Exploring The Passive Female Characters in Mary Shelley's Frankenstein and Their Parallels in Literature - Pride and Prejudice

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Exploring The Passive Female Characters in Mary Shelley's Frankenstein and Their Parallels in Literature: Pride and Prejudice

Introduction:

In literature, the portrayal of female characters has often reflected the societal norms and expectations of their time. Both Frankenstein by Mary Shelley and Pride and Prejudice by Jane Austen offer significant representations of passive female characters whose lives and choices are shaped by patriarchal structures and social norms. These characters, while distinct in their respective narratives, share a common theme: their lack of agency and their responses to the constraints placed upon them by the male-dominated worlds they inhabit. Shelley’s gothic novel explores the consequences of scientific ambition and the destruction it wreaks on both men and women, with passive female figures like Elizabeth Lavenza and Justine Moritz embodying the limited roles available to women in the early 19th century. Similarly, Austen’s Pride and Prejudice portrays women’s roles within the marriage market, where characters such as Charlotte Lucas and Lydia Bennet face societal pressures that lead to passivity in the choices they make.

While Frankenstein critiques the destructive effects of male ambition through its female characters, Pride and Prejudice presents the dynamics of marriage and class as key factors in shaping women's autonomy. Despite the different settings and genres of these novels, both authors use their female characters to highlight the social forces that limit women’s roles and opportunities, offering a lens through which readers can examine the tension between societal expectations and personal desires. This comparison between Shelley's gothic tragedy and Austen’s social comedy offers a nuanced understanding of how female passivity is portrayed in two of the most iconic novels of the 19th century. By analyzing characters like Elizabeth and Justine from Frankenstein alongside Charlotte and Lydia from Pride and Prejudice, we uncover the shared struggles faced by women in literature and how their passivity can be seen as both a reflection of their social environments and a form of resistance to the roles they are expected to play. 

This exploration will delve into the roles of passive female characters in both novels, comparing the ways in which their passive actions and choices highlight the limitations placed on women during the period and how these portrayals serve to critique the societal structures that confine them. Through this analysis, the study will demonstrate how the themes of agency, marriage, and societal expectation intersect in the works of Shelley and Austen, offering a rich comparative study of female passivity in early 19th-century literature. 

Mary Shelley's Frankenstein critiques the destructive effects of unchecked male ambition, with the novel primarily narrated by men—Robert Walton, Victor Frankenstein, and the creature. Victor embodies extreme masculinity in his godlike quest for power, while the creature, though monstrous, is shaped by betrayal and neglect. The few female characters, like Elizabeth and Justine, are largely passive and serve as victims of male violence, emphasizing the gender imbalances in the story. 

Shelley, influenced by her experiences with overbearing male figures such as Percy Shelley and Lord Byron, critiques Romantic masculinities by highlighting their self-destructive tendencies and the harm they inflict on those around them, particularly women. This is seen in the creature’s violent appearance at Victor and Elizabeth’s wedding, symbolizing Victor's inability to fulfill his masculine role.

The Role of Females in Shelley's Frankenstein:

Mary Shelley's Frankenstein offers a critique of the passive roles assigned to female characters, reflecting the limited agency and voice women had in the 19th century. The female figures in the novel—Caroline Beaufort, Margaret Saville, and Elizabeth Lavenza—are portrayed as weak and largely invisible, serving primarily as catalysts for the development of male characters. These women undergo suffering and ultimately meet tragic fates, highlighting their victimization within a patriarchal framework. Elizabeth, for example, is reduced to a mere object of Victor's affection and later dies violently, symbolizing the consequences of male ambition and neglect.

The character of Margaret Saville, Robert Walton's sister, is particularly telling in her absence of voice or personal identity. Shelley's choice to leave her character underdeveloped underscores the limited roles women are allowed in the male-dominated narrative. Similarly, Elizabeth is often portrayed as a passive and naive figure, whose death on her wedding night not only serves as a plot device to further Victor and the Monster's conflict but also illustrates the disregard for female autonomy.

In contrast to the male characters' ambitious narratives, the female characters are denied any significant action or perspective, existing only to influence the male characters’ arcs. Mary Shelley's depiction of women in Frankenstein aligns with feminist critiques of the time, challenging the romanticized, passive roles of women in literature and offering a subtle commentary on the social structures that restricted women's agency. The novel ultimately reflects Shelley's own critique of male-dominated environments, influenced by her upbringing surrounded by prominent male intellectuals like Percy Shelley and Lord Byron.

Exploring Passive Female Characters in Mary Shelley's "Frankenstein" and Their Parallels in "Pride and Prejudice"

In both Frankenstein and Pride and Prejudice, female characters are often relegated to passive roles, shaped by the constraints of their gendered environments. These novels, though vastly different in genre and tone, provide insightful critiques of how women's agency is diminished in male-dominated societies. By comparing these passive female characters, we can explore how Mary Shelley and Jane Austen portray the limited roles and expectations of women during the 19th century.

Exploring Passive Female Characters in Mary Shelley's Frankenstein

In Frankenstein, the passive female characters are largely defined by their lack of agency, existing mainly to highlight the struggles of the male characters. The most prominent examples of passive women in the novel are Elizabeth Lavenza, Justine Moritz, and Caroline Beaufort.

1. Elizabeth Lavenza: Victor Frankenstein's fiancée, Elizabeth is a prime example of a passive female character. She is portrayed as beautiful, gentle, and idealized, but her role in the novel is mainly to serve as a prize for Victor’s ambition and a symbol of domestic virtue. She is largely powerless, having no active role in the creation or consequences of Victor’s experiments. Her tragic death, occurring on her wedding night, is a key event that advances the male-driven plot. Elizabeth’s death, following her violent murder by the creature, serves to punish Victor, but her role as a character is limited by her position as a victim of male violence and ambition (Shelley, 1818).

2. Justine Moritz: Justine is another passive character who is victimized by male-driven actions. She is falsely accused and executed for the murder of William Frankenstein, the youngest member of the Frankenstein family. Despite her innocence, Justine has no voice in the legal process, and her fate is determined by the patriarchal structures of society. Justine’s death is a direct result of Victor’s failure to take responsibility for the creature he created, further emphasizing the theme of female victimization in the novel.

3. Caroline Beaufort: Caroline, Victor’s mother, represents another passive character. She dies early in the novel, but her role as a nurturing and self-sacrificing mother figure is central to Victor’s development. Caroline's death serves as a catalyst for Victor’s ambition, but she has little influence or autonomy in the story. Her passive role highlights the novel's critique of traditional gender roles and the limited agency of women in the male-dominated world of Frankenstein.

These female characters function primarily to reflect the desires, fears, and actions of the male characters, with little opportunity to act for themselves. In contrast, the male characters—Victor and the creature—are driven by their desires, motivations, and actions, shaping the course of the narrative. This stark contrast emphasizes the passive roles assigned to women in the 19th-century context in which Frankenstein was written, and Mary Shelley’s novel can be seen as a commentary on the consequences of these gendered expectations.

Passive Female Characters of The Pride and Prejudice :

In Pride and Prejudice, Charlotte Lucas is often seen as the most passive of the female characters, though her passivity is also a reflection of the limited options available to women in her social class during the Regency period.

Charlotte Lucas:

• Role in the Story: Charlotte is Elizabeth Bennet’s close friend, known for her pragmatism and sense of duty. While Elizabeth refuses Mr. Collins’ proposal, Charlotte accepts him, despite not being in love with him, because she sees marriage as a means of securing financial stability and social respectability.
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• Passivity: Charlotte's decision to marry Mr. Collins, whom she considers a dull and self-centered clergyman, reflects her passivity in accepting the societal constraints of her time. She sacrifices love and personal happiness in exchange for security. Charlotte is aware of the limitations women face in terms of marriage prospects and makes a practical choice, rather than acting on personal desires. This resignation to her fate can be viewed as passive, as she feels she has little control over her circumstances (Gray, 2002).
• Criticism: While Charlotte’s decision is practical, it is also an indication of how women of her time had to make difficult choices within a patriarchal society that limited their options. Critics like Claudia L. Johnson note that Charlotte’s marriage to Mr. Collins contrasts with Elizabeth’s more romantic view of marriage, which is based on mutual respect and affection. Charlotte’s passivity is, therefore, a commentary on the social pressures that women like her faced, where security often trumped emotional fulfillment (Johnson, 1991).
• Marriage as Survival: Charlotte’s marriage is not portrayed negatively, but it highlights the theme of economic survival in the novel. She represents the pragmatic woman who chooses stability over passion, unlike the more active, self-determined Elizabeth.

Other Considerations:

• Jane Bennet: While Jane Bennet, Elizabeth’s older sister, is often perceived as passive due to her quiet nature and reliance on others, she is not as constrained by social pressures as Charlotte. Jane’s passivity is more about her reserved temperament, not a lack of agency.
• Feminist Interpretations: Feminist readings of Pride and Prejudice often explore how characters like Charlotte make pragmatic decisions that, while seeming passive, are driven by the harsh realities of the time. Charlotte’s actions can be interpreted as a survival strategy within the social system that restricts women's power.

 1. Female Passivity in "Frankenstein" and "Pride and Prejudice":

  

 - Elizabeth Lavenza (Frankenstein):

Elizabeth is Victor Frankenstein’s fiancée and is portrayed as a passive character whose role is primarily to support and comfort Victor. She has little agency and is primarily a symbol of domestic femininity. Her tragic death serves as a device to further Victor’s story rather than a moment of personal significance.

   - Caroline Beaufort and Justine Moritz (Frankenstein):

 These women are defined by their victimhood. Caroline's death is a brief event that serves as a background to Victor's development, and Justine, wrongfully accused of murder, becomes another passive victim of male-driven violence and injustice. Both characters exist to reflect the consequences of male actions.

   - Feminist Analysis:

 Critics argue that the female characters in Frankenstein lack agency and are often used to highlight the self-destructive tendencies of the male characters (Smith, 1992). Shelley’s own feminist leanings may have influenced her portrayal of women as secondary figures who serve to advance male protagonists’ narratives.

   - Jane Bennet (Pride and Prejudice):

 In Pride and Prejudice, Jane Bennet, the eldest Bennet sister, is a similarly passive character. She is often seen as the epitome of gentility, embodying the idealized feminine virtues of kindness and patience. However, like Elizabeth Lavenza, she has little control over her destiny, particularly in her relationship with Mr. Bingley. Jane's character serves as a foil to Elizabeth’s more active and assertive personality.

  

 - Charlotte Lucas (Pride and Prejudice):

 Charlotte, who marries Mr. Collins for security rather than love, is another passive figure in the narrative. Though she is pragmatic and realistic, her decision to marry Mr. Collins reflects the limited options available to women in the social context of the novel.

 

  - Feminist Perspective: 

Both Jane and Charlotte’s roles can be examined through feminist lenses. Charlotte's practical marriage decision reveals how societal constraints limit women’s options. Jane’s passivity contrasts with Elizabeth’s stronger character, reflecting different responses to patriarchal pressure (Gray, 2002).

 2.The Role of Male Dominance:

   - Victor Frankenstein (Frankenstein):

 Victor’s obsession with creating life and his subsequent neglect of the creature showcases male dominance in Frankenstein. The suffering of the female characters, such as Elizabeth’s victimization and Justine’s wrongful execution, highlights how women are often left to suffer as a result of men’s actions. The male-driven narrative further isolates these women from the story.

  

 - Mr. Darcy (Pride and Prejudice):

 In contrast, Mr. Darcy in Pride and Prejudice initially appears to be a figure of male authority and pride, but his eventual development into a more open and emotionally intelligent character positions him as a foil to the more passive men in Frankenstein. However, his initial treatment of Elizabeth and other women shows the power dynamics at play within this patriarchal world.

  

 - Critiques of Masculinity:

 In both novels, male characters are driven by pride and ego, which ultimately affects the female characters. Frankenstein critiques the consequences of unchecked masculine ambition, while Pride and Prejudice explores the idea of marriage and social status as defined by men.

 3. Feminist Readings of the Novels:

   - Shelley’s Feminist Legacy:

As the daughter of Mary Wollstonecraft, a pioneering feminist thinker, Mary Shelley’s work can be read as a critique of gender inequalities. Though her female characters seem passive, they embody the limitations placed upon women of the time. Critics like Johanna M. Smith argue that Shelley's depiction of women in *Frankenstein* reflects her critique of Romantic masculinities and their detrimental effects on women (Smith, 1992).

   

- Austen’s Feminist Insight: 

Pride and Prejudice, while more optimistic in its treatment of women’s agency, still highlights the limited roles women can occupy within marriage and society. Elizabeth Bennet, though more assertive than her counterparts, still faces limitations based on her gender. Austen critiques the economic and social dependence of women through characters like Charlotte and Jane (Gray, 2002).

 4. Symbolic Deaths of Female Characters:

   - Elizabeth’s Death (Frankenstein): 

Elizabeth’s tragic death is symbolic of the powerlessness of women within the story. She is reduced to a victim, an object of male desire, and her death serves as a plot device to advance Victor’s narrative rather than being an emotional or meaningful event for her character.

   

- Lydia Bennet (Pride and Prejudice):

 While Lydia Bennet does not die in Pride and Prejudice, her scandalous elopement with Mr. Wickham represents the risks women face when they step outside of prescribed roles. Her actions are often judged more harshly than they would be for a man, highlighting the gendered double standards in society.

References :

1) Laurasay. (2018, March 23). Gender and masculinity in Mary Shelley’s “Frankenstein” - Living Literature.  https://livingliterature.blogs.sas.ac.uk/mary-shelley-frankenstein-gender-and-masculinity/

2) "The Role of Females in Shelley's Frankenstein." ukessays.com. 11 2018. UKEssays. 11 2024 <https://www.ukessays.com/essays/english-literature/the-role-of-females-in-frankenstein-english-literature-essay.php?vref=1>.

3) M. M. (2023). The Role of Gender and Power in Jane Austen’s Novels. British Journal of Multidisciplinary and Advanced Studies, 4(4), 1–8. https://doi.org/10.37745/bjmas.2022.0240

4) Austen, Jane. The Novels of Jane Austen: Volume II: Pride and Prejudice. Edited by R. W. Champan, Oxford University Press, Incorporated, 1932. Accessed 19 November 2024.

 5)      Shulman, D. (2024, October 20). Frankenstein | Summary, Characters, Analysis, & Legacy. Encyclopedia Britannica. https://www.britannica.com/topic/Frankenstein-or-The-Modern-Prometheus#ref359106