The bourgeois character of Frankenstein’s monster is identifiable in his being subjected as a refuge of industrial, working class. The entirety of Warren Montag’s essay emphasizes the environmental issues with which Mary Shelley is analyzing in her embodiment of the melodramatic hero known as the beast-like, Frankenstein’s monster. Science itself becomes subject to the enlightenment-era novel which Shelley attributes and personifies via the pathos of an anti-hero in her portrayal of an oppressed, lower class. Montag rightly disagrees with Gothic tradition. “The very logic of capitalism has produced the means of its own destruction: the industrial working class,” (473). Destruction and chaos throughout the novel subject the monster’s rationalizations and rebelling against bourgeoisie (Walton). Walton, and not Frankenstein himself, achieves symbolism of the upper-elite, as it is Walton, and other secondary characters- for example Clerval, whom assumes narratorial authority over Frankenstein’s fable. Walton ultimately appropriates forms of both Frankenstein and his monster’s mourning if we accept the premise of public instances of mourning, a stressor on the human body, as a form of contesting labor conditions. The problem of a Marxist Literary criticism in Frankenstein further develops in the understanding of alienated (groups of) individuals.

According to Montag, the bourgeoisie are unable to identify with an irrational class. Montag continues to quote Goldner, claiming that “the monster is a factitious totality assembled from (the parts of) a multitude of different individuals (Goldner),” (473). Montag’s Marxist criticism suggests an ironic return to images of a fragmented (human) nature, and rather than ascribe to living individuals the responsibility that comes with recognizing interiority- the monster’s cries for justice- are ignored until a member of the excluded bourgeoisie is allowed expressivity. “I did not satisfy my own desires,” (Shelley 197) is an echo of a monster damned from conception to exist in an environment that would destroy it. Gothic tradition contests the expressions of public protest which appeal to faculties of reason for the sake of legitimacy. Frankenstein’s monster roams through ice caps in the North Pole, the mountains of Geneva, and across oceans seeking refuge from the industrial class. The only watchers of the story, Walton and Frankenstein, are thus incorporated into the production of Frankenstein’s monster for cultivating the critique which primarily identifies with the desires of the bourgeoisie, which Montag observes in the overlooking of proletariat struggle. Montag perhaps relies on logic too much- not even Frankenstein’s monster was so deluded by Cartesian means of worldly being.
-Bradley Dexter Christian