Places: Frankenstein

  • Last updated on December 10, 2021

First published: 1818

Type of work: Novel

Type of plot: Gothic

Time of work: Eighteenth century

Asterisk denotes entries on real places.

Places Discussed*Arctic Circle

*Arctic FrankensteinCircle. Frankenstein is told at a great distance, both physically and psychologically. The epistolary novel opens with letters from Robert Walton to his sister in England. Walton is on an exploring expedition to the far north, and his letters are dated from locations farther and farther north, starting with St. Petersburg, Russia, then Archangel, then unspecified locations, as Walton passes into unexplored territory. When his ship is surrounded by fog and ice floes, his crew sees Victor Frankenstein crossing the ice with a dog sled. They rescue him; Frankenstein tells his story. Before he does so, however, Frankenstein indicates that the desire to find the North Pole is as dangerous as his inquiry into unknown scientific regions, asking Walton, “Unhappy man! Do you share my madness?” When Frankenstein’s story is complete, he dies. His monstrous creation, after finally forgiving him, flees across the polar sea and out of human knowledge.

*Geneva

*Geneva. City in western Switzerland that is home to Victor Frankenstein, who describes it lovingly, speaking of its “majestic and wondrous scenes” and the “sublime shapes of the mountains.” The countryside is described more fully than the city, but enough details are given to indicate that Shelley knew Geneva well. While Shelley was staying near Lake Geneva with her husband, Percy Bysshe Shelley, and Lord Byron, and other friends, they had a competition for the best ghost story. Shelley said the core idea for Frankenstein came to her then, in a dream. Visiting or leaving Geneva has powerful consequences for the characters in the novel. After they met, Frankenstein’s father and mother moved to Geneva. When Victor was five, his father went to Milan, and returned with Elizabeth, the lifetime friend and nearly sister to Victor whom he marries.

When Victor returns to Geneva, everything seems to be different. His creation’s presence transforms his home, which earlier seemed to be a paradise, into a place of pain and chaos. Victor’s brother William is killed, and a life-long family servant is sentenced to death. Late in the novel, Victor returns to Geneva for the last time to marry Elizabeth. When his creation kills Elizabeth on their wedding night, the transformation of Geneva into a hell on earth is complete.

*Ingolstadt

*Ingolstadt. City in Bavaria, Germany, where Victor Frankenstein entered the University of Ingolstadt when he was seventeen and to which he returns in later years. The university had a great deal of autonomy during the seventeenth century, and was known for its support of Enlightenment rationality. Few specifics are given about Ingolstadt itself. Frankenstein studies there and escapes the stabilizing influence of his family but connects only with his professors, not with a community or place. There he learns modern chemistry from his professor Monsieur Waldman, which he blends with his earlier knowledge of alchemy to create life. Once he does, Ingolstadt becomes essentially haunted; Victor wanders its streets, afraid of his creature. Only the arrival of Henry Clerval, his old friend from Geneva, calms him.

*Mont Blanc

*Mont Blanc. Highest mountain in the Alps, to which Victor retreats when he is upset by the thought that his creation has caused the deaths of William and Justine. While gazing upon the awful beauty of Mont Blanc, he speaks aloud to the spirit of the place, which seems so pure. His creation answers, indicating that no place is free of the taint Frankenstein his created. The mountain’s glacier becomes a courtroom of natural philosophy as the creature accuses Victor of defaulting on his responsibilities as creator.

Cottage

Cottage. Home of a poor family in which the creature observes human interaction. When the creature tells the story of his life since his creation, the cottage where he observes a family, is central to it. He learns to speak by listening to the cottage’s inhabitants, and from them he learns about the possibility of love. Before this time, he is ignorant as an animal, but now, he becomes a tortured soul. Observing the small society in the cottage brings him close enough to humanity to realize what he is denied.

*London

*London. Capital of Great Britain to which Victor Frankenstein goes to investigate another scientist’s discoveries before he can meet the creature’s demand that he make him a woman to be his companion. In London, Victor establishes a lab, and begins work, but he and Clerval also travel throughout England and Scotland. Their travels are idyllic, but everywhere they go, Victor is sure the creature follows him.

*Scotland

*Scotland. Country to which Victor goes to continue his work because it is farther from civilization. There he works on a mate for the creature then reconsiders and destroys it. The creature appears at that moment, confirming Victor’s fears that he has been followed. When Victor tries to sail home, he gets lost at sea and almost dies, symbolizing the danger inherent in his unchecked scientific explorations.

*Ireland

*Ireland. Country in which Victor is arrested for the murder of his friend Clerval, whom the monster has killed, after he lands there and goes ashore to ask for directions. While he is jailed in Ireland, he falls into a guilty fever for months. His imprisonment in this remote land confirms his growing fear that there is no place to which he can go to escape responsibility for his actions.

BibliographyBloom, Harold, ed. Mary Shelley’s “Frankenstein.” New York: Chelsea House, 1987. Offers a wide variety of critical essays on the novel.Gilbert, Sandra M., and Susan Gubar. The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination. New Haven, Conn.: Yale University Press, 1979. An important early study that emphasizes Shelley’s response, as a woman writer, to John Milton.Grylls, R. Glynn. Mary Shelley: A Biography. London: Oxford University Press, 1938. Includes extensive discussion of events surrounding the writing of Frankenstein.Homans, Margaret. Bearing the Word: Language and Female Experience in Nineteenth-Century Women’s Writing. Chicago: University of Chicago Press, 1986. Discusses Frankenstein as a central feminine text in its century.Levine, George, and U. C. Knoepflmacher, eds. The Endurance of Frankenstein: Essays on Mary Shelley’s Novel. Berkeley: University of California Press, 1979. Collection of essays focusing more on the endurance of the story of Frankenstein rather than the novel, most notably “The Stage and Film Children of Frankenstein: A Survey,” by Albert J. LaValley.Mellor, Anne K. Mary Shelley: Her Life, Her Fiction, Her Monsters. New York: Routledge, 1988. Combines critical analysis of the novel with biographical material from Shelley’s life.Poovey, Mary. The Proper Lady and the Woman Writer: Ideology as Style in the Works of Mary Wollstonecraft, Mary Shelley, and Jane Austen. Chicago: University of Chicago Press, 1984. Analyzes Shelley’s works in the context of the pressures experienced by women writers in the nineteenth century.Shelley, Mary. Frankenstein. Edited by Johann Smith. Boston: St. Martin’s Press, 1992. This edition contains five essays exemplifying different approaches to the novel and a good bibliography.
Categories: Places