Laugh out Loud

Throughout the years, the avoidance of confrontation will result in the inevitable return of the conflict. When confronted with conflicts, our primal instinct is to be able to repress the trouble for it is both easy and seemingly sensible. Warren Montag’s perception of confrontation of the novel is that The Monster within Frankenstein is the visual representation of the industrial working class. Coincidentally, Victor represents the upper class of society. We can argue that the dispute within The Monster and his creator combines both the pity and fear that The Monster had towards Victor ever since he was created right to the very last transitions of the novel. Frankenstein is portrayed as a slave of technology.

Before initiating his argument, Montag provides analytical information for why the time that novel was published plays a major role towards his theory. Despite that the French Revolution came to a close just prior to the novel’s publication, it’s never mentioned once throughout the novel. Montag argues these discrepancies “are precise that will allow us to proceed from the work to the history on which it depends and what made it possible” [385]. His theory strengthed throughout many segments throughout the novel as in which The Monster is being compromised by a “multitude of different individuals…” [387]. Ultimately, The Monster is not a simply a creation that has gone array for Dr. Frankenstein, but rather a product of science and technological innovation and to further understand this, it’s an “artificial being as destructive as it is powerful” [388].

What differentiates Victor from The Monster is the manner of coping with loss. “Alas! Life is obstinate and clings closest to where it is most hated” [167]. Victor’s tone drastically shifts from defeat to mere determination in order to destroy what he created from the start. And as the last sentences come to a close, The Monster’s objective to destroy his creator through feelings only feeds Victor’s desire to rise once again and replenish his life from sorrow and depression. “For a moment only did I lose recollection; I fell senseless on the ground” [167]. Only then was when Victor was in the same position as The Monster, only to finally realize for what he’s truly created. A Monster, not, what he had thought for from the start, but through the neglect, he inflicted towards him, and the feelings that he eventually developed truly exemplifies the actions of The Monster whose main objective is to bring along down with him as his creator.

Although it’s undeniable to foresee The Monster’s relation to the proletariat, Mary Shelley’s novel is too complex to be reduced to “…a mere allegory” [389]. Due to this, Montag decides to examine the novel from a Marxist perspective in order to be able to analyze the history present outside of the contents of the novel. Subliminally, the setting of the novel is set in a pre-modern world, establishing that there is no place for such being as The Monster, and is alienated for most of the portion of Shelley’s novel. Montag concludes with, “if a certain historical reality is inscribed within the work as a monster to be expelled into ‘darkness and distance’… the act of repression can only postpone its inevitable return” [395]. The Monster is a living being whos’ main objective in life was never understood until his desire for love was flourished as he learned to become more human furthermore than a mere scientific product. I must deny with Montag’s claims as portraying The Monster as a proletariat, to a certain extent. No, he doesn’t work to obtain a living for himself, but in contrast, he is a being that’s sole purpose to live for is to love and give love. Because that ultimately makes him be at peace, and to further stray away from the one who created him in the first place.

– Stephen Muñoz