The Creature
An English editorial cartoonist conceives the Irish Fenian movement as akin to Frankenstein's creature, in the wake of the Phoenix Park murders in an 1882 issue of Punch.[37]Although the Creature was described in later works as a composite of whole body parts grafted together from cadavers and reanimated by the use of electricity, this description is not consistent with Shelley's work; both the use of electricity and the cobbled-together image of Frankenstein's monster were more the result of James Whale's popular 1931 film adaptation of the story and other early motion-picture works based on the creature. In Shelley's original work, Victor Frankenstein discovers a previously unknown but elemental principle of life, and that insight allows him to develop a method to imbue vitality into inanimate matter, though the exact nature of the process is left ambiguous. After a great deal of hesitation in exercising this power, Frankenstein spends two years painstakingly constructing the Creature's body (one anatomical feature at a time, from raw materials supplied by "the dissecting room and the slaughter-house"), which he then brings to life using his unspecified process.
Part of Frankenstein's rejection of his creation is the fact that he does not give him a name. Instead, Frankenstein's creation is referred to by words such as "wretch", "monster", "creature", "demon", "devil", "fiend", and "it". When Frankenstein converses with the creature, he addresses him as "vile insect", "abhorred monster", "fiend", "wretched devil", and "abhorred devil".
In the novel, the creature is compared to Adam,[38] the first man in the Garden of Eden. The monster also compares himself with the "fallen" angel. Speaking to Frankenstein, the monster says "I ought to be thy Adam, but I am rather the fallen angel". That angel would be Lucifer (meaning "light-bringer") in Milton's Paradise Lost, which the monster has read. Adam is also referred to in the epigraph of the 1818 edition:[39]
- Did I request thee, Maker, from my clay
- To mould Me man? Did I solicit thee
- From darkness to promote me?[40]
Some have posited the creature as a composite of Percy Shelley and Thomas Paine. If the creature's hatred for Victor and his desire to raise a child mirror Percy's filial rebelliousness and his longing to adopt children, his desire to do good and his persecution can be said to echo Paine's utopian visions and fate in England.[41]
The Creature has often been mistakenly called Frankenstein. In 1908, one author said "It is strange to note how well-nigh universally the term "Frankenstein" is misused, even by intelligent people, as describing some hideous monster."[42] Edith Wharton's The Reef (1916) describes an unruly child as an "infant Frankenstein".[43] David Lindsay's "The Bridal Ornament", published in The Rover, 12 June 1844, mentioned "the maker of poor Frankenstein". After the release of Whale's cinematic Frankenstein, the public at large began speaking of the Creature itself as "Frankenstein". This misnomer continued with the successful sequel Bride of Frankenstein (1935), as well as in film titles such as Abbott and Costello Meet Frankenstein.
Illustration by Theodor von Holst from the frontispiece of the 1831 edition[44]Origin of Victor Frankenstein's name
Mary Shelley maintained that she derived the name Frankenstein from a dream-vision. This claim has since been disputed and debated by scholars that have suggested alternative sources for Shelley's inspiration.[45] The German name Frankenstein means "stone of the Franks", and is associated with various places in Germany, including Frankenstein Castle (Burg Frankenstein) in Darmstadt, Hesse, and Frankenstein Castle in Frankenstein, a town in the Palatinate. There is also a castle called Frankenstein in Bad Salzungen, Thuringia, and a municipality called Frankenstein in Saxony. The town of Frankenstein in Silesia (now Ząbkowice, Poland) was the site of a scandal involving gravediggers in 1606, and this has been suggested as an inspiration to the author.[46] Finally, the name is borne by the aristocratic House of Franckenstein from Franconia.
Radu Florescu argued that Mary and Percy Shelley visited Frankenstein Castle near Darmstadt in 1814, where alchemist Johann Konrad Dippel had experimented with human bodies, and reasoned that Mary suppressed mention of her visit in order to maintain her public claim of originality.[47] A literary essay by A.J. Day supports Florescu's position that Mary Shelley knew of and visited Frankenstein Castle before writing her debut novel.[48] Day includes details of an alleged description of the Frankenstein castle in Mary Shelley's "lost journals". However, according to Jörg Heléne, Day's and Florescu's claims cannot be verified.[49]
A possible interpretation of the name "Victor" is derived from Paradise Lost by John Milton, a great influence on Shelley (a quotation from Paradise Lost is on the opening page of Frankenstein and Shelley writes that the monster reads it in the novel).[50][51] Milton frequently refers to God as "the victor" in Paradise Lost, and Victor's creation of life in the novel is compared to God's creation of life in Paradise Lost. In addition, Shelley's portrayal of the monster owes much to the character of Satan in Paradise Lost; and, the monster says in the story, after reading the epic poem, that he empathizes with Satan's role.
Parallels between Victor Frankenstein and Mary's husband, Percy Shelley, have also been drawn. Percy Shelley was the first-born son of a wealthy country squire with strong political connections and a descendant of Sir Bysshe Shelley, 1st Baronet of Castle Goring, and Richard Fitzalan, 10th Earl of Arundel.[52] Similarly, Victor's family is one of the most distinguished of that republic and his ancestors were counsellors and syndics. Percy's sister and Victor's adopted sister were both named Elizabeth. There are many other similarities, from Percy's usage of "Victor" as a pen name for Original Poetry by Victor and Cazire, a collection of poetry he wrote with Elizabeth,[53] to Percy's days at Eton, where he had "experimented with electricity and magnetism as well as with gunpowder and numerous chemical reactions," and the way in which Percy's rooms at Oxford were filled with scientific equipment.[54][55]
Modern Prometheus
The Modern Prometheus is the novel's subtitle (though modern editions now drop it, only mentioning it in introduction).[56] Prometheus, in versions of Greek mythology, was the Titan who created humans in the image of the gods so that they could have a spirit breathed into them at the behest of Zeus.[57] Prometheus then taught humans to hunt, but after he tricked Zeus into accepting "poor-quality offerings" from humans, Zeus kept fire from humankind. Prometheus took back the fire from Zeus to give to humanity. When Zeus discovered this, he sentenced Prometheus to be eternally punished by fixing him to a rock of Caucasus, where each day an eagle pecked out his liver, only for the liver to regrow the next day because of his immortality as a god.
As a Pythagorean, or believer in An Essay on Abstinence from Animal Food, as a Moral Duty by Joseph Ritson,[58] Mary Shelley saw Prometheus not as a hero but rather as something of a devil, and blamed him for bringing fire to humanity and thereby seducing the human race to the vice of eating meat.[59] Percy wrote several essays on what became known as vegetarianism including A Vindication of Natural Diet.[58]
In 1910, Edison Studios released the first motion-picture adaptation of Shelley's story.Byron was particularly attached to the play Prometheus Bound by Aeschylus, and Percy Shelley soon wrote his own Prometheus Unbound (1820). The term "Modern Prometheus" was derived from Immanuel Kant who described Benjamin Franklin as the "Prometheus of modern times" in reference to his experiments with electricity.[60]
