be-in-power bourgeoisie. All of these examples reinforce the confusion surrounding the monster. Falling victim to the intentional fallacy, it seems as if Mary Shelley attempted to obscure the monster as much as possible in order to amplify the reader’s sense of fear in the unknown.

Humans have an innate fear of the unknown; when we cannot decipher something’s intentions or purpose we feel unsettled. From the beginning, the creation of the monster is obscured; fragments of the text in which Frankenstein is working on his creation are omitted and Frankenstein never reveals the secret of how to create the monster. The monster stays out of view, and Frankenstein feels a constant sense of paranoia that his creation is watching him from the shadows. Frankenstein is not able to interperet that the monster is plotting Elizabeth’s murder, thinking instead that the monster will be coming for him on his wedding night. The monster is never even given a name, and thus has no identity. The sense of mystery that surrounds the monster stirs the human depths of fear – we fear what we cannot understand.

Obscurities in different schools of literary analysis mirror Shelley’s ominous plot omissions, and serve as reinforcements for the unease that the monster causes. Just as the monster hides away in the swirling mists of vast mountain ranges to avoid detection, the reader’s role is to derive meaning from a mist of different schools of literary criticism. Our inability to fully understand the monster in a figurative context only serves to heighten the sense of ambiguity and thus horror that we feel.