Mary Shelley's Frankenstein endures not merely as a chilling ghost story, but as a profound exploration of human nature and responsibility, heavily reliant on potent archetypes. While Victor Frankenstein embodies the hubristic creator and his creation is the obvious locus of monstrosity, the novel also presents the innocent, primarily in the form of the De Lacey family and William Frankenstein. Examining these archetypes—the ambitious but flawed creator, the ostracized and vengeful monster, and the pure, defenseless innocent—reveals a complex moral landscape. Through their interactions and fates, Shelley compels readers to question who the true monster is, suggesting it is not a singular entity but a shared condition of ambition, neglect, and cruelty.
Victor Frankenstein is the quintessential archetypal creator, driven by an insatiable thirst for knowledge and a desire to transcend natural limits. His ambition, initially lauded as a pursuit of scientific glory, quickly devolves into a dangerous obsession. He isolates himself, neglecting his family and duties for the secret work in his laboratory. This detachment from human connection is a key characteristic of the flawed creator archetype; he seeks to play God without accepting the divine responsibility that comes with creation. His horror upon animating the creature—"I had gazed on him while unfinished; he was ugly then; but when I recovered the human form, and when I saw the ruddy, thick blood circulat[ing] through his veins, I was a wretch, a miserable wretch"—demonstrates a profound failure of empathy. Instead of nurturing his creation, he abandons it, setting in motion the tragedy that defines the novel. Victor’s ongoing refusal to acknowledge his culpability, his persistent blaming of the creature for its actions, further solidifies his place as an archetypal figure whose unchecked ego leads to destruction.
The creature, conversely, initially embodies the archetype of the innocent. Upon awakening, he is described as experiencing the world with childlike wonder, observing birds and experiencing the warmth of the sun. His early interactions, particularly his silent observation of the De Lacey family, reveal a deep yearning for connection and a capacity for empathy. He learns language, morality, and the nuances of human society through their mediated experiences, developing a sophisticated understanding of human emotions and relationships. However, this innocence is brutally shattered by the universal rejection he faces. His physical appearance, a grotesque amalgamation of human parts, triggers fear and disgust in every person he encounters, including his own creator. This relentless ostracization transforms his innate goodness into bitterness and a desire for revenge. His articulation of his suffering to Victor—"I was benevolent and good; misery made me a fiend"—underscores how external cruelty can corrupt inherent innocence, twisting it into the very monstrosity society fears. His subsequent acts of violence, while horrific, are presented as direct consequences of his profound and unending suffering, making him an archetypally tragic figure.
The archetype of the innocent is most poignantly represented by William Frankenstein and the De Lacey family. William, Victor's younger brother, is a symbol of pure, uncorrupted childhood. His innocent trust in his uncle and his unsuspecting nature make him an easy target for the creature's nascent rage, a rage born from his own abandonment. His murder represents the ultimate destruction of innocence, a profound loss that further fuels Victor's guilt and the creature's descent. The De Lacey family, though not entirely untouched by hardship, initially represents an idealized vision of domestic harmony and intellectual companionship. The blind patriarch, Alphonse De Lacey, is a figure of wisdom and compassion, while Felix and Agatha embody familial devotion and artistic sensibility. Their ability to find solace and joy in each other's company, despite their exile, highlights the importance of human connection. However, their subsequent rejection of the creature, driven by fear and prejudice, demonstrates how even those who espouse virtue can succumb to the societal biases that condemn the creature. Their fate serves as a painful reminder that prejudice can extinguish even the most compassionate sparks, perpetuating the cycle of suffering.
The interplay between these archetypes in Frankenstein ultimately blurs the lines of monstrosity. Victor's relentless pursuit of scientific dominion, his profound neglect of his creation, and his subsequent refusal to accept responsibility brand him as a moral monster. The creature, though driven to violence by his suffering, remains a figure of pathos, a victim of societal prejudice and his creator's abandonment. The destruction of William and the De Laceys’ eventual rejection of the creature highlight how the innocent can become casualties in the larger battle between ambition and despair, creation and destruction. Shelley employs these archetypal figures not to offer simple villains and heroes, but to demonstrate how complex interactions, driven by flawed human desires and societal failings, can create monsters out of both creators and the created, and leave the innocent vulnerable and broken.