i want to preface this with this is all courtesy of @dykensteinery's genius and not my own, i am merely putting his ideas into words for her!!!
so charlie brought to my attention that this quote from frankenstein, where victor refers to clerval as essentially his "other half":
“I agree with you,” replied the stranger; “we are unfashioned creatures, but half made up, if one wiser, better, dearer than ourselves—such a friend ought to be—do not lend his aid to perfectionate our weak and faulty natures. I once had a friend, the most noble of human creatures, and am entitled, therefore, to judge respecting friendship."
was an allusion to plato's symposium. in the symposium, aristophanes presents a mythological account of human origins: that humans were once spherical beings—complete wholes—until they were split in two by zeus. ever since, each human being has wandered the world searching for their missing "other half." this myth explains not only the drive for romantic love but the deeper longing for union, for completion, for the return to an original state of wholeness. specifically, it was an allusion to this line (any quotes pulled from the symposium are from percy shelley's translation):
"From this period, mutual Love has naturally existed in human beings; that reconciler and bond of union of their original nature, which seeks to make two, one, and to heal the divided nature of man. Every one of us is thus the half of what may be properly termed a man…the imperfect portion of an entire whole, perpetually necessitated to seek the half belonging to him.”
considering this line is present in the 1831 edition but not the 1818 edition, after percy's death, during a time where his works were being edited and published by mary posthumously in 1826 and forward, it feels like a much more deliberate allusion. furthermore, i don’t think it’s reaching to say this revision, this framing of love as something that completes a person, was colored by that loss.
it's crucial, also, that aristophanes’ speech does not limit this yearning for your "other half" to heterosexual couples but rather includes and legitimizes same-sex love, particularly between men, as a natural expression of a desire for one’s “own kind":
“Those who are a section of what in the beginning was entirely male seek the society of males…When they arrive at manhood they still only associate with those of their own sex; and they never engage in marriage and the propagation of the species from sensual desire but only in obedience to the laws…Such as I have described is ever an affectionate lover and a faithful friend, delighting in that which is in conformity with his own nature…Whenever, therefore, any such as I have described are impetuously struck, through the sentiment of their former union, with love and desire and the want of community, they are ever unwilling to be divided even for a moment.”
looking at this within the context of frankenstein, to me, this invites further reflection on a queer reading of the novel. the language of this passage—and others like it—have homoromantic subtext, especially when looking at it through this context. aristophanes describes those descended from the original male-male whole who pursue other men as “affectionate lover[s] and faithful friend[s]," which finds obvious parallels in the language mary uses to describe victor's idealization of clerval: victor constantly refers to him as noble, pure, good, better than himself. the language of friendship in the 18th and 19th century was often emotionally demonstrative in ways we don't see now, yes—but here, in light of the aristophanic frame, it rings a little different.
so basically? clervalstein real
imagine: victor drawing a portrait of henry during their studying-oriental-languages-together arc (i think he'd be good at art from practice during anatomical studies) and midway through henry glances up at him and victor goes “i’m not doing this for you. i’m doing this to deconstruct the planes of the face, and using it to further my studies” but the whole time he’s swooning and gets to stare at him unabashedly under the guise of drawing
FRANKENSTEIN, Mary Shelley | WISHBONE CLASSICS FRANKENSTEIN, Micheal Burgan | THE ROOM WHERE THE CORPSE LAY, Bernie Wrightson | FRANKENSTEIN, Alexander Utz | FRANKENSTEIN, Director Kevin Connor | THE MODERN PROMETHEUS, Nicole Mello | FRANKENSTEIN, Deborah Tempest | | FRANKENSTEIN, Mary Shelley.
victor's grief for henry
In switzerland straight up frankin’ it and by “it” lets jusst say… my stein
all the anti-abortion votes are crazy when victor literally has the metaphor for an abortion within the book. put some respect on his name
for some reason people seem to think that mary somehow stumbled into writing a commentary on marriage/incest accidentally, and that the themes of frankenstein are all about her trauma due to her experiences as a victim of the patriarchy, as a woman and a mother surrounded by men - as if she wasnt the child of radical liberals who publicly renounced marriage, as if she herself as well as percy shelley had similar politics on marriage, as if she would not go on to write a novel where the central theme is explicitly that of father/daughter incest years later…
the most obvious and frequent critique of victor i see is of his attempt to create life - the creature - without female presence. it’s taught in schools, wrote about by academics, talked about in fandom spaces - mary shelley was a feminist who wrote about feminism by making victor a misogynist. he’s misogynistic because he invented a method of procreation without involving women purely out of male entitlement and masculine arrogance and superiority, and shelley demonstrates the consequences of subverting women in the creation process/and by extension the patriarchy because this method fails terribly - his son in a monster, and victor is punished for his arrogance via the murder of his entire family; thus there is no place for procreation without the presence of women, right?
while this interpretation – though far from my favorite – is not without merit, i see it thrown around as The interpretation, which i feel does a great disservice to the other themes surrounding victor, the creature, the relationship between mother and child, parenthood, marriage, etc.
this argument also, ironically, tends to undermine the agency and power of frankenstein’s female characters, because it often relies on interpreting them as being solely passive, demure archetypes to establish their distinction from the 3 male narrators, who in contrast are performing violent and/or reprehensible actions while all the woman stay home (i.e., shelley paradoxically critiques the patriarchy by making all her female characters the reductive stereotypes that were enforced during her time period, so the flaws of our male narrators arise due to this social inequality).
in doing so it completely strips elizabeth (and caroline and justine to a lesser extent) of the power of the actions that she DID take — standing up in front of a corrupt court, speaking against the injustice of the system and attempting to fight against its verdict, lamenting the state of female social status that prevented her from visiting victor at ingolstadt, subverting traditional gender roles by offering victor an out to their arranged marriage as opposed to the other way around, taking part in determining ernest’s career and education in direct opposition to alphonse, etc. it also comes off as a very “i could fix him,” vibe, that is, it suggests if women were given equal social standing to men then elizabeth would have been able to rein victor in so to speak and prevent the events of the book from happening. which is a demeaning expectation/obligation in of itself and only reinforces the reductive passive, motherly archetypes that these same people are speaking against
it is also not very well supported: most of the argument rests on ignoring female character’s actual characterization and focusing one specific quote, often taken out of context (“a new species would bless me as its creator and source…no father could claim the gratitude of his child so completely as i should deserve theirs”) which “proves” victor’s sense of male superiority, and on victors treatment/perception of elizabeth, primarily from a line of thinking he had at five years old, where he objectified her by thinking of her (or rather — being told so by caroline) as a gift to him. again, the morality of victor’s character is being determined by thoughts he had at five years old.
obviously this is not at all to say i think their relationship was a healthy one - i dont think victor and elizabeth’s marriage was ever intended to be perceived as good, but more importantly, writing their relationship this way was a deliberate critique of marriage culture.
victor “i'm not mad i'm not a madman please believe me" frankenstein and his constant assertions that he’s not insane throughout the whole novel only to become the foundation for the mad scientist trope. puts head in hands
I really enjoy neurodivergent readings of classic literature because the whole "i have an obsession with being pure/great/always seen as morally good" "sometimes I get obsessed with an idea and believe I'm on the right path and don't act rationally" "i feel uneasy and incapable of enjoying things since [traumatic event(s)]" "I feel alienated from society and don't understand it at all" bunch of thoughts that are very present in most classics are almost always big symptoms of some kind of mental illness (which, in fact, does add a lot to the story) and I love to see people talk about them from that perspective instead of just "lol this guy is whiny and dumb"
i was trying to find a specific post that i half-remembered at like 4am last night but out of context this is really funny
even though there is no explicit sexual abuse in the picture of dorian gray, the themes of manipulation and violation and insertion / imposition of another upon one's sense of self and body in the picture of dorian gray echo the themes of such abuse leading from his childhood (his grandfather who called him vile and hated him as an inherently disgusting, evil creature produced by a marriage he disapproved of) to early adulthood (two older men imposing their own will upon dorian, reducing him to just a figure of his beauty which, when it fades, will make him meaningless) to the corruption of dorian's own view of his body in the portrait. the men in his life insert themselves deeply into his relationship to himself and his body and leave him tainted, believing but also hating their views of him, trying to change his perceived fate of withering away into his 'true nature' of an ugly, vile being, but ultimately he is doomed to become that even if it was not inherently in his nature at all. he's a boy afraid to become something and that fear is reinforced by authority figures throughout his life, leading the fear to take him directly down the path to corruption anyway
i don’t think victors misinterpretation of the creatures threat “i will be with you on your wedding night” as a warning of his own impending death was to show victor’s hubris or self-centeredness, but instead shelley employing a deliberate display of dramatic irony, which is common within gothic literature. the gothic genre thrives on tension, dread, and suspense, and gothic narratives often involve secrets and psychological turmoil, all of which dramatic irony enhances. it also further cements frankenstein as a tragedy and, because of the disconnect between what characters perceive and what the reader anticipates, it reinforces the theme of fate throughout the novel (which is particularly pervasive in the 1831 version). but hey whatever this might be the rampant victor defender in me speaking