The Noble Savage In Mary Shelley

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The Noble Savage In Mary Shelley’s Frankenstein Essay, Research Paper [In the following essay, Millhauser considers Frankenstein's monster in relation to the tradition of the noble savage in literature.] The estimate of Mary Shelley’s Frankenstein familiar to us from literary handbooks and popular impression emphasizes its macabre and pseudo-scientific sensationalism: properly enough, so far as either its primary conception or realized qualities are concerned. But it has the effect of obscuring from notice certain secondary aspects of the work which did, after all, figure in its history and weigh with its contemporary audience, and which must, therefore, be taken into consideration before either the book or the young mind that composed it has been properly assayed. One

such minor strain, not too well recognised in criticism, is a thin vein of social speculation: a stereotyped, irrelevant, and apparently automatic repetition of the lessons of that school of liberal thought which was then termed philosophical. In the work of Godwin’s daughter and Shelley’s bride, some reflection of contemporary social radicalism crude, second-hand, very earnest, already a little out of date occurs almost as a matter of course; what deserves comment is just that this element entered the author’s notion of her plot so late and remained so decidedly an alien in it; for it governs the story only temporarily and, so to speak, extraneously, and confuses as much as it promotes the development of the character of the central figure, the monster itself. Where one

might have expected, from Mary’s character, that it would prove a main motif of the narrative, it is actually both detrimental thereto and ill-assimilated, and must be discarded altogether before the story can advance to its principal effect. For, throughout a considerable part of the book roughly speaking, the first half of the middle section, beginning with chapter xi the monster is so far from being the moral horror he presently becomes that it is hardly credible he should ever be guilty of wanton brutality at all. (The transformation, by the way, is effected most abruptly, without even the degree of psychological consistency appropriate to fantasy; two violent rebuffs and an astonishingly rigid logicality of temperament turn the monster from his lonely and contemplative

benevolence to a course of harsh, melodramatic vengefulness.) Rather, in the solitary student of Volney, musing on the pageant of human history, or on the contrast between man’s accomplishments and his failures Was man, indeed, at once so powerful, so virtuous and magnificent, yet so vicious and base? it is not hard to recognise that gentle lay-figure of late eighteenth century social criticism, the natural man, bringing his innocence into forceful and oversimplified contrast with the complexities and contradictions of our civilisation. Or, more precisely, may we not see in him (because of his strange origin and untutored state) something approximating to that variation of the general child of nature pattern to which Professor Fairchild has attached the name of Noble Savage?

Like the savage, the monster approaches our society as an outsider, tests it by natural impulse and unsophisticated reason, and responds to it with a mixture of bewilderment and dismay. Now, this aspect of the monster’s character is basically unnecessary to the horror-plot; he need not pass by this road to ferocity and misery. (There might, for instance, as easily have been an original moral flaw in his constitution, paralleling the physical one; he might, as in the vulgar imagination, have been created bestial.) Indeed, the more this phase of his development is dwelt upon, the less consistent with the later stages does it appear. Nor is his experience as a Noble Savage too closely integrated into the story; it is connected rather arbitrarily to his education in language, but