According to the Greek poet Hesiod, Prometheus, a Titan demi-god, created men using clay from the Earth. In Mary Shelley’s novel Frankenstein or the Modern Prometheus, the character Victor Frankenstein is portrayed as a new Prometheus, as he creates a living creature using inanimate parts. However, Shelley’s metaphor goes beyond this literal interpretation. In Hesiod’s myth, Prometheus had a strong sense of self-importance and desired to be worshipped by men. Since men did not have access to fire, they were bound to live as mere animals. Fire, which represented the most basic and natural form of energy, belonged to the god Zeus. Prometheus became obsessed with finding a way to steal fire from Zeus and give it to mankind, solely driven by glory and fame. Unfortunately, his deceitful act brought upon catastrophic consequences. Zeus swiftly retaliated by creating the first woman named Pandora out of clay with the assistance of Hephaestus, Hermes, and Aphrodite. From then on, men would no longer be born directly from the earth but through women, resulting in birth through procreation and subsequently experiencing old age, suffering, and death. Pandora was entrusted with a box containing all sorts of misery and evils. She inadvertently released them, causing eternal torment for humankind.The punishment of Prometheus was inflicted by Zeus, who chained him to a rock. Every day, an eagle would come and consume his liver. Interestingly, Prometheus’ liver regenerated overnight, resulting in an ongoing cycle of torture rather than a single act of punishment. This serves as a consequence for meddling with nature. It is important to note that Prometheus’ downfall was not solely due to his unsuccessful theft, but rather the powerful force of his own self-interest. Mary Shelley’s Frankenstein portrays Prometheanism as a critique of male egoism.
Shelley portrays male egoism through the assertiveness of her glory-seeking characters. Robert Walton, the narrator, exemplifies this attitude by believing in his God-given right to achieve ultimate success in Arctic explorations. He writes to his sister Margaret, questioning if he does not deserve to accomplish some important purpose (Shelley 17). This mindset persists as he expresses to Victor that he is willing to sacrifice anything, including the lives of other men, for the triumph of his polar expedition and for the dominance he would attain over the elemental enemies of humanity (28). This boast occurs amidst the vast polar landscape.
Victor’s experience in the icy fields compels him to confess his story and also warn Walton. If Victor is the Modern Prometheus, then Walton is his apprentice. Just as Victor’s knowledge of creating life from dead matter is forbidden, Walton seeks forbidden knowledge as well – the secret of nature. As the novel progresses, Walton realizes the ominous nature of the Arctic. The crew on his ship also recognize the cruelty of the Arctic, leading them to consider mutiny. When faced with the terrifying and mysterious icy wilderness, their human spirit chooses to retreat from nature’s inhuman and seemingly infinite wilds. On his deathbed, Victor questions the crew about their perception of their glorious expedition and how they were meant to be hailed as heroes and benefactors of mankind. Despite Victor’s inspiring words, the crew decides to return to England for safety and comfort, no longer considering themselves true men. They may have realized that finding absolution in Walton as The Confessor would lead to Victor’s last words being “Seek happiness in tranquillity, and avoid ambition…” Nonetheless, Victor’s parting advice goes unheeded by the crew.Victor, in his final words, is able to free himself from his obsession with glory and from life itself. However, his relentless egoism prevents him from admitting any mistakes he may have made: “I have myself been blasted in these hopes (of discovery), yet another may succeed” (218). There is another slight mention of the desire for glory when Walton tells Margaret that his lieutenant shares the same fervent desire for it (20). Victor’s closest friend, Henry Clerval, is a male who pursues his goals without seeking glory. This is because of the influence of a female, Elizabeth Lavenza, who represents the ideal contemporary idea of femininity. As they grew up together, she revealed to him the true beauty and kindness in life, making doing good the ultimate aim of his ambitious endeavors (38).
Victor Frankenstein shares with Walton his desire to surpass the boundaries of the physical sciences and delve into the mysteries of metaphysics. This pursuit goes beyond a mere thirst for knowledge, as it becomes an all-consuming obsession for him after receiving recognition and admiration at Ingolstadt University. His ultimate goal is to uncover the secret to eternal life, a forbidden path of discovery. Much like Prometheus, he is fueled by the allure of personal glory rather than considering the potential benefits for humanity. “Wealth was an 3.”
Despite being an inferior object, the glory that would come with banishing disease from the human body and making man invulnerable to anything but a violent death is appealing to Victor (40). Similar to Prometheus, he is capable of creating life from lifeless parts. However, he has committed two transgressions: going against nature and bypassing procreation, and utilizing the remains of deceased humans to achieve his creation. Adding to his wrongdoings, Victor fails to fulfill his responsibilities as a creator by neglecting to nurture and provide for his creation. The sight of the monstrous corpse fills him with horror and disgust after completing it (57). Shelley uses the monster as a means of punishing Victor. In response to Victor’s lack of compassion, the monster seeks revenge by killing William, Clerval, and Elizabeth, leaving Victor trapped in his own turbulent thoughts and emotions, destroying any chance of tranquility and clear, deep rationalization. Victor’s ability to devise a plan to destroy his creation is overshadowed by his own predicament, as he mindlessly follows the monster’s lead. Victor’s punishment is primarily mental and emotional rather than physical. On the other hand, Clerval’s death has no connection to Victor’s ambitions.It could be possible that the reason for his quick death is the fact that his motives are not ego driven but rather honorable. However, just like William, Victor’s brother, and Elizabeth, it is the love shown towards him by Victor that ultimately makes him a victim. His death is just another aspect of what constantly keeps Victor in a state of suffering, similar to Prometheus’ eternal punishment. (211)
In order to appease the monster, Victor agrees to create a female companion, likened to Pandora. However, Victor becomes apprehensive and fears that this new being could be even more dangerous than the original monster. He believes that a race of devils could be born from her existence. In the presence of the monster, Victor ultimately destroys the unfinished creation. What truly hinders his progress is not the potential consequences, but the fact that he wouldn’t receive the admiration he desires for his achievements. His self-interest prevails once again, displaying his Promethean traits. As a result, Victor unknowingly sets himself up for further retaliation from the monster. Unfortunately, his egotism prevents him from comprehending the implications of the monster’s actions.
Promise to accompany him on the night of his wedding was given by Victor. The safety of Elizabeth is not a concern to Victor; her fate is sealed as far as his never-ending torment is concerned. The pursuit of glory is a male-driven endeavor that, if not controlled, deserves the same fate as Prometheus. Shelley narrates the experiences of three men and their encounters with Prometheanism in different ways. Clerval, being innocent, lived a short but fulfilling life. Victor refuses to repent until his last breath and is confined to his bed with only his memories to torment him, unable to pursue the monster. Walton, on the other hand, abandons his own selfishness and ends his quest in the Arctic, allowing the tale of The Modern Prometheus to be told. The unfortunate monster, a product of Prometheanism, full of regret for existing and having completed his revenge, exits the scene towards an uncertain demise in the wilderness.
