Mary Shelley And Frankenstein Essay Research Paper

Frankenstein, possibly Mary Wollstonecraft Shelley’s most well-known work, is considered by some to be the greatest Gothic Romance Novel. Due to her marriage to Percy Bysshe Shelley and close friendship with other prolific Romantic authors and poets, namely Lord Byron, Shelley’s works permeate with Romantic themes and references. Also present in Frankenstein are obvious allusions to The Metamorphoses by Ovid and Paradise Lost by Milton. Shelley had been studying these two novels during her stay at Lord Byron’s villa, and at the time she was composing Frankenstein. The use of these references and themes prove that Mary Shelley was a product of her environment and time. Robert Walton, the arctic explorer whose letters create the framework for this epistlary novel, opens the reader to the concept of the “Romantic Quest,” the journey for the unknown. “I am already far north of London,” he writes to his sister, “… [and] I feel a cold northern breeze play upon my cheeks…which fills me with delight…This breeze, which has travelled from regions towards which I am advancing, gives me a foretaste of those icy climes. Inspirited by this wind of promise, my day dreams become more fervent and vivid” (Shelley 15). These sentiments will be later echoed by Dr. Frankenstein when he experiments with the unknown to create his creature/monster. The quest of the Romantic can take many forms, from Coleridge’s “Rime of the Ancient Mariner” to Byron’s “Childe Harold,” both of which are poems alluded to during the course of the novel, along with ann abundance of allusions to William Wordsworth’s poetry. Walton ends his second letter by describing his feelings on the eve of his voyage. He says that he hopes to have his inspiration inspired similar to the best of the Romantic poets because he feels that there is still a “love for the marvellous, a belief in the marvellous, intertwined in all my projects, which hurries me out of the common pathways of men, even to the wild sea and unvisited regionns I am about to explore.” This statement is the very essence of one of the many facets of Romanticism; it contains a yearnning to search for the unknown, coupled with a lure of dangerous oceans and unexplored regionns, plus a passionate response to a new challenge, and finally, it mentions the now-famous albatross from Colleridge’s “Ancient Mariner.” This inspiration of Walton will again be reminiscent of Victor Frankenstein when he desires to create life, because this “god-like” desire contains a concept so lofty and mighty as to awe one. “No one can concieve the variety of feelings which bore me onwards, like a hurricane, in the first enthusiaasm of success. Life and death appeared to me ideal bounds, which I should first break through, and pour a torrent of light into our dark world. A new species would bless me as its creator and source; many happy and excellent natures would owe their being to me.” Walton expresses in his letters his bouts of solitude; he is extremely lonely because he has nno friend with whom he can share his Romantic visions nor with whom he can share his enthusiastic response to life. This loneliness will also be felt by Frankenstein when he leaves his home and enrolls at the University of Ingolstadt. He will find no other collegues who are interested in his Romantic pursuits. Solitude is, therefore, one of the strong characteristics of the Romantic inclination; numerous odes were written to-and about- solitude, including the forementioned “Ancient Mariner,” a recurring reference in the novel. Other ideas for Shelley’s novel arose in the summer of 1816 when she stayed at Lord Byron’s villa in Geneva, Switzerland. Utilizing sources that she had been reading and studying, Shelley incorporated two in particular, one being The Metamorphoses by Ovid. It is belived that Mary studied Ovid in April and May of 1815. The major element that Ovid supplied to the theme of Frankenstein was his presentation of the Prometheus legend. This is acknowledged in the subtitle: Frankenstein, or The Modern Prometheus. The creation of the monster is similiar to this passage from Ovid: Whether with particles of heav’nly fire, The God of Nature did his soul inspire; Or earth, but new divied from the sky, And, pliant, still retain’d th’ethereal energy; Which wise Prometheus temer’d into paste, And, mix’t with living streams, the godlike image cast… From such rude principles our form began; And earth was metamorphos’d into man. Lines from Frankenstein that reflect the above passage are, “I collected the instruments of life around me, that I might infuse a spark of being into the lifeless thing that lay at my feet,” and, “…that I may extinguish the spark which I so negligently bestowed. The second important literary influence was Paradise Lost by Milton. The influence of Milton can be seen directly from the epigraph of the 1818 edition of Frankenstein. Did I request thee, Make from my clay to mould me man? Did I solicit thee, from darkness to promote me? The spirit of Paradise Lost permeates Frankenstein throughout the novel. The monster states, “The fallen angel becomes a malignant devil. Yet even that enemy of God and man had friends and associate in his desolation; I am alone.” Three parallel themes from the two works arise from these quotes: the molding of a living being from clay, the growth of malice and the desire for revenge, and the isolation of a hostile being and the consequent increase of his hostility. It is easy to establish Mary Shelley’s knowledge of Paradise Lost. The work was admired in the Godwin household. Mary and Percy read it in 1815 and again in November 1816. Her journal states that Shelley read it aloud while she was writing Frankenstein. She even incorporated Paradise Lost into the novel by having it be one of the three works that the moster studied. The monster found a correlation between his condition and an aspect of the novel and stated, “Like Adam, I was apparently united by no link to any other human being… I was wretched, helpless and alone. Many times I considered Satan the fitter emblem of my condition.” Other echoes of Paradise Lost are Frankenstein hopes to be the source of a new species, but ironicalle his creature evolves into a self- acknowledged Satan who swears eternal revenge and was upon his creator and all the human race. The moster refllects that hell is an internal condition which is produced and incensed through loneliness. His only salvation is the creation of a mate, his Eve. Also, in the latter part of hte book, Frankenstein refers to the monster in terms used in Paradise Lost; the fiend, the demon, the devil, annd adversary. Both master and creature are torn by their internal conflicts from misapplied knowledge and their sense of isolation.