Frankenstein and The Rime of the Ancient Mariner: Reflections on Corruption and Redemption
Figures of the Romantic movement were enamoured with nature, emotion, and the concept of the sublime in contrast to Enlightenment’s stark rationalism. Romantic writers depicted nature as an awe-inspiring sublime force which could teach moral lessons and expose humanity's limitations. Mary Shelley's Frankenstein and Samuel Taylor Coleridge's The Rime of the Ancient Mariner both reflect these Romantic ideals by presenting nature as a force which responds to humanity's actions. Shelly even references Coleridge towards the beginning of her novel, when a character says, “I am going to unexplored regions, to 'the land of mist and snow'; but I shall kill no albatross, therefore do not be alarmed for my safety, or if I should come back to you as worn and woeful as the 'Ancient Mariner'.” (Shelley) However, Shelly and Coleridge reach rather different conclusions about humanity's relationship with nature. Both Frankenstein and The Rime of the Ancient Mariner convey that nature is a moral force, but Shelley infers that corrupted intellectual ambition severs any possibility of reconciliation with nature, while Coleridge suggests that humility and reverence make redemption possible. Both Shelley and Coleridge present the natural orders as something which responds to human corruption. In The Rime of the Ancient Mariner, the Mariner impulsively kills the albatross, which was a symbol of good luck to sailors. The act of killing the albatross was senseless, but in the context of this poem it symbolizes humanity's disregard for the natural world. As soon as the deed is done, the wind ceases, the ship is becalmed, and the crew suffers an agonizing death from thirst and starvation. Supernaturally, The Mariner is left as the only survivor, which is more of a punishment than a mercy. What Coleridge illustrates is that disrupting nature also damages one's relationship with the divine. Likewise, in Frankenstein, Victor Frankenstein disrupts the natural order by creating life through scientific experimentation. Andrew Green wrote a comparison titled, Intertextuality in Frankenstein: the influence of Paradise Lost and 'The Rime of the Ancient Mariner' in which he observed, “The symbolic importance of the albatross in Coleridge's poem is transposed onto the situation of Frankenstein in the novel: the monster, his promise to create a companion for the monster, his fascination with science, the heavy weight of death for which he is responsible, the fear of what will happen to the members of his family and a growing feeling of guilt and isolation are all 'albatrosses' around Frankenstein's neck.” (Green) Green draws a clear, metaphorical parallel between the two works and illustrates that while the Mariner carries a physical symbol of his sin, Victor’s "albatrosses" are more abstract. Victor’s ambition allows him to transcend the limits of human knowledge, but the result is suffering for himself, his family, and the Creature. While Coleridge portrays nature directly punishing the Mariner, Shelley emphasizes that Victor's violation of nature unleashes consequences that cannot be controlled. In both Frankenstein and The Rime of the Ancient Mariner, nature functions as a moral authority rather than a passive setting. Although both Victor Frankenstein and the Mariner encounter sublimity, only the Mariner experiences lasting moral transformation. In Frankenstein, while traveling through the Alps, Victor says, "The sight of the awful and majestic in nature had indeed always the effect of solemnizing my mind, and causing me to forget the passing cares of life." (Shelley) The grandeur of nature briefly restores his perspective and reminds him of humanity's insignificance. Victor’s encounters with nature provide temporary emotional relief, but ultimately never lead him to accept responsibility for his actions. He expresses regret for his harrowing and ill-spent youth in Chapter 24, when he says to Walton, “Seek happiness in tranquillity and avoid ambition, even if it be only the apparently innocent one of distinguishing yourself in science and discoveries. Yet why do I say this? I have myself been blasted in these hopes, yet another may succeed.” (Shelley) In contrast, the Mariner undergoes genuine spiritual change when he spontaneously blesses the water snakes, realizing their beauty without any hope of saving himself;
This simple act of reverence marks the turning point in his redemption. Unlike Victor, the Mariner allows his experience of the sublime to transform him spiritually. The fact that he blessed them “unaware” indicates that his transformation was deep and sincere. The difference between these responses suggests that redemption requires humility and genuine respect for all living things. Shelley and Coleridge seem to differ on whether humanity can restore its relationship with nature after violating it. Following the Mariner's blessing of the water snakes, the albatross falls from his neck, symbolizing the lifting of his spiritual burden;
In The Romantic Perception of the Presence of God in Robinson Crusoe and "The Rime of the Ancient Mariner," Mohamed El-Feky compares the Mariner to Robinson Cruisoe in Daniel Defoe’s novel, Robinson Cruisoe. He writes, “Once they perceive the gravity of the committed sin, they start repenting and atoning for what they have done, which leads to their reconciliation with themselves and with God." (El-Feky)
Unlike Victor Frakenstein, The Mariner recognizes and acknowledges what he did wrong, and that sets him on the path of redemption. Coleridge presents nature as a medium through which humanity encounters God, inferring that reverence for creation restores the broken relationship between humanity and the divine. This interpretation explains why the Mariner's blessing of the snakes marks the turning point of the poem. Although afterwards he is compelled to wander the earth and tell his story, the Mariner has found some semblance of peace and is right with God. Coleridge reinforces this lesson in the poem's closing lines:
Hence, love and reverence for creation become the foundation of redemption. Shelley, however, presents a more pessimistic vision. Despite numerous opportunities to reflect on his mistakes, Victor never seems to fully accept responsibility for his Creature. Even after witnessing the deaths of his loved ones, he remains consumed by pride. Nature repeatedly offers moments of clarity, yet Victor doesn’t learn from them. His inability to abandon his intellectual arrogance ultimately leads to his destruction. Shelley seems to suggest that humanity's desire to dominate nature is often too powerful to overcome. Both Frankenstein and The Rime of the Ancient Mariner embody central ideals of Romanticism by portraying nature as a force that reveals humanity's moral character. Yet Coleridge argues that individuals can restore harmony with nature through humility, reverence, and love for all living things, while Shelley, on the other hand, presents corrupted intellectual ambition as a destructive force that prevents true reconciliation, even when nature offers opportunities for reflection and renewal. Hence these works reveal the Romantic belief that humanity's relationship with nature is not merely physical but profoundly moral, while offering contrasting perspectives on whether that relationship can ultimately be repaired.
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