Mary Shelley's "Frankenstein"
In order to illustrate the main theme of her novel “Frankenstein”, Mary Shelly draws strongly on the myth of Prometheus, as the subtitle The Modern Prometheus indicates. Maurice Hindle, in his critical study of the novel, suggests, “the primary theme of Frankenstein is what happens to human sympathies and relationships when men seek obsessively to satisfy their Promethean longings to “conquer the unknown” - supposedly in the service of their fellow-humans”. This assertion is discussed by first describing the Promethean connection. Thereafter, the two forms of the myth, Prometheus the fire-stealer and Prometheus the life-giver are reviewed in the context of Shelly’s use of the myth in her novel and their relationship to the main theme. Finally, the character of Frankenstein as a modern Prometheus of the scientific age is discussed in the context of English Romantic literature.
This “Promethean longing” mentioned by Hundle, is the connection between Victor Frankenstein and Robert Walton. They both seek to gain knowledge of the unknown. Victor Frankenstein’s obsession with occult scientific knowledge results in the destruction of his family and friends, whilst Walton, the narrator of the story, causes many deaths by his obsessive journey to the North Pole.
Shelly’s use of the Prometheus myth combines the two versions of the legend, Prometheus the “fire-stealer” and Prometheus the “life-giver”. According to the Ancient Greeks, in the first version of the myth, the Titan, Prometheus, in rebellion against Zeus, took fire from the sun and gave it to humankind to warm them and enable them to make tools and weapons, thereby allowing them to rise above other animals. Zeus was incensed by Prometheus’ disobedience, and as punishment, ordered Prometheus chained to a rock, where his liver was eaten by eagles each day and restored each night so that his torment could be prolonged for eternity.
The second, Roman version of the myth, comes from Ovid’s Metamorphoses, which, according to Newey (1993), Mary Shelly read in 1815. In this version Prometheus was the Creator who made man from clay and breathed life into him. This relates directly to the quotation on the title page of Shelly’s book.
“Did I request thee Maker, from my clay to mould me man. Did I solicit thee from darkness to promote me? Although a quotation from Milton’s...
... middle of paper ...
...fe-giver. However, it could be argued that Frankenstein is better connected to Prometheus the fire-stealer. Frankenstein’s experiments with the two edged sword of forbidden knowledge had the possibility of bestowing great good upon humanity or perhaps the destruction of humankind.
Shelley has utilised both versions of the myth to great effect in the development of the main theme. Her character, Frankenstein, effectively destroyed all he held dear as a consequence of his obsession with the pursuit of forbidden knowledge.
Works Cited:
Griffith, G. V. 1997 Frankenstein in the Context of the Romantic Era. Retrieved April 2004 from http://www.enotes.com
Hindle, M. 1994, Mary Shelley Frankenstein Penguin Books, London
Hunter, J. P. (ed.), 1996, Mary Shelley Frankenstein. The 1818 Text, Contexts, Nineteenth-Century Responses, Modern Criticism, W.W. Norton & Company, New York
Newey, K. 1993, Mary Shelley’s Frankenstein Sydney University Press, Sydney
Schmidt, A. 1999, The Myth of Prometheus, Retrieved April 2004 from http://www.enotes.com
Oates, J.C. 1984 Frankenstein’s Fallen Angel, in Critical Inquiry, Vol 10 No.3. Retrieved April 2004 from http://www.enotes.com
Shelley, Mary. Frankenstein: the original 1818 text. 2nd ed. Ed. D.L. Macdonald and Kathleen Scherf. Peterborough: Broadview, 1999.
Works Cited Shelley, Mary. Frankenstein. 1818. Ed. J. Paul Hunter. Norton Critical Edition. New York: Norton, 1996.
in Frankenstein: Contexts, nineteenth century responses, criticism. By Mary Shelley. Ed. J. Paul Hunter. Norton Critical Edition.
Another problem lawmakers face in their attempt to lower the harm caused by drunk drivers is that simply lowering the blood alcohol content for a ...
“Drink the first. Sip the second slowly. Skip the third. The speedway ends at the cemetery” (Rockne). Every day, almost 30 people in the United States die in motor vehicle crashes that involve an alcohol-impaired driver. This amounts to one death every 48 minutes. The annual cost of alcohol related crashes totals more than 51 billion. In Recent discussions of drunk driving, a controversial issue has been whether the driving while intoxicated laws should be increased due to the amount tax payers are paying for drunk driving crashes. On the one hand. Some argue that the driving laws for driving drunk should remain the same and not change. From this perspective the laws about driving under the influence should greatly increase to be stricter, this will help decrease the death rate per year in the United States. On the other hand, however others argue that the laws about driving while drunk are already too strict and should remain unchanged. In sum, then, the issue is whether the laws about driving drunk should be greatly increased to be more effective, or remain unchanged. Because drunk driving can result in unnecessary and premature deaths, unsafe roadways, billions of dollars spent on taxpayers due to DUI’S, and losing a loved one. Drunk driving laws should be altered to be more efficient.
Mary Shelley’s Frankenstein, or the Modern Prometheus, explores the monstrous and destructive affects of obsession, guilt, fate, and man’s attempt to control nature. Victor Frankenstein, the novel’s protagonist and antihero, attempts to transcend the barriers of scientific knowledge and application in creating a life. His determination in bringing to life a dead body consequently renders him ill, both mentally and physically. His endeavors alone consume all his time and effort until he becomes fixated on his success. The reason for his success is perhaps to be considered the greatest scientist ever known, but in his obsessive toil, he loses sight of the ethical motivation of science. His production would ultimately grieve him throughout his life, and the consequences of his undertaking would prove disastrous and deadly. Frankenstein illustrates the creation of a monster both literally and figuratively, and sheds light on the dangers of man’s desire to play God.
Works Cited Shelley, Mary. Frankenstein: A Norton Critical Edition. ed. J. Paul Hunter. New York: W. W. Norton, 1996.
Shelley, Mary Wollstonecraft, and Maurice Hindle. Frankenstein, Or, The Modern Prometheus. London: Penguin, 2003. Print.
Shelley, Mary. Frankenstein: A Norton Critical Edition. Ed. J. Paul Hunter. New York: W. W.
Mary Shelley, the renowned author of Frankenstein, explores the consequences of man and monster chasing ambition blindly. Victor Frankenstein discovered the secret that allowed him to create life. His understanding of how bodies operated and the science of human anatomy enabled him to make this discovery and apply it to the creation of his monster. Walton wished to sail to the arctic because no sailor has ever reached it. The monster was created against his will, his ambition was to avenge his creation as a hideous outcast. These three characters were all driven by the same blind ambition.
New York: The Berkley Publishing Group, 2001. 212-217. Shelley, Mary. “Frankenstein” New York: Bantam Dell, 1981.
Shelley, Mary. Frankenstein. Ed. D.L. Macdonald and Kathleen Scherf. Orchard Park, NY: Broadview Press, 1999.
Mary Shelley’s Frankenstein or The Modern Prometheus, published in 1818, is a product of its time. Written in a world of social, political, scientific and economic upheaval, it highlights human desire to uncover the scientific secrets of our universe, yet also confirms the importance of emotions and individual relationships that define us as human, in contrast to the monstrous. Here we question what is meant by the terms ‘human’ and ‘monstrous’ as defined by the novel. Yet to fully understand how Frankenstein defines these terms, we must look to the etymology of them. The novel however, defines the terms through its main characters, through the themes of language, nature versus nurture, forbidden knowledge, and the doppelganger motif.
...ry. The loneliness of Frankenstein and the monster drove them miserable for most their lives, and in the end, to death. Walton on the other had, turns back to civilization, perhaps learning something from the story of Victor Frankenstein. In the book Frankenstein, there were many moments of glory for Victor Frankenstein, but in the end he only ending up destroying many of his family, himself, and the monster after suffering through loneliness and grief for a big part of his life.
Mary Shelley in her book Frankenstein addresses numerous themes relevant to the current trends in society during that period. However, the novel has received criticism from numerous authors. This paper discusses Walter Scott’s critical analysis of Mary Shelley’s Frankenstein in his Blackwood's Edinburgh Magazine Review of Frankenstein (1818).