The Role Of Romanticism In Mary Shelley's Frankenstein

Shelley’s work includes quite a great deal from poetic studies and appreciation of romanticism, the poets, and the works of that time, but mainly seems to be trying to break away from romanticism somewhat. Frankenstein seems to be a hybrid between romanticism and another type of writing. What is interesting is that even as Shelley seems to be trying to get away from Romanticism, she is referencing famous romantic period poets and works. This starts in the letters by Walton to his sister, where he writes, “I am going to unexplored regions, to ‘the land of mist and snow,’ but I shall kill no albatross” (Shelley 10), and directly after even blatantly writes that it’s in reference to the “Ancient Mariner.” This goes on throughout the letters, and even into the main chapters, but the underlying feel and core of the work is a break from Romanticism.
This is interesting, because one of romanticism’s famous poets, John Keats, has the exact opposite via on life, even saying that his name was written in water, which means it doesn’t last or isn’t permanent. This is one of the many contradictions between romanticism and a new age of writing. Victor, and even Walton, have a thirst for knowledge, not nature. In addition, Victor seems to want to become a God, basically being free from earthly restrictions, and be all powerful and knowing. This thirst for knowledge, and God like status, is ultimately Victor’s undoing, which could signal that he should have tried to be more of nature and human. This could be looked at as a strong point for the essence of romanticism, but the focal point of the work is so strongly on sciences, not nature, that the work climbs out of this romantic