By providing the monster’s point of view, Shelley has effectively shaped my response to the monster in the novel. His tale, full of his thoughts and feelings in addition to his actions and experiences, evokes feelings of pity and sympathy. There are numerous examples in which this can be seen. These can be categorised into the three different stages which the monster goes through – his childlike discovery of nature and the world around him, his learning about the human race and the nature by which he was created, and his ultimate rejection by every living person who sees him.

Shelley begins the monster’s tale by describing his first feelings following his creation – feelings of confusion, much like that of a baby. As he gradually learns to differentiate his senses from each other and starts exploring the world around him, his actions also remind us of that of a child. For example, upon discovering fire, he “thrust [his] hand into the live embers, but quickly drew it out again with a cry of pain”. He also begins to realise the flora and fauna around him, perceiving the “pleasant songs of the birds” and trying to imitate them but failing. These actions are carried out innocently and unassumingly, leading us to perceive the monster as a naïve being. This is in sharp contrast to the mental image of a ruthless, vicious monster murdering a young boy and framing a young girl. By showing how the monster, too, is in many ways human, Shelley causes the reader to be more open-minded towards the monster. This is extremely important for the reader to be able to sympathise with the monster in the later stages of his tale. Hence, by showing that the monster is not infallible but instead vulnerable and humane at the start of the tale, Shelley effectively changes our attitudes towards the monster, making us more accepting and ready to listen to his tale.

The second stage which the monster goes through is one of education and self-discovery. The monster’s first few encounters with humans foreshadow the major rejections he experiences later. At this stage, however, the monster is not fully aware of why the humans either take flight or fight him upon seeing him. Instead, he is distracted by the cottage itself. This shows that his childlike innocence and curiosity are still present. Upon finding the hovel and observing the residents of the little cottage, Felix and family, adjacent to it through the chink in the wall, he begins to learn and understand language, basic geography and history, and most importantly, human nature. By observing how the humans in the cottage interact, the monster learns about love, kindness, empathy and the devotion family members have for one another. Through this, however, the monster also begins to understand his own nature and its contrast with those of other humans – that he is alone, isolated, without anyone to care for him. He also comes to realise that it is his grotesque outward appearance which repels all humans he meets. The monster has lost the bliss which comes with ignorance – rejected, even by his own creator, he now faces the fact that he is an unwanted outcast of society. He even compares himself to Satan, the fallen angel – abandoned and scorned by his creator. This new knowledge hurts the monster. “It clings to the mind, when it has once seized on it, like a lichen on the rock.” However, the monster still has hopes of convincing Felix’s family of his own humanity and obtaining their friendship and sympathy. This makes us hopeful for the monster; that he might find love and friendship with Felix and his family. Unknowingly, Shelley has effectively made us sympathise with the creature; we begin understanding and hoping with him. By showing how the initially innocent monster learns and suffers as a result of it, she successfully shapes our responses to him.

The third stage, probably the most heartbreaking to us readers, is one of rejection – both of the monster by the humans and vice versa. When the monster’s opportunity comes to reveal himself to the family, he succeeds in gaining blind, old De Lacey’s sympathy. However, the rest of the family enter too early. Their sense of sight blinds them to the humanity of the monster, and they are unable to see past his ugly form. The two women faint while Felix drives the monster out of the cottage. Filled with anguish about being rejected by the people he has lived close to and secretly helped for months, the monster rejects the family and the cottage, burning it down in a frenzy of rage before leaving. When he later rescues a girl from drowning and gets shot at in return, the monster vows revenge on his creator and all of humanity, and proceeds to murder William and indirectly cause Justine’s death in Geneva. We see how the originally Romantic monster becomes anti-Romantic and wonder why this transformation happened, eventually concluding that had Frankenstein provide for his creation as God had provided for Adam, none of this suffering would have come to pass. By describing the monster’s utter despair and suffering, Shelley shapes our response – one filled with blame towards Frankenstein – effectively.

In conclusion, Shelley adopted an effective strategy in shaping our response to the monster. She brings us full circle, first dispelling any existing prejudices we might have against the monster, next getting us to sympathise and hope with the monster that he would be able to find fellowship with a group of humans, then dashing our hopes when the monster is rejected and rejects all of humankind. She does this by providing the perspective of the monster himself, letting us see into his innermost thoughts and feelings. Through him, we see the inability of the characters to recognise the humanity of the creature and deeply sympathise with him. Indeed, Shelley has efficiently transformed us into old De Lacey.