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Date of publication: 2017-08-31 12:52

This pregnant parallel has been given immortal imagery in Mary Shelley’s Frankenstein or, The Modern Prometheus. The mythic Prometheus is famous for creating men. The modern Prometheus is infamous for creating monsters. Both are tormented as a result of their creations, punished for the prideful usurping of a creative power that ultimately renders their creation deficient. The mythic Prometheus suffers for defying the supernatural, the modern Prometheus for defying the natural.

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What is essential to the characters in this drama is far more profound than what may be initially expected of a story that has been dragged over the burnt-out coals of our culture. The difference between men and monsters is nothing more than the difference between happiness and misery. If it were not for the infinite goodness and compassion of our Creator, mankind would be nothing more than a race of monsters whose universal cry would storm heaven with the words of Frankenstein’s monster: “I was alone. I remembered Adam’s supplication to his Creator, but where was mine? He had abandoned me, and, in the bitterness of my heart, I cursed him.”

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The facts: Writers must research their facts and present them in a compelling and interesting manner, including quotes to give a sense of immediacy. They must choose a range of sources to give a balanced perspective. Use a combination of evidence.

Frankenstein essays are academic essays for citation. These papers were written primarily by students and provide critical analysis of Frankenstein by Mary Shelley.

William Blake’s poem, “The Tyger,” instigates a dark literary trend of creature questioning and creator cursing, whose questions and curses are echoed by Milton’s Adam, and again by Shelley’s demon. For all of its modern connotations, however, Frankenstein represents an old story of creature rebellion. These rebellions had their birth with Lucifer’s “ Non serviam ,” and continue to rage with every fit of fallen nature and every man-made object that enslaves man. Victor Frankenstein is both rebel and victim of rebellion, as he turns his back on the order of things, forging into territory reserved for gods, only to be beset by the monstrous offspring of his sin. And as a monster, the creature is very much made in the image and likeness of his creator.

This acknowledgement begins Joseph Pearce’s introduction to Ignatius Critical Editions’ Frankenstein . Edited by Mr. Pearce, this volume proceeds by the light of traditions that influenced the creation of this influential book. Mr. Pearce deftly provides the biographical landscape that defines the ideas and inclinations that Mrs. Shelley grappled with through her “strange and terrific story.” Especially fascinating are the poetic attitudes that warred within this woman surrounded by poets, and which found unique expression in her work. The volume is well annotated, but not heavy-handed, unobtrusively providing context, reference, definition, or thematic guidance.

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