I am a psychoanalyst, philosopher, and author.
The novel's subtitle, The Modern Prometheus, refers to the two-fold Greek myth of the Titan who created human beings from clay and stole for them fire from heaven. Did I request thee, Maker, from my clay To mould me Man?
Did I solicit thee From darkness to promote me? His opening line alludes to current scientific investigations into the principle of life, particularly as regards the work of Erasmus Darwin. Modern ahistorical forms of criticism focus on subconscious or unconscious elements within the author's psyche.
For instance, biographical critics have examined Mary's own relationships, in particular her marriage with Shelley, as a source of inspiration for her character studies.
Whilst modern critical methods tend to be unsympathetic to allegory, it pervades Enlightenment and post-Enlightenment literature. The tradition feeds into the poetic narratives of Shelley, Byron and the Lake poets, and the novels of Mary's father, William Godwin.
Artistically, therefore, it is to allegory that Mary's story belongs.
I remained in a recess of rock, gazing on this wonderful and stupendous scene. The sea, or rather the vast river of ice, wound among its dependent mountains, whose aerial summits hung over its recesses.
Their icy and glittering peaks shone in the sunlight over the clouds. My heart, which was before sorrowful, now swelled with something like joy. This version of the novel is seldom read today, and literary critics tend to regard it as superseded by the amended edition of It is, however, a far more radical and engaging text as I endeavour to show in section four, where I discuss how Mary's alterations affect the religious implications of her tale.
In her recent edition of the text, Marilyn Butler suggests that Mary's story began as a narrative comment on the contemporary public debate regarding scientific materialism and the Christian concept of a pre-existent immortal soul. Abernethy believed that life is bestowed by the super-addition of a super-fine element analogous to electricity and co-relative to the Christian soul.
In MarchLawrence proclaimed in opposition to Abernethy that the power which animates animals resists abstraction from matter: The being animated by the infusion of a 'spark', apparently of electricity, is not human but a grotesque distortion of our form, which the humans in the story cannot acknowledge.
In my first three sections, I wish to illustrate how in expanding her entry into a full length novel, Mary used Milton 's Paradise Lost and the Prometheus legend as a mythological network through which to explore the religious implications of her rejection of spiritual vitalism.
Carried to its logical conclusion, the materialist argument refutes the notion of a transcendent deity since it perceives nature as active and all-encompassing, not the passive recipient of a reserve of external power. Mary, I believe, wished to explore through fiction what it means to be human within this self-regulating universe.
Through the different ways in which her characters correspond with Milton's, she wanted to create a new and subversive tale of human origins, which expounded simultaneously the timeless implications of this myth for disparate aspects of our nature. In so doing, she aimed to refute on a moral and philosophical basis the traditional Christian tenets which the new science questioned on empirical grounds.
In my fourth section, I suggest that Mary later revised her early work in order to dissociate it from Lawrence and to bring it more in line with orthodox Christian aetiology.
Bytimes had changed and the English public was more reactionary than it had been a decade earlier. Mary's own religious beliefs had become more conservative since Shelley's death in and she had started attending church.
Pragmatically, her surviving son was heir to the Shelley estate and she wished him to take his place in upper class society. As a woman of letters, she had little income and a fresh edition of Frankenstein, rendered cheaper on account of new publishing technology, represented her best chance of earning.
Keeping the book clear of scandal may have been the trade-off the publisher exacted. For traditional Christians, the novel belongs typologically with tales of human presumption, in which the protagonist is duly punished for overstepping human boundaries laid down by God.
When the first edition was published, the reviewer for The Edinburgh Magazine tentatively suggested an orthodox reading: It might, indeed, be the author's view to shew that the powers of man have been wisely limited, and that misery would follow their extension.
He used a comic assistant and narrator, Fritz, to create an orthodox tale of sin and damnation.The Epic of Gilgamesh Questions and Answers. The Question and Answer section for The Epic of Gilgamesh is a great resource to ask questions, find answers, and discuss the novel.
In the light of such an understanding of the anatomy of good and evil, the words of G.K. Chesterton, uttered on his death-bed, encapsulate the simple difference between the wisdom of humility and the light it brings and, on the other hand, the wickedness of pride and the darkness to which it leads.
Apep (also known as Apepi and by his Greek name Apophis) was the evil god of darkness in Egyptian mythology, which he is considered the main antagonist of, . Aug 08, · Words: Length: 2 Pages Document Type: Essay Paper #: Eulogy Today I am here to say a few words about a woman who by her very existence has taught all of us the value of risk.
In the course of life, we meet people who on the surface seem very different from us but they are inherently similar. Essay on A Journey into Darkness in Heart of Darkness Consequences of the Vietnam War Essay The Theme of Prejudice in William Shakespeare's The Merchant of Venice.
CREATION STORIES including In the beginning, Eggs and emptiness, Divine disorder, Egypt, Mesopotamia, India, The Bible story, China, Greece, Japan, Norse legends The Hebrews imagine a first moment when all is void, with darkness on the face of the deep.
In Greece the story begins with Chaos, meaning a gaping The mythology of Japan also.