oh and I almost forgot this one
A Tale to Tell
Placing Mary Shelley's "Frankenstein" into the hero motif genre of Mythology is not too difficult a task. Upon close critique of this classic story we find many similarities to those of ancient hero myths; that have themselves become classic over time. There are also varied differences from the classic motifs of hero myths in Shelley's story, but those differences lead to a more dramatic return of the heroes involved. The main difference from hero myths placed within this literary text is the complete construction of three separate heroes each with a separate purpose to the story. All three of the main characters follow very complex paths that are wrapped in the motifs of hero myths. One can choose to appoint one of the three the true hero. Or, one can see that without all three heroes, this story would not be a hero myth. Each characters role in the story, right down to the nature of the narrative framework, relies on each of the other two characters journeys presented by Shelley.
Shelley's presentation of the creature at first feels more like that of a trickster figure. But in the end he is revealed as one of the three heroes who completes a full return in the end of the story. Frankenstein and Walton both come to terms with the failings and successes of their journeys, thus we see a full return in the spiritual aspect for both men. As Campbell discusses the types of hero journeys we can see that all three characters do indeed fit the hero motif. He gives a definitive look at what makes a hero,
One is the physical deed, in which the hero performs a courageous act in battle or saves a life. The other kind is the spiritual deed, in which the hero learns to experience the supernormal range of human spiritual life and then comes back with a message. (Campbell 152)
All three of the main characters in Mary Shelley's novel, Walton, Frankenstein and the creature, have physical trials, as well as, the spiritual reflection on their journey's. Each go through the three main hero motifs of separation, initiation and return on individual levels within the story, only to all be tied to each other in one final return at Victor's death.
In order to understand how "Frankenstein" becomes a hero myth it is necessary to explore these stages of motifs as they apply to Victor, the main character. Without his journey, there is no need for the other two journeys. They all depend upon each other, not only to tell there stories through the narrative framework set up by Shelley, but each character is also dependent on another to make their final return. Victor's journey can be paralleled to the ancient myth of Hercules to point out how he goes through the three stages of hero motifs; separation, initiation and return on multiple levels, not unlike Hercules, in order to atone for his sins.
Shelley introduces Victor in the midst of separation when he comes across Walton's vessel while in search of the creature. Our first meeting with Victor is actually his final point of separation, at which point he shares his tale with Walton, a very important step in his final return. From this point forward in the reading Victor's points of separation, initiation and return are much harder to map out due to the changes in the framework narrative of the story. We meet him at present and then are taken back to his very beginnings as a child, only to have the story conclude in the moment we first met him, back in the present abroad Walton's ship. We meet Victor at a stage of final separation after the deaths of many of his loved ones, and his story begins.
Victor's first separation by contrast was one of joy and hope as he leaves these very loved ones to study and gain knowledge in University. He is driven to this separation as an initiation of his thirst for that knowledge. We see his passion, "The world was to me a secret which I desired to divine" (22). His obsession with finding a way to immortality is the catalyst for yet another separation as he contemplates, "Life and death appeared to me ideal bounds [. . .]"(38). This spurs another separation as he throws himself into creating the monster, which in turn initiates him into a higher state of being. He becomes a creator; a God to his creature and a disgust to himself. Yet, he fails to overcome his actions and sinks into a pit of despair.
Victor's madness keeps him separated from not only his loved ones, but society as well, and his creation is abandoned into the world. He makes a physical return home after Williams death, but fails to mentally return to his family. He has the opportunity to bring a boon, his very confession of the creature, but he chooses to remain mentally isolated. There is a very deep seated pattern within Shelley's writing of Victor within the hero motif. Many separations, initiations and returns that would take several pages to outline. But the most fascinating aspect of this intrinsic mapping is how closely it resembles the many separations and returns of Hercules, one of the most ancient mythological heroes.
Hercules commits crimes against humanity when he is tempted into a fit of rage and madness and kills his wife and children. He is distraught and saddened by the realization of such a hideous crime and he seeks absolution for his misdeeds. He is instructed that he must complete twelve years of service to King Eurystheus and do all that he is asked in order to be redeemed. Hercules takes on this challenge and completes several heroic tasks from slaying the Hydra and the lion of Nemea, to the Stymphalian birds. All of his tasks were physical by nature, but his strength to endure becomes the boon of his return.
Victor, like Hercules, has many tasks to accomplish on his journey. Many of these tasks are consequences of his actions to create a being from dead tissue. They are consequences of his own will, or shall I say sin, against humanity. He realizes the scope of his misdeeds in the midst of creating another being for the creature. His long trial toward his final return thus begins, "I thought with a sensation of madness on my promise of creating another like to him, and trembling with passion, tore to pieces the thing on which I engaged" (151). The slow return begins at which point he leaves his work, "I left the room, and locking the door, made a solemn vow in my own heart never to resume my labours[. . .]" (151). Victor recognizes and acts to redeem himself for the first time. While Hercules is pressed to twelve tasks to vanquish the torment of his misdeeds done by his own hand upon his wife and children, Victors tasks from this point forward are also necessary to vanquish his misdeeds.
Both Hercules and Victor must atone for their sins against humanity. Although the story of Hercules fits the map of separation, initiation and return more closely than Victors, we see in that map both of these men do endure their crimes and learn from their trials. Each also makes their final return and offers something back to the very humanity that they committed crimes against. Hercules returns from each task successful, thus removing various threats to the people of his time. Victor's final return is not to his home or his loved ones. However, he does return a boon to humanity through the telling of his tale to Walton. He offers a warning to all with passions of knowledge like his own, "Seek happiness in tranquility and avoid ambition, even if it be only the apparently innocent one of distiguishing yourself in science and discoveries" (200). He gives Walton the moral of the story. The tale is told to be passed on, not unlike the legend of Hercules that we pass on to generation after generation.
Mary Shelley's "Frankenstein" is a complex ride of dark imagery, twists and turns that lead to one man returning home with a tale above all tales to tell. But the deeper message comes to the reader through Victor's return. After Elizabeth's death, he finally takes responsibility for his unnatural ambitions and begins to hunt the creature. He lets go of his own self interest in his previous endeavors and journey's to save humanity from the abomination he created. Campbell talks about the significance of giving up a part of oneself, "When we quit thinking primarily about ourselves and our own self-preservation, we undergo a truly heroic transformation of consciousness" (155). This transformation is the very core of the hero motif. Hercules is a prime example of this motif. And in comparison we too see that Victor overcomes himself before his death.