Mary Shelley - Introduction Frankenstein

Mary Shelley was born Mary Wollstonecraft in 1797 to William Godwin and Mary Wollstonecraft—both very prominent, liberal writers. Mary’s mother, a pioneer in promoting women’s rights and education, died shortly after giving birth to her daughter; however, she remained a strong influence on the young girl through her writings and reputation. Life and Times

Percy Bysshe Shelley Growing up, Mary was surrounded by lively intellectual conversation as her home was frequented by writers. At age 16, she met and fell in love with Romantic poet Percy Bysshe Shelley, a friend of her father’s.

Romantic beyond Romance In 1816, Mary and Percy eloped. A life that she termed “romantic beyond romance”, Mary and Percy lived happily for eight years until his tragic death in 1822. This time was not without tragedy as Shelley gave birth to four children and three died as infants.

At the age of 24, she was an impoverished widow, and she supported herself, her son and father with her writing. Shelley 1st published Frankenstein in 1818 anonymously but republished again in 1831 after writing its introduction.

The Romantics or The Disheartened Liberals Romantic Movement The Romantics or The Disheartened Liberals

Solitude of Nature Sought solitude in nature Key to emotional healing Nature imagery is a predominant feature “The weather was fine: it was about the middle of August...The weight upon my spirit was sensibly lightened as I plunged into the precipices that overhung me on every side—the sound of the river raging among the rocks, and the dashing of the waterfalls around, spoke of a power mighty as Omnipotence—and I ceased to fear, or to bend before any less almighty than that which had created and ruled the elements...”.

Disenfranchised Men The idea of the disenfranchised man was very common. They were: unable to live in society often revered and/or sympathized with The creature: his form keeps him from any human company. Victor Frankenstein: he eventually feels that he cannot enjoy the company of his fellow men after unleashing a monster among them.

The Supernatural To make the ordinary seem wonderful and awe-inspiring. Some dealt with non-natural things The creature, as well as his education and life, could not be real. Prior to the Romantic era, writers wrote fiction that read as though it could possibly be real—and was often taken for truth. Frankenstein cannot be misconstrued as real.

Gothic Literature Stems from Romantic Literature and Predecessor of the Modern Horror Movie

Gothic Connection to Nature Put a spin on the idea of nature worship and imagery Nature still has the power to heal Gave nature the power of destruction Many storms arise in the book, including the storm on the night the creature comes to life, as well as other intense moments in the text.

Mood and Weather Most common feature of Gothic literature: Using the weather to indicate mood The reader knows when something bad is going to happen “A flash of lightning illuminated the object, and discovered its shape plainly to me; it’s gigantic stature, and the deformity of its aspect, more hideous than belongs to humanity.”

The Making of Frankenstein On 19 March 1815 Shelley recorded in her journal, after the death of her first child: "Dream that my little baby came to life again--that it had only been cold & that we rubbed it before the fire & it lived."

Byron’s Challenge In the summer of 1816, Percy and Mary visit Lord Byron’s estate in France. The summer of 1816 had fall like weather because a massive volcano in Indonesia spewed ash around the world. Because of the gloomy weather, Byron issued a challenge to his guests to create the best horror story.

The Publishing of Frankenstein At Byron’s estate, Mary has a dream about a man who plans to bring life to the dead. She turns her idea into a story and is encouraged by her husband to turn the story into a novel. In 1818, Shelley publishes the novel at the age of 19.

Central Characters The Creature/Monster, Victor Frankenstein, Robert Walton, Elizabeth Lavenza, and Henry Clerval

Creature Victor's creation is referred to as the monster or the demon Creature Victor's creation is referred to as the monster or the demon. He is created on a dark, dreary night in November. Victor Frankenstein He tells Robert Walton his life story, one which includes collecting dead body parts and bringing a creature/monster to life, a monster who wreaks vengeance on his creator for abandoning him and leaving him alone.

Robert Walton The novel opens with letters from Robert Walton to his sister. It is through these letters that Walton narrates the tale of Dr. Frankenstein. Henry Clerval Henry is Victor's best friend and follows him to Ingolstadt to help Victor recover from an illness.

Elizabeth Lavenza Frankenstein Elizabeth is adopted by the Frankenstein family and raised to be the wife of Victor. She represents all that is beautiful to Victor. She is the antithesis of the monster he creates.

Minor Characters

Justine Moritz - Justine comes to live with the Frankenstein family and cares for the dying Mrs. Frankenstein. The De Lacey Family - The monster observes a family in a cottage in the forest and becomes their secret helper. He befriends the blind Mr. De Lacey in hopes that his kindness will serve as a bridge to the rest of the family. Alphonso Frankenstein - Victor's father unwittingly encourages Victor's study of science by a disparaging remark regarding Cornelius Agrippa.

Margaret Saville - Mrs. Saville is the audience for Robert Walton's tale. Caroline Beaufort Frankenstein - The daughter of Alphonso's close friend is left in poverty at her father's death. Alphonso takes care of Caroline and marries her a couple years later. William Frankenstein - Victor's youngest brother, murdered by the monster. Professors Krempe and Waldman - Two professors at Ingolstadt who influence Frankenstein's work.

Paradise Lost, Prometheus, and Rime of the Ancient Mariner Literary Allusions Paradise Lost, Prometheus, and Rime of the Ancient Mariner

Literary Allusions Allows the reader to garner information in only a title or a character name. All of the connotations of the one work are transferred to the new one. Shelley uses many allusions, referring mostly to Milton’s Paradise Lost and the biblical account of Adam and Eve.

The Creation of Adam and Eve This story is one that is well known in Western culture, especially Milton’s version. Shelley wanted to bring the back story of Paradise Lost to Frankenstein. She presented the idea of the proud and inquisitive creature being cast out, as well as the idea that being cast out was a horrible thing.

The Monster and Adam The monster appeals to Frankenstein's sympathy by comparing himself to Adam: "Oh Frankenstein, be not equitable to every other and trample upon me alone, to whom thy justice, and even thy clemency and affection, is most due. Remember that I am thy creature; I ought to be thy Adam, but I am rather the fallen angel.” The monster's petition evokes sympathy, highlighting the guilt of his creator. If Frankenstein would only have loved his creation, the tragedy could have been avoided.

Victor is Godlike The monster reminds Victor, once again, of his duty. Victor had become as a god, and must therefore act with mercy. The monster brings up Eve to emphasize his loneliness and to preface his request for a mate. "But it was all a dream; no Eve soothed my sorrows nor shared my thoughts; I was alone. I remembered Adam's supplication to his Creator. But where was mine?”

Victor as Adam The roles are reversed. Here Dr. Frankenstein compares himself to Adam. The monster's desire to make Victor as miserable as he is approaching completion. “Sweet and beloved Elizabeth! I read and re-read her letter, and some softened feelings stole into my heart and dared to whisper paradisiacal dreams of love and joy; but the apple was already eaten.”

Greek Myth: Prometheus Prometheus was a Greek god who was in charge of giving out gifts to the various creatures on Earth.

Prometheus He gave out speed and instinct and such, but by the time he got to mankind, he was out of gifts. He decided to go against his orders and gave man fire (symbolic of knowledge). The other gods were angered by his disobedience (partly because now man was too godlike). Prometheus’ punishment was that he was chained to a rock. Every day a vulture came and devoured his liver. Every night the liver grew back to be devoured the next day. In several obvious ways, this ancient Greek story is very closely connected to Frankenstein.

Victor as Prometheus The full title of the novel, Frankenstein, or the Modern Prometheus, emphasizes the theme of Victor as an over-reacher, one who ascends further than his ability. In Greek mythology, Prometheus created man. As a modern Prometheus, Victor creates a new species. Much like Prometheus suffers eternally, so must Victor Frankenstein.

Rime of the Ancient Mariner Coleridge's "Rime of the Ancient Mariner" tells the story of an ancient mariner who kills an albatross and brings upon himself and his ship's crew a curse. The ancient mariner travels the world, unburdening his soul, telling his story to whomever needs to hear it. Shelley alludes to the poem several times.

Victor as the Ancient Mariner Robert Walton in Frankenstein is similar to the Wedding Guest from "Rime of the Ancient Mariner," with Victor Frankenstein playing the role of the mariner. As the mariner feels compelled to share his story to one who needs to hear it, so does Victor. The explicit theme in "Rime of the Ancient Mariner," that love conquers all, is a clue as to how the tragedy that occurs in Frankenstein's life could have been avoided.

Victor Frankenstein’s Science Modern readers are often puzzled by Victor’s approach to discovering the “elixir of life” in that he does not seem to perform scientific experiments as much as read books. Prior to the eighteenth century, what we call “science” and what we call “philosophy” were essentially the same disciplines. The study of nature and the desire to know how nature functions eventually came to be called “natural philosophy,” but the quest for such knowledge was still more what we would consider philosophical than scientific.

Victor’s Influences Mary Shelley indicates that Victor is a student of this “natural philosophy” when she indicates who some of Victor’s early influences were. Cornelius Agrippa Paracelsus Albertus Magnus Roger Bacon While admitting that many of these men’s theories had been discredited, Victor still admits that it was they who largely set him on the course he was eventually to take.

Cornelius Agrippa A Renaissance philosopher and scientist whose works reflect a strong interest in the occult and ancient, mystical “sciences” of the near East His famous work “De incertitudine et vanitate scientiarum” (the vanity and uncertainty of the arts and sciences), published in 1527, is a collection of thoughts on Renaissance. In terms of “real science,” his ideas have all but been discredited by later thinkers and by the processes of observation and experimentation.

Paracelsus Introduced a new concept of disease and the use of chemicals rather than herbs to treat diseases. Paracelsus asserted that diseases were caused by external agents attacking the body, contrary to the then-traditional idea of disease as an internal upset of the balance of the body’s humors (yellow bile, black bile, blood and phlegm). To cure the disease, one needed to attack this external agent. Alchemy became the means by which the chemical remedies were prepared. Thus, Paracelsus changed the emphasis of the alchemy from chasing the mythological “Elixir of Life” or “Philosopher’s Stone,” to making medicines.

Albertus Magnus Advocated the search into the natural causes of things apart from the church’s position that God was the cause of all effects. In one of his most famous works Albertus wrote: “The aim of natural science is not simply to accept the statements of others, but to investigate the causes that are at work in nature.” This was a radical idea for the time, as most scholars believed that the scriptures were the sole source of all knowledge.

Roger Bacon Roger Bacon was an even stronger advocate of experimental science than was Albertus but did not feel compelled to reconcile his scientific theories with Church doctrine.