More Frankenstein Material

I.  Mary Shelley's full title:  Frankenstein, Or the Modern Prometheus

At the time Mary Wollestonecraft began working on her story, her husband-to-be, Percy Bysshe Shelley, was working on a lyrical drama entitled Prometheus Unbound. Her entire circle of friends would have been very familiar with all versions of the Prometheus myth, and she would have been able to draw on various facets to shape both the character and actions of Victor Frankenstein as well as to provide significant thematic context by alluding to the mythological figure.

Prometheus: both key roles Read carefully.

And yes, Wikipedia: The key here is to read the first two large sections (earliest versions and the Athenian tradition) to have an appreciation of how complex the myth was, with a range of variants and connections.  Then drop down to read both about Percy Bysshe Shelley's play as well as what it says about Mary's use.

The cultural focus on the creation aspect of the Prometheus myth is also evident by Beethoven's ballet; be sure to click on the "But wait, there's more" button:
The Creatures of Prometheus

Clearly, though, be alert for the presumption (even arrogance?) indicated by the fire-stealing portion of the myth, as well as ethically ambiguous nature of this theft.

II.  A backdrop on academia . .  . VF's university really existed then, and German universities had the reputation of being the best and most demanding in Europe.
University of Ingolstadt:  http://knarf.english.upenn.edu/V1notes/univers.html

And to follow up on our very brief (and over-generalized) class comments on the discipline of Natural Philosophy:

Natural Philosophy
Origin:  http://www.brusselsjournal.com/node/4202
Overview: http://en.wikipedia.org/wiki/Natural_philosophy
18th Century:  http://etherwave.wordpress.com/2010/04/12/the-bounds-of-natural-philosophy-temporal-and-practical-frontiers-pt-2/ (Yes, feel free to skim)

III. Each of the preceding posts has directed your attention to a particular segment of the novel for review.  Here are questions for the last section:

Chapters 11-15 (The creature is speaking)  [to be honest, I'm not sure if this is an exact repetion of something I've already linked on GoogleDrive, or if these are slightly different]

·     The creature traces his life from its inception—when he is rejected by Victor—to the rejection by the DeLaceys.

·       Know the steps in the awakening of his senses.

·       Explain the Creature’s discovery of fire.

·       Where exactly does he find to stay, and how does his dwelling allow him to observer the DeLacey household?

·       What does he learn about family life from watching these people?  How does he show his own generosity?

·       Know why Felix is unhappy, and pay close attention to the Safie story.  Know the basic history of the family. 

·       More important points:  keep track of the creature’s education—what and how does he learn?  How does he learn language?   In Ch. 15, what books did he read?  Why these (as a plot device—where did he find them?)?  Why these (as choices the author Shelley made that would fit the themes of  her book)?  What does the Creature learn from these books?

·       Pay attention to the reasons for the creature’s decision to make himself known to the DeLacey’s.  Of course know how he proceeds, and what happens.

·       Explain the Creature’s behavior after he is rejected.  Is it justifiable?

Chapter 16 (The creature is still speaking)

·       Note the consideration of suicide.

·       Retrace the William/Justine story from the creature’s point of view—be aware of the actual details he shares.

·       CONSIDER TWO BIG QUESTIONS:

o   Who or what is at fault for turning the creature into a “monster”?

o   What does Victor agree to do for the monster?  What are the pros and cons of this decision

Chapter 17-19

• Lots of the language is closely paralled to Paradise Lost—note the effects of hatred and rage on the creature, and pay attention to the use of the word “fiend” and “fiendish.”
• Explain Victor’s rationale for agreeing to the creature’s request for a mate.
• Returning to Geneva, VF can’t get started on his “work,” and he has a conversation with his father pertaining to Elizabeth.  What exactly does the father think is the cause of Victor’s malaise (downhearted spirits)?
• Explain the plan—what he shares with his father, what he doesn’t, and how Clerval gets drawn into the whole thing.
• “But in Clerval I saw the image of my former self”."  Explain what VF means.
• Note that the friends split up—who goes where?  What’s the plan for reuniting?

Chapters 20-22

• Scary visit from the creature—why does Victor choose to destroy the companion creature

he was making?  in front of the creature/s very eyes?

• Study the next conversation (a few hours later) closely; note and remember exactly what threat the creature makes to VF.
• What does Victor do with the body parts?
• Know the essential outline of the jail episode. 
• Who washed up dead?
• Who eventually arrives to tend Frankenstein through his illness and ultimately bring him back to Switzerland? (Just know the general plot outline for this section.)
• Explain the gist of Elizabeth’s letter (Ch 22).  What promise does VF make to her concerning his rather odd, detached, and distracted behavior?
• So they head off on their honeymoon.  Remember what the creature had promised/threatened/warned.  If you were Frankenstein, what would you do?

Chapters 23-24

• Pay attention to Victor’s actions and decisions within the first page and a half of Ch. 22.

What’s wrong with this picture?  What was he THINKING?

• Explain his plea to the magistrate
• Victor is very low at the beginning of Ch. 24.  What feeling/attitude/motive keeps him going?
• Explain exactly how Victor and the creature are alike at this point.
• Follow the broad outlines of the chase.
• And now the frame letters resume . . .
• What lesson is VF trying to teach Walton?
• Does Walton learn it? How do we know?
• Note the gist of Victor’s last words. What happens to him?
• And note the Creature’s final “soliloquy,"  Two pages later, Shelley is probably asking the reader for judgment.
• SO what do you think?  Do we have 2 monsters or 2 victims at the end of the book?

Have sound reasons for what you think.

• What does the creature say he’s going to do?
• How does hearing the story affect Robert Walton's plans?

On your own, continue to think through applications of the "bookmark thematic ideas" to the successive sections of the book.  We will be turning our main class attention to Paradise Lost (for connections as well as experience in reading 17th century poetry by one of the Power 5 English poets).