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Links between prometheus and frankenstein
Links between prometheus and frankenstein
The romantic figure of the promethean hero in Frankenstein
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Mary Shelley originally intended to title her novel “The Modern Prometheus”. She ended up changing it to Frankenstein in the second publication. “The Modern Prometheus” was kept as an additional title, but Shelley separated it by “or”. From the start of the novel, the additional title foreshadows Shelley’s connection of Frankenstein to the myth of Prometheus. The many parallels between Mary Shelly’s novel Frankenstein and the Greek creation myth of Prometheus become apparent through both plot and the paternal relationships of the characters in the book.
The myth of Prometheus involved the defiance of Zeus in order to create humanity. This lead to an extreme and prolonged punishment. Prometheus went behind Zeus’ back and created a human race out of clay. He tricked Zeus into getting the bad side of the bargain. This bargain was to give the better parts of the sacrificed animals to Prometheus’ humans and to give the paltry parts to the gods. Prometheus also stole a piece of Zeus’ sun, giving fire to his human race. Zeus became furious by these events and chained Prometheus to a rock on top of a mountain. Zeus condemned Prometheus by dictating that an eagle would come every day for eternity and eat his liver, only to have it grow back over night.
Victor Frankenstein and Prometheus both rebelled against God’s pure process of birth by nature to create their own forms of life. Victor thought that “a new species would bless him as its creator and source”(Shelley 58). Prometheus molded his human race out of his bare hands. Victor “found so astonishing a power placed within his hands”(Shelley 47). This connection in the emphasis of their hands accentuates their similar subversive acts of defiance. In addition to
their similar process...
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...Hercules had a similar impact on Prometheus. Prometheus was sentenced to punishment forever, but eventually Hercules freed him from imprisonment. Although both Prometheus and Victor lived with unending and constant pain, they were mentally and physically freed from their chains.
Victor Frankenstein and the Greek myth of Prometheus are revealed as each other's counterpart through the novel’s events and character’s relationships. Through their creations, Victor Frankenstein and Prometheus both experienced eternal pain as punishment to their acts of rebellion against nature. Victor’s monster turned against him and killed everyone he loved causing him eternal pain. Similarly, Zeus punished Prometheus by chaining him to a rock to have a bird eat out his liver for eternity. Both characters experienced unending pain connecting them to the very root of their existence.
Shelley, Mary. Frankenstein or the Modern Prometheus. Edited with an Introduction and notes by Maurice Hindle. Penguin books, 1992
addressing Frankenstein as a monster. Victor does not desire anything to do with this “wretch”. After seeing the creature he has created, he “[passes] the night wretchedly. Sometimes [his] pulse beat so quickly and hardly that [he] feels palpitation of every artery; at others, [he] nearly [sinks] to the ground through languor and extreme weakness.” (59) Victor acts a coward; he does not face his mistakes and try to fix them. Instead he feels weakened by the disappointment of himself. On the other hand, Prometheus reacts differently to his challenges. Prometheus acts strong minded, he thinks before he acts and trusts nobody. After Prometheus grants the villagers with fire, he “[…] [warns] his brother to beware of any gift that Jupiter might send, for he knew that the mighty tyrant [can] not be trusted.”(4) Prometheus expects consequences for his actions, just as an army general expects an attack from the enemy. Prometheus acts brave in questioning authority and waits ready for battle, if Zeus retaliates for disobeying
The first question which must be addressed is, "Why have these men been made to suffer?" To simply say that Zeus or God is displeased is not enough, and to say that Prometheus and Job have sinned is confusing. Most Western readers approach these works with a pre-conceived notion of sin which has been born out of the Judeo-Christian theological tradition a tradition which dictates that there are specific moral rules which must be followed, and to transgress them is to sin. While this interpretation of sin may be functional for a reading of Job, it is useless for understanding Prometheus Bound.
Mary Shelley's Frankenstein explores the downfall of certain human characteristics, set to the backdrop of creation, destruction, and preservation. The subtitle denoted by Shelly herself supports this idea, by relating the fact that the title can be viewed as either Frankenstein or The Modern Prometheus. One scholar, Marilyn Butler, also maintains this by noting, "It can be a late version of the Faust Myth"(302). Shelly uses the story of the main character, Victor Frankenstein, to produce the concept of a dooming human characteristic of which Frankenstein states, "I have . . . been blasted in these hopes"(Shelley, 152). The reader finds, as a result of his thirst for knowledge and infatuation with science, Victor creates a living being by whom he has "suffered great and unparalleled misfortunes"(Shelley, 17). Eventually, Victor realizes this self-destructive trait, but he is not able to save himself stating, "I have lost everything, and cannot begin life anew"(Shelley, 16). Although everything in his life that is dear has been lost, Victor is able to convince one in his same position--Robert Walton--to not "lead [his crew] unwillingly to danger"(Shelley, 151). While addressing the concept of characteristic and self-discovery, it is possible to realize that the monster also possesses the characteristics held by both Victor and Walton; except in his learning, the monster is driven to continue to cause destruction. Most important about the thirst for knowledge is that, as a form of human characteristic or downfall, it leads to large, critical pieces of self-discovery. In obtaining these critical pieces, Frankenstein finds satisfaction in j...
Shelley, Mary Wollstonecraft, and Maurice Hindle. Frankenstein, Or, The Modern Prometheus. London: Penguin, 2003. Print.
Mary Shelley’s Frankenstein is ‘one of the pioneering works of modern science fiction’, and is also a frightening story that speaks to the ‘mysterious fears of our nature’. Mary Shelley mocks the idea of “playing God”, the idea that came from the Greek myth of Prometheus, of the Greek titan who stole Zeus’ gift of life. Both the story of Frankenstein and Prometheus reveal the dark side of human nature and the dangerous effects of creating artificial life. Frankenstein reveals the shocking reality of the consequences to prejudging someone. The creature’s first-person narration reveals to us his humanity, and his want to be accepted by others even though he is different.
Shelley, Mary Wollstonecraft, Walter James Miller, and Harold Bloom. Frankenstein, Or, The Modern Prometheus. New York: New American Library, 2000. Print.
Shelley, Mary. Frankenstein or the Modern Prometheus. Edited with an Introduction and notes by Maurice Hindle. Penguin books, 1992
Shelley, Mary. Frankenstein or the Modern Prometheus. The 1818 Text. New York: Oxford UP, 1998.
Gaining inspiration from Ancient Greek Mythology, Mary Shelley published a classic gothic science fiction novel, known informally as Frankenstein. In Ancient Greek folklore, Prometheus is said to be the wisest of all the Gods. In the form of fire, he has been praised for bringing forth knowledge and enlightenment to mankind. The history of Prometheus’ fate is depicted throughout the text. Victor Frankenstein, whom upon years of study and fascination of natural philosophy and chemistry, discovers the secret of life, just as Prometheus once discovered the secret of fire (in many cultures, fire is a portrayal of energy and life), which makes a direct link to the relations of Prometheus and Victor. Armed with the knowledge he has long been seeking, Victor secludes himself in an apartment and begins to fashion a creature out of old body parts....
The monster of the novel is often misattributed with the name, “Frankenstein.” However, Victor Frankenstein can ultimately be considered the true monster of this tale. His obsession would lead to the corruption of his soul and the creation of two monsters—one himself, and the other, the creature. In attempting to take on the role of God, nature would become a monster to Victor and destroy his life. These elements of monstrosity in Frankenstein drive the meaning of its story.
Shelley, Mary. Frankenstein or the Modern Prometheus. Edited with an Introduction and notes by Maurice Hindle. Penguin books, 1992
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.
Mary Wollstonecraft Shelley’s Frankenstein (sometimes also known as The Modern Prometheus) is the classic gothic novel of her time. In this eerie tale, Dr. Victor Frankenstein – suffering from quite an extreme superiority complex – brings to life a creature made from body parts of deceased individuals from nearby cemeteries. Rather than to embrace the Creature as his own, Frankenstein alienates him because of his unpleasant appearance. Throughout the novel, the Creature is ostracized not only by Frankenstein but by society as a whole. Initially a kind and gentle being, the Creature becomes violent and eventually seeks revenge for his creator’s betrayal. Rather than to merely focus on the exclusion of the Creature from society, Shelley depicts the progression of Dr. Frankenstein’s seclusion from other humans as well, until he and the Creature ultimately become equals – alone in the world with no one to love, and no one to love them back. Frankenstein serves as more than simply a legendary tale of horror, but also as a representation of how isolation and prejudice can result in the demise of the individual.
Mary Shelley’s Frankenstein or The Modern Prometheus can be interpreted as a chilling warning of the dangers of scientific overreaching and ambition. Mary Shelley was already aware of the works of scientists such as Erasmus Darwin and was being influenced by writers such as Byron when, at “the age of nineteen, she achieved the quietly astonishing feat of looking beyond them and creating a lasting symbol of the perils of scientific Prometheanism” (Joseph, 1998, p, xiii). The fact that Shelley parallels her story of Frankenstein with the myth of Prometheus is interesting and gives an immediate insight into the extent of criticism she bestows on Victor Frankenstein’s scientific ambition. In one version of the Prometheus myth (Prometheus Pyprphoros) he brought down fire from the sun to succour mankind, and was then punished by being chained up with an eagle feasting on his liver in a perpetual cycle. In another version (Prometheus Plasticator) he animated a man from clay in an act of usurping God. The undoing of Frankenstein can be taken as a metaphor for either version and is key to understanding that as Shelley orchestrates Victor’s downfall she is presenting his actions as a warning of what horrors blind scientific ambition can wreak upon mankind.