Frankenstein: Narratives of SeductionThe following essay concerns the structure of the frame in Mary Shelley's Frankenstein and its functions as suggested by Beth Newman's "Narratives of seduction and the" seduction of narratives ". To begin with, the novel Frankenstein is a symmetrically constructed narrative plot with a story at the center. This is not always the case with frame-structured novels, as there are examples without a real center (e.g. Heart of Darkness). The elaborate system of frames indicates that this center reveals a kind of mystery. However, it would be wrong to assume that only the center contains the meaning of the novel. On the contrary, the meaning of the novel is determined by the relationship between the different stories in the center and the frames around it. One of the main suggestions of the article is the functioning of internal oral narratives as forms of seduction, to be more specific, seductions into a promise. In other words, they try to get the listener to promise the satisfaction of a desire that cannot be directly satisfied. The two main examples of this are the story of the Monster and that of Frankenstein, but the themes of seductive storytelling and promise can also be found elsewhere in the novel. The Monster's desire is to be loved by someone. When he realizes that not only the DeLaceys but every human will reject him because of his ugliness, he tells Frankenstein his story to convince him to create a female being of his species for his mate. At the end of chapter 8 of volume II (page 97 of our edition) the monster s...... in the center of the card ...... the second reason for the lack of stylistic means to convey the persuasiveness of the narrator is probably more important and has to do with the structure of the novel. Frankenstein offers an inversion of the structure of the older novel, in which a written document is at the center of a novel surrounded by an oral narrative. In Frankenstein the originally oral accounts of the Monster and Frankenstein are not only framed by Captain Walton's written story, but are also transformed into written language. This technique is used to exclude Captain Waltons' sister and the reader from the horror of the narratives, building a barrier to the seductive power of spoken narratives that no longer works in the medium of written language. Thus the domestic tranquility of Walton's sister and her family is saved and not destroyed like that of Frankenstein's family at the center of the novel.