Literature Library study guide
Frankenstein
Victor Frankenstein brings a living being into the world, abandons him in terror, and spends the rest of the novel confronting the damage caused by that refusal of care.
- Literary form
- Novel
- First published
- 1818; revised 1831
- Literary period
- Romantic / Gothic
- Region / tradition
- United Kingdom / continental Europe
- Original language
- English
What happens in this work?
Robert Walton, an explorer sailing toward the North Pole, writes letters to his sister about his dangerous journey and his longing for a friend who understands him. His crew rescues Victor Frankenstein from the ice. Victor then tells Walton how, as a young student, he became determined to discover the secret of life. He assembled a living body and succeeded, but the moment the Creature opened his eyes, Victor ran away. He did not teach, protect, name, or even speak to the life he had made. That abandonment becomes the novel’s first and most important moral failure.
The Creature survives alone and secretly watches the De Lacey family. By observing their kindness, conflicts, reading lessons, and poverty, he learns language, history, and ideas about justice. He wants human companionship, but people attack or reject him because of his appearance. After the De Laceys drive him away, he confronts Victor and asks for a female companion. Victor begins the work and then destroys it. The Creature responds with a campaign of revenge that kills people Victor loves. Victor pursues him north, where Walton finds him. After Victor dies, the Creature appears, grieves, accepts responsibility for his violence, and leaves across the ice, saying he intends to end his own life.
What was happening when it was written?
Mary Shelley began the novel during the famous 1816 gathering near Lake Geneva where the guests challenged one another to write ghost stories. Its scientific concerns grow from contemporary debates about electricity, anatomy, and whether life might be produced or restored, while its moral questions also draw on Romantic arguments about education, sympathy, nature, and political responsibility. The 1818 first edition and Shelley’s revised 1831 edition differ in wording and emphasis. Students should identify their edition, but the central structure remains a set of stories nested inside Walton’s letters.
Who matters, and why?
Victor Frankenstein
Victor is brilliant, imaginative, secretive, and repeatedly unwilling to accept the ordinary duties created by his extraordinary experiment. His greatest mistake is not simply learning too much. It is making a dependent life and then fleeing, hiding the truth, and allowing innocent people to face consequences he might have prevented.
The Creature
The Creature begins capable of wonder, tenderness, learning, and moral judgment. Rejection does not make his later murders excusable, but it explains how loneliness and humiliation shape his choices. His eloquent first-person story forces readers to compare the label monster with the behavior of both creator and creation.
Robert Walton
Walton resembles Victor because he pursues dangerous glory and dreams of crossing a boundary no one has crossed. Unlike Victor, he finally listens when his crew asks to return home. His decision provides a small counterexample: ambition can be interrupted when a leader recognizes responsibility to other people.
Big ideas to track
Creation creates responsibility
The novel asks what a maker owes to the life he brings into the world. Victor wants the achievement of creation without parenting, teaching, or public accountability. Each later disaster returns readers to that gap between having the power to make something and accepting responsibility for what happens next.
Isolation damages moral judgment
Walton, Victor, and the Creature all ache for companionship, yet each becomes trapped in a private story about what he deserves. The novel shows how isolation can turn ambition into obsession and pain into revenge. Conversation sometimes opens another path, but characters often refuse it until too late.
Appearance and recognition
People usually decide what the Creature is before hearing him speak. Shelley therefore makes reading itself an ethical test: will readers judge by his body, by his actions, by his education, or by all three? The novel never erases his violence, but it makes quick visual judgment look morally inadequate.
How the writing works
Nested narrators
Walton quotes Victor, and Victor quotes the Creature, who reports still other stories. These layers let several people explain themselves while also reminding us that every account has an audience and a purpose. Readers must notice where a speaker accepts blame, shifts blame, or asks for sympathy.
Doubling
Walton, Victor, and the Creature mirror one another through ambition, loneliness, pursuit, and the desire to be understood. The doubles prevent a simple hero-versus-villain reading. A trait that looks admirable in one setting can become destructive when separated from care and restraint.
The sublime landscape
Mountains, glaciers, storms, seas, and polar ice give characters temporary relief while also making human plans appear small. Nature is not a simple cure. Its beauty can calm Victor, hide the Creature, or become the stage for a pursuit that carries both men beyond ordinary society.
Moments to notice while you read
Walton’s opening letters
What to notice: Track Walton’s hunger for discovery and for an understanding friend before Victor enters the narrative.
Why it matters: The opening teaches readers to see Victor’s story as a warning offered to someone with similar ambitions, not as an isolated confession.
Victor succeeds and immediately runs
What to notice: Separate the physical achievement of creation from Victor’s first emotional and practical response to it.
Why it matters: The scene locates the first disaster in abandonment. Victor has prepared for animation but has made no plan to care for the being afterward.
The Creature watches the De Laceys
What to notice: Follow what he learns about words, family affection, poverty, history, and his own place in society.
Why it matters: His education shows that he does not begin as a mindless threat. It also gives him the moral language with which he later judges Victor and himself.
The request for a companion
What to notice: List the promises, fears, and hidden assumptions in the extended debate between Victor and the Creature.
Why it matters: Both speakers make serious claims, but neither can guarantee the future. The debate turns responsibility into a conflict between a present duty and imagined danger.
Victor destroys the unfinished companion
What to notice: Watch who sees the destruction, what Victor imagines, and how quickly the act changes the conflict.
Why it matters: Victor again decides another being’s fate alone. His secret choice closes negotiation and begins the final exchange of threats and revenge.
The final scene on Walton’s ship
What to notice: Carefully compare the Creature’s grief and self-accusation with the explanations Victor gave throughout his long story.
Why it matters: The ending denies readers a simple victory. Victor is dead, the Creature recognizes his guilt, and Walton must decide what warning he will actually obey.
Questions to test your understanding
Answer in your own words. Then point to a specific moment in the work that supports your answer.
- Which preventable choice, beginning with Victor’s flight from the laboratory, most clearly changes the course of the novel? Explain the chain of consequences.
- How does the Creature’s education through the De Lacey family change the way a reader judges his later demand for companionship?
- Where does Victor describe himself as a victim, and what evidence suggests that he is also avoiding responsibility?
- Why does Shelley place Victor’s account inside Walton’s letters, and what does Walton do differently after hearing it?
- How do the mountains and polar ice change meaning as the novel moves from creation to pursuit?
- Does the final conversation make the Creature more sympathetic, more frightening, or both? Use his specific admissions and plans.
Public-domain reading edition
Full text
A reviewed public-domain reading source is linked below. Edition wording can differ, so use the cited version when checking details.
Letter 2
Archangel, 28th March, 17—.
How slowly the time passes here, encompassed as I am by frost and snow!
Yet a second step is taken towards my enterprise. I have hired a
vessel and am occupied in collecting my sailors; those whom I have
already engaged appear to be men on whom I can depend and are certainly
possessed of dauntless courage.
But I have one want which I have never yet been able to satisfy, and the
absence of the object of which I now feel as a most severe evil, I have no
friend, Margaret: when I am glowing with the enthusiasm of success, there
will be none to participate my joy; if I am assailed by disappointment, no
one will endeavour to sustain me in dejection. I shall commit my thoughts
to paper, it is true; but that is a poor medium for the communication of
feeling. I desire the company of a man who could sympathise with me, whose
eyes would reply to mine. You may deem me romantic, my dear sister, but I
bitterly feel the want of a friend. I have no one near me, gentle yet
courageous, possessed of a cultivated as well as of a capacious mind, whose
tastes are like my own, to approve or amend my plans. How would such a
friend repair the faults of your poor brother! I am too ardent in execution
and too impatient of difficulties. But it is a still greater evil to me
that I am self-educated: for the first fourteen years of my life I ran wild
on a common and read nothing but our Uncle Thomas’ books of voyages.
At that age I became acquainted with the celebrated poets of our own
country; but it was only when it had ceased to be in my power to derive its
most important benefits from such a conviction that I perceived the
necessity of becoming acquainted with more languages than that of my native
country. Now I am twenty-eight and am in reality more illiterate than many
schoolboys of fifteen. It is true that I have thought more and that my
daydreams are more extended and magnificent, but they want (as the painters
call it) _keeping;_ and I greatly need a friend who would have sense
enough not to despise me as romantic, and affection enough for me to
endeavour to regulate my mind.
Well, these are useless complaints; I shall certainly find no friend on the
wide ocean, nor even here in Archangel, among merchants and seamen. Yet
some feelings, unallied to the dross of human nature, beat even in these
rugged bosoms. My lieutenant, for instance, is a man of wonderful courage
and enterprise; he is madly desirous of glory, or rather, to word my phrase
more characteristically, of advancement in his profession. He is an
Englishman, and in the midst of national and professional prejudices,
unsoftened by cultivation, retains some of the noblest endowments of
humanity. I first became acquainted with him on board a whale vessel;
finding that he was unemployed in this city, I easily engaged him to assist
in my enterprise.
The master is a person of an excellent disposition and is remarkable in the
ship for his gentleness and the mildness of his discipline. This
circumstance, added to his well-known integrity and dauntless courage, made
me very desirous to engage him. A youth passed in solitude, my best years
spent under your gentle and feminine fosterage, has so refined the
groundwork of my character that I cannot overcome an intense distaste to
the usual brutality exercised on board ship: I have never believed it to be
necessary, and when I heard of a mariner equally noted for his kindliness
of heart and the respect and obedience paid to him by his crew, I felt
myself peculiarly fortunate in being able to secure his services. I heard
of him first in rather a romantic manner, from a lady who owes to him the
happiness of her life. This, briefly, is his story. Some years ago he loved
a young Russian lady of moderate fortune, and having amassed a considerable
sum in prize-money, the father of the girl consented to the match. He saw
his mistress once before the destined ceremony; but she was bathed in
tears, and throwing herself at his feet, entreated him to spare her,
confessing at the same time that she loved another, but that he was poor,
and that her father would never consent to the union. My generous friend
reassured the suppliant, and on being informed of the name of her lover,
instantly abandoned his pursuit. He had already bought a farm with his
money, on which he had designed to pass the remainder of his life; but he
bestowed the whole on his rival, together with the remains of his
prize-money to purchase stock, and then himself solicited the young
woman’s father to consent to her marriage with her lover. But the old
man decidedly refused, thinking himself bound in honour to my friend, who,
when he found the father inexorable, quitted his country, nor returned
until he heard that his former mistress was married according to her
inclinations. “What a noble fellow!” you will exclaim. He is
so; but then he is wholly uneducated: he is as silent as a Turk, and a kind
of ignorant carelessness attends him, which, while it renders his conduct
the more astonishing, detracts from the interest and sympathy which
otherwise he would command.
Yet do not suppose, because I complain a little or because I can
conceive a consolation for my toils which I may never know, that I am
wavering in my resolutions. Those are as fixed as fate, and my voyage
is only now delayed until the weather shall permit my embarkation. The
winter has been dreadfully severe, but the spring promises well, and it
is considered as a remarkably early season, so that perhaps I may sail
sooner than I expected. I shall do nothing rashly: you know me
sufficiently to confide in my prudence and considerateness whenever the
safety of others is committed to my care.
I cannot describe to you my sensations on the near prospect of my
undertaking. It is impossible to communicate to you a conception of
the trembling sensation, half pleasurable and half fearful, with which
I am preparing to depart. I am going to unexplored regions, to “the
land of mist and snow,” but I shall kill no albatross; therefore do not
be alarmed for my safety or if I should come back to you as worn and
woeful as the “Ancient Mariner.” You will smile at my allusion, but I
will disclose a secret. I have often attributed my attachment to, my
passionate enthusiasm for, the dangerous mysteries of ocean to that
production of the most imaginative of modern poets. There is something
at work in my soul which I do not understand. I am practically
industrious—painstaking, a workman to execute with perseverance and
labour—but besides this there is a love for the marvellous, a belief
in the marvellous, intertwined in all my projects, which hurries me out
of the common pathways of men, even to the wild sea and unvisited
regions I am about to explore.
But to return to dearer considerations. Shall I meet you again, after
having traversed immense seas, and returned by the most southern cape of
Africa or America? I dare not expect such success, yet I cannot bear to
look on the reverse of the picture. Continue for the present to write to
me by every opportunity: I may receive your letters on some occasions when
I need them most to support my spirits. I love you very tenderly.
Remember me with affection, should you never hear from me again.
Your affectionate brother,
Robert Walton