Frankenstein: Creation and Monstrosity. NY: Reaktion Books, 1997. Print. Gigante, Denise. “Facing the Ugly: The Case of Frankenstein.” English Literary History 67.2 (2000): 565-87.
New York, London, 1988. Patterson, Arthur Paul. A Frankenstein Study. http://www.watershed.winnipeg.mb.ca/Frankenstein.html Shelley, Mary. Frankenstein or the Modern Prometheus.
47-52. Print. Thompson, Terry W. "Shelley's Frankenstein." The Explicator 64.2 (2006): Pgs 81+. Literature Resource Center.
Throughout the book, Victor Frankenstein acts the part of the modern Prometheus, God the creator, and cursed Satan, while the Monster takes the roles of innocent Adam and Satan the avenger. According to “Mary Wollstonecraft Godwin Shelley,” Mary Shelley’s parents were two of the most eminent and revolutionary thinkers of their time. Her mother, Mary Wollstonecraft, was a radical feminist who authored A Vindication of the Rights of Women while her father, William Godwin, was a radical political theorist who authored Enquiry Concerning Political Justice and Caleb Williams (“Mary Wollstonecraft Godwin Shelley” 3202). According to Carol Adams, Douglas Buchanan, and Kelly Gesch in The Bedside, Bathtub & Armchair Companion to Frankenstein, Mary’s parents “had entered the politiciz... ... middle of paper ... ...icism: 1500 to the Present. Ed.
Frankenstein or the Modern Prometheus. Edited with an Introduction and notes by Maurice Hindle. Penguin books, 1992 Strehle, Susan. "John Gardner's Novels: Affirmation and the Alien." Contemporary Literary Criticism.
Frankenstein or the Modern Prometheus. Edited with an Introduction and notes by Maurice Hindle. Penguin books, 1992 Stevenson, Robert Louis. The Strange Case of Dr. Jekyll and Mr. Hyde. New York:Dover Publishing, Inc., 1991.
The role of the imagination in Mary Shelley’s 1818 novel, Frankenstein is a vital when defining the work as Romantic. Though Shelley incorporates aspects that resemble the Enlightenment period, she relies on the imagination. The power of the imagination is exemplified in the novel through both Victor and the Creature as each embarks to accomplish their separate goals of scientific fame and accomplishing human relationships. The origin of the tale also emphasizes the role of the imagination as Shelley describes it in her “Introduction to Frankenstein, Third Edition (1831)”. Imagination in the text is also relatable to other iconic works of the Romantic Period such as S. T. Coleridge’s Biographia Literaria in which he defines Primary and Secondary imagination.
Therefore, this novel has been studied many times for Miltonic echoes and influences. In Frankenstein, Mary Shelley defines the relationship between man and nature arisen from the scientific and technological progress with an epic theme of man’s lust, limitation, and punishment. Overall the motif of this novel is an archetypal journey driven by man’s forbidden fire of desire. Since Dante does have such great influence on Milton from whose work Mary borrows and utilizes as her source of reference, there should be some connection between Dante and Mary. When Victor first sees the monster alive, he describes that No mortal could support the horror of that countenance.
In Frankenstein, Mary Shelley challenges the motives and ethical uncertainties of the scientific developments of her time. This critique has become increasingly relevant as modern scientists endeavor into previously unimagined realms of the natural world through the use of cloning and genetic engineering. Through careful analysis, we can see how the novel illustrates both the potential dangers of these exploits and the irony of the conflicts between science and creationism. Prior to the birth of the story, Mary Shelley had begun to learn of advancements and speculation in the scientific world of the early nineteenth century; in Frankenstein's introduction, editor M. K. Joseph asserts that "Mary Shelley wrote in the infancy of modern science, when its enormous possibilities were just beginning to be seen" (xii). Interest in electricity, premature concepts of evolution, and other post-Enlightenment developments seized the attention of Mary and her lover, English writer Percy Shelley.
Notre Dame, IN: University of Notre Dame Press, 1963. Chickering, Howell D.. Beowulf A dual-Language Edition. New York: Anchor Books, 1977. Frank, Roberta. “The Beowulf Poet’s Sense of History.” In Beowulf – Modern Critical Interpretations, edited by Harold Bloom.