ter he animates the creature and shuns it for its horrible appearance, it acts on its impulses for revenge. As the story progresses, Frankenstein realizes that he should have thought more carefully before acting, and the repercussions of his dark deed eventually lead him on a self-destructive quest to ultimately attempt to annihilate his own creation. By trying to ascend past his place in God’s universe, Frankenstein, in the end, destroys himself and all that he ever loved.Another guise of the doppleganger is that of the child without a mother. When she wrote Frankenstein, Shelley had already borne two children, one of whom had died early in life. She had nightmares about her children and was always fearful about pregnancy. (Mellor, 175) For approximately nine months, Frankenstein labored on the creation of his “child.” Finally on a “dreary night in November, he witnesses the ‘birth’”: “I saw the dull yellow eye of the creature open; it breathed hard, and a convulsive motion agitated its limbs.” Specific fears may be found reflected by the monster: What if my child is born deformed? Could I still love it or would I wish it were dead? What if I can’t love my child? Am I capable of raising a healthy, normal child? Will my child die? Could I wish my own child to die? Will my child kill me in childbirth? Mary is expressing her fears related to the death of her first child, her ability to nurture, and the fact that her mother died having her. In fact, Frankenstein is probably the first work of western literature to delve into the female anxieties of childbirth. After its exile, the creature is left with no parental figure to guide it and becomes violent, particularly toward its “family.” This reflects the belief that any child left without maternal guidance will become a primitive animal, committing acts of violence and outrage. (Desert Aine 1, 1-3)Mary w...
