Mary Shelly's Frankenstein
Session 5: Introduction to Frankenstein
In this learning sequence, students investigate narrative context and the literary style of the text to understand the conventions and values.
Scientific Rationalism and Romanticism
Research the ideals underpinning these movements and compare them. Which aspects of the story reflects these conflicting values?
Find examples from the text which effectively show the contrast in these opposing ideologies.
Discuss “Frankenstein” as an example of a classic Gothic Horror novel.
Discuss the literary conventions associated with that style.
In this learning sequence, students investigate narrative context and the literary style of the text to understand the conventions and values.
Scientific Rationalism and Romanticism
Research the ideals underpinning these movements and compare them. Which aspects of the story reflects these conflicting values?
Find examples from the text which effectively show the contrast in these opposing ideologies.
Discuss “Frankenstein” as an example of a classic Gothic Horror novel.
Discuss the literary conventions associated with that style.
Session 6: Intertextuality and authorial intent
The alternative title for the text is “The Modern Prometheus”. Consider the symbolism of the title. How is Victor Frankenstein similar to Prometheus and what does this comparison suggest about the Shelley’s social context?
Consider the subversion of the original Promethean tale and how Victor is presented as a Romantic hero through his suffering. Consider allusions to Shelley’s “Prometheus Unbound”, Milton’s “Paradise Lost” and Coleridge’s “Rime of the Ancient Mariner”. There is an ongoing preoccupation with the defiance of God and the natural order in the text. Consider the purpose and origin of this.
The alternative title for the text is “The Modern Prometheus”. Consider the symbolism of the title. How is Victor Frankenstein similar to Prometheus and what does this comparison suggest about the Shelley’s social context?
Consider the subversion of the original Promethean tale and how Victor is presented as a Romantic hero through his suffering. Consider allusions to Shelley’s “Prometheus Unbound”, Milton’s “Paradise Lost” and Coleridge’s “Rime of the Ancient Mariner”. There is an ongoing preoccupation with the defiance of God and the natural order in the text. Consider the purpose and origin of this.
Prometheus Unbound
BY PERCY BYSSHE SHELLEY
(excerpt)
SCENE.—A Ravine of Icy Rocks in the Indian Caucasus. Prometheus is discovered bound to the Precipice. Panthea and Ione are seated at his feet. Time, night. During the Scene, morning slowly breaks.
Prometheus.
Monarch of Gods and Dæmons, and all Spirits
But One, who throng those bright and rolling worlds
Which Thou and I alone of living things
Behold with sleepless eyes! regard this Earth
Made multitudinous with thy slaves, whom thou
Requitest for knee-worship, prayer, and praise,
And toil, and hecatombs of broken hearts,
With fear and self-contempt and barren hope.
Whilst me, who am thy foe, eyeless in hate,
Hast thou made reign and triumph, to thy scorn,
O'er mine own misery and thy vain revenge.
Three thousand years of sleep-unsheltered hours,
And moments aye divided by keen pangs
Till they seemed years, torture and solitude,
Scorn and despair,—these are mine empire:—
More glorious far than that which thou surveyest
From thine unenvied throne, O Mighty God!
Almighty, had I deigned to share the shame
Of thine ill tyranny, and hung not here
Nailed to this wall of eagle-baffling mountain,
Black, wintry, dead, unmeasured; without herb,
Insect, or beast, or shape or sound of life.
Ah me! alas, pain, pain ever, for ever!
No change, no pause, no hope! Yet I endure.
I ask the Earth, have not the mountains felt?
I ask yon Heaven, the all-beholding Sun,
Has it not seen? The Sea, in storm or calm,
Heaven's ever-changing Shadow, spread below,
Have its deaf waves not heard my agony?
Ah me! alas, pain, pain ever, for ever!
The crawling glaciers pierce me with the spears
Of their moon-freezing crystals, the bright chains
Eat with their burning cold into my bones.
Heaven's wingèd hound, polluting from thy lips
His beak in poison not his own, tears up
My heart; and shapeless sights come wandering by,
The ghastly people of the realm of dream,
Mocking me: and the Earthquake-fiends are charged
To wrench the rivets from my quivering wounds
When the rocks split and close again behind:
While from their loud abysses howling throng
The genii of the storm, urging the rage
Of whirlwind, and afflict me with keen hail.
And yet to me welcome is day and night,
Whether one breaks the hoar frost of the morn,
Or starry, dim, and slow, the other climbs
The leaden-coloured east; for then they lead
The wingless, crawling hours, one among whom
—As some dark Priest hales the reluctant victim—
Shall drag thee, cruel King, to kiss the blood
From these pale feet, which then might trample thee
If they disdained not such a prostrate slave.
Disdain! Ah no! I pity thee. What ruin
Will hunt thee undefended through wide Heaven!
How will thy soul, cloven to its depth with terror,
Gape like a hell within! I speak in grief,
Not exultation, for I hate no more,
As then ere misery made me wise. The curse
Once breathed on thee I would recall. Ye Mountains,
Whose many-voicèd Echoes, through the mist
Of cataracts, flung the thunder of that spell!
Ye icy Springs, stagnant with wrinkling frost,
Which vibrated to hear me, and then crept
Shuddering through India! Thou serenest Air,
Through which the Sun walks burning without beams!
And ye swift Whirlwinds, who on poisèd wings
Hung mute and moveless o'er yon hushed abyss,
As thunder, louder than your own, made rock
The orbèd world! If then my words had power,
Though I am changed so that aught evil wish
Is dead within; although no memory be
Of what is hate, let them not lose it now!
What was that curse? for ye all heard me speak.
BY PERCY BYSSHE SHELLEY
(excerpt)
SCENE.—A Ravine of Icy Rocks in the Indian Caucasus. Prometheus is discovered bound to the Precipice. Panthea and Ione are seated at his feet. Time, night. During the Scene, morning slowly breaks.
Prometheus.
Monarch of Gods and Dæmons, and all Spirits
But One, who throng those bright and rolling worlds
Which Thou and I alone of living things
Behold with sleepless eyes! regard this Earth
Made multitudinous with thy slaves, whom thou
Requitest for knee-worship, prayer, and praise,
And toil, and hecatombs of broken hearts,
With fear and self-contempt and barren hope.
Whilst me, who am thy foe, eyeless in hate,
Hast thou made reign and triumph, to thy scorn,
O'er mine own misery and thy vain revenge.
Three thousand years of sleep-unsheltered hours,
And moments aye divided by keen pangs
Till they seemed years, torture and solitude,
Scorn and despair,—these are mine empire:—
More glorious far than that which thou surveyest
From thine unenvied throne, O Mighty God!
Almighty, had I deigned to share the shame
Of thine ill tyranny, and hung not here
Nailed to this wall of eagle-baffling mountain,
Black, wintry, dead, unmeasured; without herb,
Insect, or beast, or shape or sound of life.
Ah me! alas, pain, pain ever, for ever!
No change, no pause, no hope! Yet I endure.
I ask the Earth, have not the mountains felt?
I ask yon Heaven, the all-beholding Sun,
Has it not seen? The Sea, in storm or calm,
Heaven's ever-changing Shadow, spread below,
Have its deaf waves not heard my agony?
Ah me! alas, pain, pain ever, for ever!
The crawling glaciers pierce me with the spears
Of their moon-freezing crystals, the bright chains
Eat with their burning cold into my bones.
Heaven's wingèd hound, polluting from thy lips
His beak in poison not his own, tears up
My heart; and shapeless sights come wandering by,
The ghastly people of the realm of dream,
Mocking me: and the Earthquake-fiends are charged
To wrench the rivets from my quivering wounds
When the rocks split and close again behind:
While from their loud abysses howling throng
The genii of the storm, urging the rage
Of whirlwind, and afflict me with keen hail.
And yet to me welcome is day and night,
Whether one breaks the hoar frost of the morn,
Or starry, dim, and slow, the other climbs
The leaden-coloured east; for then they lead
The wingless, crawling hours, one among whom
—As some dark Priest hales the reluctant victim—
Shall drag thee, cruel King, to kiss the blood
From these pale feet, which then might trample thee
If they disdained not such a prostrate slave.
Disdain! Ah no! I pity thee. What ruin
Will hunt thee undefended through wide Heaven!
How will thy soul, cloven to its depth with terror,
Gape like a hell within! I speak in grief,
Not exultation, for I hate no more,
As then ere misery made me wise. The curse
Once breathed on thee I would recall. Ye Mountains,
Whose many-voicèd Echoes, through the mist
Of cataracts, flung the thunder of that spell!
Ye icy Springs, stagnant with wrinkling frost,
Which vibrated to hear me, and then crept
Shuddering through India! Thou serenest Air,
Through which the Sun walks burning without beams!
And ye swift Whirlwinds, who on poisèd wings
Hung mute and moveless o'er yon hushed abyss,
As thunder, louder than your own, made rock
The orbèd world! If then my words had power,
Though I am changed so that aught evil wish
Is dead within; although no memory be
Of what is hate, let them not lose it now!
What was that curse? for ye all heard me speak.
Promotheus Unbound - full play
While you do not need to watch the whole play, it is an interesting insight into the world of the Shelleys and the ideas that were prevalent at the time of Frankenstein's creation.
If you are interested in learning more about the contextual elements and literary movements, you might want to have a look at this podcast/lecture.
Session 7: Form and Structure
Consider the parallel narratives in the texts and comment on the way they story of Walton is designed by the composer to mirror that of Frankenstein. What is the composer’s intention in doing this? Discuss how the moral and ethical concerns with scientific advances are reflected in this aspect of the text.
The narrative is told in an epistolary style, letters which are a mixture of Walton’s reflections on what he has been told, and first person confession of Frankenstein himself. How effective is this mode of presentation and how does it reflect the social context?
Consider the parallel narratives in the texts and comment on the way they story of Walton is designed by the composer to mirror that of Frankenstein. What is the composer’s intention in doing this? Discuss how the moral and ethical concerns with scientific advances are reflected in this aspect of the text.
The narrative is told in an epistolary style, letters which are a mixture of Walton’s reflections on what he has been told, and first person confession of Frankenstein himself. How effective is this mode of presentation and how does it reflect the social context?
Session 8 :
Imagery and Figurative devices
Pathetic fallacy is evident in the opening chapters of the text. Consider how it contributes to mood and is responsible for shifts in the narrative as the text progresses.
Analyse the use of intertextuality within the text. There is a heavy Romantic influence in the text, discuss the effectiveness of these references.
Values and Ideals within the text:
Imagery and Figurative devices
Pathetic fallacy is evident in the opening chapters of the text. Consider how it contributes to mood and is responsible for shifts in the narrative as the text progresses.
Analyse the use of intertextuality within the text. There is a heavy Romantic influence in the text, discuss the effectiveness of these references.
Values and Ideals within the text:
- Mary Shelley’s text reflects a concern with the advancement of science and how it will impact on society and individual from a moral and ethical perspective. There are several intertextual references which focus on the consequences of defying the natural order. How is this reflective of the social context?
- The preface of the text states the tale is a moral one, “displaying the amiableness of domestic affection, and the excellence of universal virtue”. Consider the characters that reflect these values in the text and their eventual fate. What could Shelley be trying to suggest to her audience?
- Consider the religious references and symbols throughout the text and analyse their purpose within the narrative.
Session 9: Gender Representation
How is “Frankenstein” successful in presenting a World of Upheaval?
- Consider the representation of women in the text. Frankenstein’s mother, Elizabeth Lovenza, Justine Moritz, Agatha De Lacey, Safie and the “mate” requested by the monster each have a distinctive purpose in the narrative. Discuss the use of women as symbols and narrative tools within the context of the story and complete the accompanying table. You could consider the representation of Justine in Volume One, Chapter 8 as a starting point for your discussion.
- What does their role reflect of the social and cultural context of the time? Given Shelley’s own unique upbringing, consider the reasons for this representation of her gender.
- Contrast your findings to the men in the text. Consider the more developed and well-rounded nature of many of the male characters. For instance, Henry Clerval is used as a foil to Frankenstein which allow us to view the philosophical conflict of the time through their interests and pursuits in the novel.
- What are the values represented in the male characters and how do they mirror the social and political context of the time?
How is “Frankenstein” successful in presenting a World of Upheaval?
Session 10: Solace and Alienation
Students are to consider the human desire for solace and the healing power of nature as represented in the text.
How is this contrasted to the alienation that comes from Victor being consumed by ambition and the monster being forced away from civilisation because of his appearance?
Find further examples in the text that represent these different concepts.
What is Shelley’s intention in presenting these ideas to us?
The story of “Frankenstein” has been subverted and adapted many times since its conception. Discuss the appeal of the Gothic Horror Genre is appealing to the audience and Shelley’s success in using this style of fiction.
Imaginative recreation:
Consider the concerns and dilemmas of our time. Brainstorm ideas for a subversion of an existing story, myth or fable that could reflect the concerns of our time and strike fear into the heart of modern readers. What would be the best mode of presentation for your story? Justify your response with a consideration of audience engagement within our modern context. Compose the introduction to the story to focus on establishing context, genre and atmosphere.
Students are to consider the human desire for solace and the healing power of nature as represented in the text.
How is this contrasted to the alienation that comes from Victor being consumed by ambition and the monster being forced away from civilisation because of his appearance?
Find further examples in the text that represent these different concepts.
What is Shelley’s intention in presenting these ideas to us?
The story of “Frankenstein” has been subverted and adapted many times since its conception. Discuss the appeal of the Gothic Horror Genre is appealing to the audience and Shelley’s success in using this style of fiction.
Imaginative recreation:
Consider the concerns and dilemmas of our time. Brainstorm ideas for a subversion of an existing story, myth or fable that could reflect the concerns of our time and strike fear into the heart of modern readers. What would be the best mode of presentation for your story? Justify your response with a consideration of audience engagement within our modern context. Compose the introduction to the story to focus on establishing context, genre and atmosphere.
|
Study guide to Mary Shelley’s Frankenstein
The subtitle: The New Prometheus. In Greek mythology, Prometheus stole the fire from heaven. Shelley uses Prometheus as a metaphor in her title. Research which character and events in the novel can be related to the myth at the following links. Continue searching the internet for further connections to the Promethean myth. http://en.wikipedia.org/wiki/Frankenstein#.22Modern_Prometheus.22 Volume 1 p (13-86) Captain’s Walcott‘s narrative (p14-15 Penguin Classic or p4 Penguin Red Classic). The novel begins with a series of letters written by the captain. ‘I shall satiate my ardent curiosity with sight of a part of the world never before visited…:’
‘… a being which had the shape of a man, but apparently of gigantic stature…’
‘You may easily perceive Captain Walton, that I have suffered great and unparalleled misfortunes.’
‘The raising of ghosts or devils was a promise liberally accorded to by my favourite authors, the fulfilment of which I eagerly sought. ‘ See p40Penguin Classic or P37 Penguin Red Classic.
‘From this day natural philosophy particularly chemistry …became nearly my sole occupation’. See (p49Penguin Classic or p50 Penguin Red Classic)
‘It was on a dreary night in November that I beheld the accomplishment of my toils’.
‘We passed a few sad hours, until eleven o clock, when the trial was to commence’ see p79Penguin Classic or p91 Penguin Red Classic.
Volume 2 (p87-144 Penguin Classic or p105-182 Penguin Red Classic) Frankenstein recovers in the Alps and encounters his Creature (p87-98Penguin Classic or p4 Penguin Red Classic). ‘This state of mind preyed upon my health, which perhaps never entirely recovered from the first shock which it had sustained. ‘ p87 Penguin Classic or p105 Penguin Red Classic.
‘It is with considerable difficulty that I remember the original era of my being; all the events of that period remain confused and indistinct’ P121
‘I now hasten to the most moving part of my story.’ p113Penguin Classic or p139 Penguin Red Classic.
Volume 3 (p145-215 Penguin Classic or p185-279 Penguin Red Classic) Frankenstein retreats further into isolation and attempts to carry out his promise to the Creature (p145-178 Penguin Classic or p188-230 Penguin Red Classic). ‘Day after day, week after week, passed away on my return to Geneva, and I could not collect the courage to recommence my work. I feared the vengeance of the disappointed fiend…’ ( p145 Penguin Classic or p185 Penguin Red Classic).
‘In about a week after the arrival of Elizabeth’s letter, we returned to Geneva. The sweet girl welcomed me with warm affection; yet tears were in my eyes as she perceived my emaciated frame and feverish cheeks’ (p183Penguin Classic or p237 Penguin Red Classic).
‘You have read this strange and terrific story, Margaret, and do you not feel your blood congeal with horror like which now curdles mine?’ p202Penguin Classic or p262 Penguin Red Classic.
|
Reviews and Related Articles
Explainer: How Romanticism rebelled against cold-hearted rationality
The Conversation, 26 July 2018
Mary Shelly's Frankenstein and the birth of Modern Science
ABC, January 2015
Why Frankenstein is the story that defines our fears
BBC Culture, June 2018
The strange and twisted life of 'Frankenstein'
New Yorker Magazine, February 2018
Frankenstein at 200
The Guardian, January 2018
Out of Control
New York Book Review, 2107
Frankenstein Reflects the Hopes and Fears of Every Scientific Era
The Atlantic 2017
What Frankenstein Means Now
The Guardian, June 2016
Analysis of "Frankenstein" by Mary Shelly: Morality without God
Article Myriad, December 2011
The Conversation, 26 July 2018
Mary Shelly's Frankenstein and the birth of Modern Science
ABC, January 2015
Why Frankenstein is the story that defines our fears
BBC Culture, June 2018
The strange and twisted life of 'Frankenstein'
New Yorker Magazine, February 2018
Frankenstein at 200
The Guardian, January 2018
Out of Control
New York Book Review, 2107
Frankenstein Reflects the Hopes and Fears of Every Scientific Era
The Atlantic 2017
What Frankenstein Means Now
The Guardian, June 2016
Analysis of "Frankenstein" by Mary Shelly: Morality without God
Article Myriad, December 2011