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"Frankenstein" and the Myth of Prometheus, 2007.
An analytical comparison of Mary Shelley's novel, "Frankenstein" and the Greek myth of Prometheus.
2,479 words (approx. 9.9 pages), 4 sources, MLA, $ 75.95
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Abstract
This paper analyzes the connection between Mary Shelley's "Frankenstein" and the myth of Prometheus (due to her subtitle of the novel, "The Modern Prometheus"). It examines the text of "Frankenstein" and explores, in detail, the foundations for the myth of Prometheus, as written down in ancient Greece and subsequently passed on through the generations via the Greek oral tradition.
From the Paper
"Once again, we can sense the presence of Prometheus as he breathes life into the lifeless clay of the earth which lies before his feet. Incidentally, Victor describes his newly-risen Creature as having yellow skin, black hair and lips and pearly-white teeth, colors which are most closely associated with the earth, such as in yellow ocher clay used for modeling purposes by sculptors. In addition, this creation scenario is replete with regeneration, meaning that the Creature, composed of dead body parts from the graveyard, is much like the liver/heart of Prometheus which regenerates itself on a daily basis so that the eagle can feed on it as Prometheus lies bounded to the rock."
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Prometheus: Painting and Myth, 2002.
The representation of the mythical story in the painting "Prometheus Bound".
1,030 words (approx. 4.1 pages), 5 sources, MLA, $ 36.95
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Abstract
This paper discusses the work, from the Baroque Era, of Peter Paul Rubens, whose "Prometheus Bound" is seen as one of the finest examples of a myth being used to tell a contemporary story. The meaning of the myth is examined through an analysis of the painting's light, form, style and images.
From the Paper
"Myths are the stories that lend meaning to the unexplained. Why does season follow season? How did humanity come to be? What is the origin of fire? These are but some of the mysteries explained in countless tales, plays, and works of art. Medieval man sought meaning in the Bible. The cathedrals of Europe glistened with windows of stained glass, each jewel-like work telling a different instructional tale. In the Renaissance, Europe rediscovered the world of Greece and Rome, and the learned found new meanings in classical myth and legend. Kings and princes likened themselves to gods and heroes, and artists explored the interplay of fantasy and reality. Mythic stories were used as illustrations of the human condition. In brilliant color and bold form, painters captured the heart and soul of their world, the figures of myth and fantasy serving as representations of popular belief. This age of allegory reached its height in the Baroque Era, the era of Peter Paul Rubens, whose Prometheus Bound is one of the finest examples of a myth being used to tell a contemporary story. It is also an image of the entire Baroque world."
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"Frankenstein" or the "Modern Prometheus", 2001.
A look at the book by Mary Wollstonecraft Shelley - "Frankenstein" or the "Modern Prometheus".
1,000 words (approx. 4.0 pages), 0 sources, $ 35.95
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Abstract
This paper looks below the level of the plot exploited by movie version of the book to examine what Shelley herself would have felt was the true level of horror in the book, the investigation of what it means to be human and the terrible things that we might each do ? and in turn have done to us if we were somehow to lose that quality of ourselves that sets us off from all other living creatures as uniquely human.
From the paper:
"It is perhaps true that any movie based on an important book does a great disservice to it, for the media of literature and of film are so essentially different from each other that any translation between the two of them must be cause for substantial cross-cultural fumblings. But Mary Wollstonecraft Shelley's novel Frankenstein, or the Modern Prometheus (published in 1818, long before any author could imagine what the big screen might do to her work) has been especially ill-served by its various cinematic adaptations, which have transformed this novel about a prototypical "mad scientist" who creates a monster who eventually kills him from a serious investigation into the nature of the human soul into a horror flick. Indeed the name Frankenstein has become popularly attached not only the Shelley?s creature itself but to a whole genre of low-tech horror movies."
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Victor Frankenstein: The True ?Modern Prometheus?.
A comparison of Mary Shelley's character, Victor Frankenstein, with the Greek god, Prometheus.
755 words (approx. 3.0 pages), 2 sources, MLA, $ 26.95
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Abstract
This paper examines Mary Shelley's Gothic tale "Frankenstein, Or The Modern Prometheus", published in 1818, in which the main character, Victor Frankenstein, a young student steeped in the mysteries of science, describes his explorations into the unknown through his obsession to create life from the dead, which produces a monster of great size and strength bent on nothing but revenge. In particular, it looks at why Shelley included ?The Modern Prometheus? as part of her title for the novel and how it is clear that she was attempting to compare Victor Frankenstein with Prometheus, the Greek god, who breathed life into man and brought fire to earth after stealing it from Mount Olympus.
From the Paper
"Not surprisingly, the future husband of Mary Godwin, being the great English poet and rebel Percy Bysshe Shelley, wrote a very long lyrical poem in 1820 (two years after the publication of Frankenstein) called ?Prometheus Unbound? which explores Prometheus?s relationship with Earth, his mother, Asia, his wife and Jupiter (Zeus), the King of the Gods. In this poem, Prometheus is described as being bound to a rocky cliff by Jupiter for his misdeeds against the gods. And while chained and powerless, Prometheus is tortured by an eagle that eats his liver on a daily basis, but the liver always grows back which allows the cycle to go on for eternity. Perhaps, since Percy Shelley allegedly aided in the writing of Frankenstein, he may have been attempting to allegorize the ever-growing liver as a symbol of the Monster?s immortality, meaning that the Monster, like Prometheus?s liver, can never die and is eternally damned."
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"Prometheus Bound": Man, Myth and Message, 2003.
This explores the symbolism and plot characteristics of Aeschylus' play "Prometheus Bound."
1,700 words (approx. 6.8 pages), 0 sources, $ 55.95
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Abstract
This paper discusses the mythology and background to the Prometheus story. It explains that Prometheus, as portrayed by Aeschylus, was not only a God, but a symbol. Prometheus, through his plight to help man, suffered as a supreme artist, visionary and Christ-like symbol. The myth behind the play is exposed and discussed as well as the plot of the actual play.
From the Paper
"Understanding the rich mythological background of Prometheus Bound is vital to understanding the play in its entirety. Prometheus was a titan, a race of gods who reigned before Zeus and the Olympians. Prometheus, whose name means "Fore thinker," was blessed with the gift of prophecy by his mother Themis, the goddess of Earth and ultimate mother of all. He was a clever deity, a master craftsman and creator. He created man and taught them the many crafts that were necessary for survival. However man lacked a crucial gift: fire."
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"Prometheus Bound" ( Aeschylus ), "Frankenstein" ( Mary Shelley ) & "Robinson Crusoe" ( Daniel Defoe ), 1999.
Examines works on necessity of limits on human intelligence & power.
2,025 words (approx. 8.1 pages), 3 sources, $ 71.95
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From the Paper
" In three works that contemplate the question of the necessity of limits on human intelligence, the issue revolves around the notion of humanity exceeding its limits and, thereby, offending or challenging the gods. The question asked by Aeschylus in Prometheus Bound, by Mary Shelley in Frankenstein, and by Daniel Defoe in Robinson Crusoe is whether there is some inherent limit on human ability--a point beyond which humanity should not go. Does human technology, the various products of human intelligence, reach a point at which it is beyond the ability of mere mortals to control it? Though the question was phrased in very different ways, all three authors agreed that there was a limit to human intelligence and that such a limit was a necessity. Why it is a necessity was, however, answered quite differently by the three writers."
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"Mary Shelley's Frankenstein" ( Kenneth Branagh ) and "Frankenstein" by Mary Shelley, 1995.
This paper compares the film director Kenneth Branagh's and book author Mary Shelley's depictions of "Mary Shelley's Frankenstein" and "Frankenstein" respectively: Characters, relationships, plot, focus, images, pacing and style
1,350 words (approx. 5.4 pages), 6 sources, $ 47.95
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From the Paper
"The recent motion picture version of Mary Shelley's novel Frankenstein hews closely to the plot of the novel while failing to capture its essential purpose. The full title of the movie is Mary Shelley's Frankenstein, but the possessive does not mean that this version can be considered mary Shelley's vision. Janet Maslin of the New York Times notes this when she writes that the film will not strike anyone as chiefly Mary Shelley's invention. Its principal architect is Kenneth Branagh. . . [who] takes on the godlike, idealistic young scientist's role while also directing this "Frankenstein" as an overheated romantic fable .
An examination of the book and the film shows where the attitudes ... "
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Mary Shelley?s "Frankenstein or The Modern Prometheu", 2002.
This paper discusses Mary Shelley?s use of the Greek legend of Prometheus, the god that defied Zeus and brought fire to humans, in her book ?Frankenstein or The Modern Prometheus?.
1,120 words (approx. 4.5 pages), 9 sources, MLA, $ 38.95
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Abstract
This paper discusses that Mary Shelley?s reading of Prometheus in ?Frankenstein? is most accurate to the true meaning of the legend and constitutes a critique of the excessive individualism championed by the Romantic Movement.The author points out that the subtitle of ?The Modern Prometheus? refers to the character, Victor Frankenstein. The author believes that, in the character of Victor Frankenstein and in the very act of his creation, Mary Shelley joins together two seemingly opposite aspects of human study and science and poetry, reason and imagination.
From the Paper
"At the end of the novel, Walton halfheartedly heeds Victor?s reluctant message to ?seek happiness in tranquility, and avoid ambition, even if it be only the apparently innocent one of distinguishing yourself in science and discoveries?(1031). When the creature escapes, Walton does not chase him, but instead continues on his return to England, and more importantly, his family. If there is the slightest semblance of a happy ending, Walton?s return to England is probably it, although the fact that he returns a failure cannot escape our final interpretation of the novel?s denouement. The story of "Frankenstein or The Modern Prometheus", layered with multiple philosophical questions regarding the nature of Man, is a romantic irony of social failure, brought on by a rampant egocentricity in a male-dominated drive for knowledge and discovery."
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Mary Shelley's Frankenstein, 2008.
This paper studies the work "Frankenstein, or the Modern Prometheus" by Mary Wollstonecraft Shelley.
937 words (approx. 3.7 pages), 5 sources, MLA, $ 33.95
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Abstract
In this article, the writer introduces, discusses and analyzes the book "Frankenstein, or the Modern Prometheus" by Mary Wollstonecraft Shelley. Specifically, the writer discusses the book's origins and landmark significance. The writer notes that "Frankenstein" is such a memorable book that it has been retold in film and myth time after time. The writer also points out that Shelley's novel lives on today in the many films, from comedy to horror, that have retold her story in one form or another. The writer maintains that Shelley's book is significant because it really helped bring the horror genre into world focus and attention, and because it has been retold so many times in so many different ways.
From the Paper
"Frankenstein was not mad; he was simply possessed with a great and consuming desire to know everything about science and the creation of living matter. He becomes obsessed with his creation, and horrified to discover that he cannot control it or its violent tendencies.
"The book is also significant because of its exploration of science and knowledge, especially by a young woman, at the time it was written. It became an immediate success because the characters and their interests were so engaging, and it has never really stopped influencing other novels and films."
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Frankenstein, 2007.
This paper analyzes the story of 'Frankenstein or the Modern Prometheus' by Mary Wollstonecraft Shelley.
2,688 words (approx. 10.8 pages), 5 sources, MLA, $ 80.95
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Abstract
In this article, the writer notes that in the novel 'Frankenstein, or the Modern Prometheus' by Mary W. Shelley, the character of Victor Frankenstein is the central figure and generally the narrator of the story. The writer discusses that the fact that the monster kills is a stark fact, but why he does so and whether there is a personal responsibility for him in doing so are more complex questions that Shelley raises. The writer maintains that the response of the reader to the story shows how important these complexities really are and how much they may color perceptions and raise doubts. The writer concludes that the story is not black and white, and the reader's response to the characters is also not a simple matter of clear right and wrong.
From the Paper
"Mary W. Shelley's novel is not merely a horror story but is also a philosophical novel which develops a number of themes related to the virtues of nature, a Romantic era notion, and the relationship of man to God. Shelley never says how the monster is brought to life. She does not detail this massive array of equipment but only hints at the terrible things Frankenstein must do to acquire the parts he needs. The one thing he must do is go against God, to go against Nature, and for this he must be exiled. His acts lead to the deaths of several other people, and the monster he has created is the shadow he chases far into the icy regions of the north. His last contact with civilization is with the captain of the frigate trapped in the ice, and then he chases his monster once more into the wilderness, as far from civilization as he can get. Frankenstein has no expectations of what leaving civilization will mean, for he has become an exile by chasing his horror. For Victor, though, never being able to go back is both a blessing, because he has changed and would not fit in, and a curse, because whatever he may have valued is no longer within his grasp."
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"Frankenstein", 2001.
This paper looks at the work by Mary Wollstonecraft Shelley titled "Frankenstein" or the "Modern Prometheus".
1,200 words (approx. 4.8 pages), 0 sources, $ 41.95
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Abstract
This paper examines the novel from the perspective of what Shelley herself would have felt was the true level of horror in the book, which is the investigation of what it means to be human and the terrible things that we might each do ? and in turn have done to us ? if we were somehow to lose that quality of ourselves that sets us off from all other living creatures as uniquely human.
From the paper:
"While Mary Wollstonecraft Shelley?s novel Frankenstein, or the Modern Prometheus is often considered to be a work of Gothic fiction, it is a much more finely and complexly crafted novel than are most examples of this genre ? so much more skillfully formed that in many way it transcends the genre entirely. While on one level the novel (published in 1818) is in fact a story about a prototypical "mad scientist" who creates a monster that eventually kills him, it is also a serious investigation into the nature of the human soul. "
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"Frankenstein" and "Dr Jekyll and Mr Hyde", 2006.
A literary comparison of "Frankenstein; Or, the Modern Prometheus ", by Mary Wollstonecraft Shelley and "The Strange Case of Dr. Jekyll and Mr. Hyde", by Robert Louis Stevenson.
1,589 words (approx. 6.4 pages), 6 sources, MLA, $ 51.95
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Abstract
The paper analyzes the books of "Frankenstein" and "Dr Jekyll and Mr Hyde". The paper examines how Robert Louis Stevenson's 1886 work, "The Strange Case of Dr. Jekyll and Mr. Hyde", looks backward to "Frankenstein", another scientific experiment which contains potential for good but unerringly heads for disaster. The paper concludes that the connections between these two novels runs deep and when closely compared reveals that Stevenson was attempting to imitate "Frankenstein" through the use of human psychology while also showing the dangers inherent with tampering with the unknown.
From the Paper
"Stevenson's Dr. Jekyll and Mr. Hyde contains a similar scenario, for in the novel, Dr. Jekyll, via the use of a secret formula, transforms himself into Mr. Hyde, a human monster bent on destruction. Told through a series of narratives, much like the diary entries of Captain Walton in Frankenstein, Jekyll's professional associate Dr. Lanyon relates that "Jekyll and Hyde are the same person" and in order to "separate the good and evil aspects of his nature, he invent(s) a transforming drug. His evil self takes the form of the repulsive Mr. Hyde" and when the supply of drugs needed to concoct the potion dry up, "he finds himself slipping involuntarily into. . . Hyde" ("Robert Louis Stevenson," Internet)."
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?Frankenstein?, 2002.
Discusses the theme of exploration in Mary Shelley's Gothic masterpiece, "Frankenstein; Or, The Modern Prometheus"
2,075 words (approx. 8.3 pages), 1 source, MLA, $ 65.95
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Abstract
This paper examines how two characters in Mary Godwin Shelley's "Frankenstein" reflect the theme of exploration. Victor Frankenstein, the student, takes the reader on an exploration into the unknown, for his primary goal is to create life from the dead. The paper also discusses Captain Robert Walton, also an explorer, who ends up on a journey into the darkest regions of human existence after Victor Frankenstein tells him his weird story while aboard Walton's ship at the North Pole.
From the Paper
"The beginning of Mary Shelley's Frankenstein opens the proverbial door to the strange and horrifying tale related by Victor Frankenstein to Captain Walton, an English explorer surveying the polar regions of the far north. One day, as the ship's company is looking out over the empty ice fields, they are astonished to see a sledge drawn by dogs speeding northward with the sledge driver huge and misshapen. That night, an ice floe carries another sledge with a weakened man to the ship, and once the man (Victor Frankenstein) discovers that the first sledge has been sighted, he turns quite agitated. As Victor convalesces on the ship, he becomes friendly with Walton and after recovering his strength, relates the tale of the creature that he created artificially from the dead."
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Mary Shelley?s "Frankenstein", 2006.
A critical analysis of Mary Shelley's "Frankenstein" or "The Modern Prometheus".
1,890 words (approx. 7.6 pages), 0 sources, $ 60.95
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Abstract
Some modern critics have dubbed Mary Shelley's Frankenstein a gothic story. This paper attempts to defeat this claim by showing that the novel can be interpreted in a number of different ways due to the tale's artistic validity. It discusses how, because "Frankenstein" was born out of ideas, the theme, characterization and relationships of the central figures can all be considered on different levels.
From the Paper
"We may interpret Frankenstein's mirror image or Monster firstly as symbolizing reason in isolation, since he is the creature of an obsessional rational effort. The manifest change in Frankenstein's nature after the creation of the Monster can be explained by the part-separation of his intellect from his other integral properties. He becomes a sort of Hamlet figure, indecisive and remorseful too late. He decides to destroy the Monster, but is persuaded to pity him by creating a female Monster, though fails at the last moment. He then receives the Monster's threat of revenge and does nothing: "Why had I not followed him, and closed with him in mortal strife? But I had suffered him to depart..." Frankenstein muses bitterly when the damage has been done."
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