An original argument about Frankenstein, Canterbury Tales, Othello, or The Picture of Dorian Gray.
a) supported by ample close-reading of passages in the text, and
b) advanced in conversation with your scholarly sources

What does it mean to be “in conversation” with scholarly sources? It could mean a number of things! We’ll talk about how to build on them, challenge them, synthesize them, etc., and how to position yourself in relation to the academic discourse you find.

Follow this writing style and avoid meta-discourse.

Frankenstein: The Immature Prometheus
Mary Shelley’s Frankenstein, subtitled as the Modern Prometheus, is a classic novel that explores the boundaries of science and ethics. First published in 1818, this novel tells the story of Victor Frankenstein, a young scientist who creates a monstrous creature using corpses and a powerful scientific process. The creature, rejected by the creator himself and society, seeks revenge against Frankenstein for giving it life but denying it love and companionship. Shelley’s novel draws upon ancient Greek mythology, particularly the Promethean myth. This legendary tale depicts the Titan Prometheus, who stole fire from the gods to give to humanity. Prometheus, like Frankenstein, was a creator figure who faced dire consequences for his actions. Namely, the god Zeus bound him to chains and sent an eagle to eat his immortal liver every day. Both works deal with themes of creation, responsibility, and the consequences of playing God. The fundamental concept of responsible creativity heavily resonates with both Prometheus and Victor Frankenstein in their motivations, yet the consequences of their actions vary extensively. The Prometheus myth has long served as a cautionary tale about the perils of seeking knowledge and playing God. Shelley’s Frankenstein, in turn, reflects and diverges from this myth, as it explores similar themes but in a modern, scientific context. As both stories illustrate, creation requires responsibility, and the creator must prepare to accept the consequences of their actions. This paper will examine how Shelley’s novel reflects and diverges from the Prometheus myth in terms of the themes of creation, responsibility, and the consequences of playing God. The fundamental concept of responsible creativity resonates with both Prometheus and Victor Frankenstein in their motivations, yet the consequences of their actions vary extensively.

The novel Frankenstein fundamentally differs from the Promethean myth in terms of the motivations behind creativity, specifically when comparing the greedy impulses of Victor Frankenstein with the pure intentions of Prometheus in the process of creation. According to Ted Peters in “Playing God with Frankenstein,”, Victor’s ultimate sin unveiled itself when he attempted to create life out of non-life; his creativity becomes increasingly destructive to the point where he becomes consumed by his own guilt and paranoia. Even more so, Victor’s motivations were fundamentally impure, as he confessed that “life and death appeared to me ideal bounds, which I should first break through, and pour a torrent of light into our dark world. A new species would bless me as its creator and source; many happy and excellent natures would owe their being to me. No father could claim the gratitude of his child so completely as I should deserve theirs” (Shelley 38). Here, the way in which Victor claims his creations would inherently owe him for their life clearly demonstrates his ego; he is not simply motivated by a desire to advance science or help humanity, but also by a selfish desire for glory and admiration. He wants people to see him as a god-like figure, capable of creating a new species and being revered by all who behold his creation. This ambition ultimately leads him down a dangerous path and has disastrous consequences.

On the other hand, Prometheus is depicted as a benevolent figure who has a deep love for humanity and seeks to improve their lot in life. He is motivated by a desire to give humans the tools they need to survive and thrive, even if it means defying the gods. Hence, the theme of creativity in Frankenstein and Prometheus diverges most significantly when looking at just how promising the Titan Prometheus was for the people; he sought to bring light to a world that was otherwise dark and unenlightened:

For it was he [Prometheus] who first gave mortal humans signs and symbols, and told them how to name things. Before this, they used to make signs to each other, like mute people, and they lived in confusion and ignorance of everything. But the cunning, beneficent Prometheus changed everything. He gave humans fire, which was a great resource in their life, and he taught them how to make houses, how to wear clothes, and how to cultivate the earth (Hesiod’s Works and Days).

This poem, which is often cited as the earliest known version of the Promethean myth, highlights how Prometheus used his intelligence and creativity to help humans, and how his actions ultimately brought about significant improvements to human life. Unlike Victor Frankenstein, it does not suggest that Prometheus’ motivations were driven by greed or a desire for personal gain. These contrasting pieces of evidence illustrate the true motivations behind each respective characters’ creativity. While Victor does id it for selfish reasons and personal gain, Prometheus created fire for humans out of true kindness and the desire to help struggling beings.

Both characters face a large burden of responsibility in light of their creations, yet they also simultaneously encounter unprecedented dilemmas that illustrate a greater issue surrounding the concept of responsible creativity. In her article “Responsible Creativity and the “Modernity” of Mary Shelley’s Frankenstein,”, Harriet Hustin not only explains the large responsibility Victor initially hasd over his creation, but also the additional predicaments he begins an to face when the Creature growsgrew older. She ascertains that Frankenstein was unwilling to acknowledge the sheer complexity of his creation and thereby practice responsible creativity. In the context of Frankenstein, this phenomenon refers to the ethical and moral responsibilities that come with the act of creation. Thus, not only did he underestimate the burden of responsibility he had as a creator, but even later in the process, Victor oversized the “minuteness of the parts” in an attempt to make the reality of his endeavor match the grandeur of his intentions. Essentially, Victor’s clash with the theme of responsibility stems from the way he conceived of life with blatant disregard for its filthy and hideous specifics. In an oddly similar manner, Prometheus also went through a roller-coaster ride in regards to his agenda of responsibility. Samuel Einstein’s article “Literature and Myth” voices a similar narrative to Hustisn’s; Shelley’s modernization of the Prometheus legend suggests that what is lost when responsible creativity is conceived of solely in terms of justice and a purportedly objective ethic of fairness is precisely what is the most crucial element of this myth, namely, Promethean pity. Pity and the willingness to give another precedence over oneself (regardless of whether they deserve it) are incompatible with a formal logic of equality and reciprocity, contributing to the failure in responsibility. Thus, while both characters may have had different motivations for their creativity, they both struggled with the responsibility over their beings. Whether the phenomenon of responsible creativity with Frankenstein, or Promethean pity with Prometheus, both creators struggle to contain themselves when giving another living being precedence over themselves.

Shelley’s Frankenstein both reflects and diverges from the Prometheus myth in its exploration of the consequences of playing God, as while both stories hint at the dangers of defying the natural order, Shelley’s novel delves deeper into the psychological and societal consequences of such actions. Unlike Prometheus in any way, Victor solely seeks to become a god by creating and controlling life as he sees fit, evident by his claim “learn from me, if not by my precepts, at least by my example, how dangerous is the acquirement of knowledge, and how much happier that man is who believes his native town to be the world, than he who aspires to become greater than his nature will allow” (Shelley 165). This view quote highlights the theme of the dangers of knowledge and ambition, and how Victor’s attempts to create life ultimately led to his downfall. By trying to play God and create life, Victor violates the natural order of things and unleashes a monster that wreaks utter havoc on society. Rather similarly, Prometheus faces grave retribution for defying the natural order of his world, where “for such a crime against the gods he is now bound in fetters on this precipitous cliff, where neither voice nor form of any mortal can approach him. And there, all alone, he shall suffer many tortures, until he shall learn to bear Zeus’ sovereignty, and cease to act in opposition to the gods” (Aeschylus’ Prometheus Bound). In this myth, Prometheus is punished by Zeus himself for giving fire to humans and teaching them various crafts and skills. Here, the punishment itself is highlighted, which includes being bound in chains and subjected to various tortures for an extended period; the punishment is meant to serve as a warning to others who might attempt to defy the gods and play god themselves. Essentially, while both characters do experience severe consequences in light of their actions, the way they experience them is fundamentally differs. ent. While Victor Frankenstein is tortured by the very being he created (and at the same time, mother nature), Prometheus faces torture by higher powers. Meanwhile, Victor Frankenstein experiences deeper psychological retribution, while Prometheus’ myth focuses on the physical pain.

This exploration has delved into a nuanced interplay between Mary Shelley’s novel and the Prometheus myth, shedding light on the similarities and differences in their respective portrayals of creation, responsibility, and the consequences of playing God. Through a comprehensive analysis, it has become evident that while both Prometheus and Victor Frankenstein share a common motivation of responsible creativity, the outcomes of their actions diverge drastically. Shelley’s novel vividly illustrates the tragic consequences of unchecked ambition and the perils of meddling with the natural order, ultimately warning against the hubris of playing God. As such, Frankenstein serves as a timeless cautionary tale that continues to captivate readers with its thought-provoking themes and resonant insights into the ethical implications of human innovation. These parallels have been extended throughout history and towards a global audience; Einstein’s journal explores the sheer number of interpretations by different cultures of Prometheus’ fire-wielding rebellious tendencies, yet ultimately analyzes the tension between individual temptations and societal implications. In a world where technological advancements continue to raise ethical dilemmas, Shelley’s cautionary tale serves as a compelling reminder of the moral implications of humanity’s relentless pursuit of scientific progress; alongside this, Hustis’ fundamental argument is that through Shelley’s consistent depiction of the dangers of scientific progress, her novel simultaneously anticipates many of the social and ethical concerns we face today. With its thought-provoking themes and enduring relevance, Frankenstein remains a testament to the power of literature to challenge and provoke our understanding of the human condition. Yet, both these works stand strong as powerful explorations of the themes of creation, responsibility, and the consequences of playing God, offering valuable insights into the human condition and the ethical dilemmas that arise from the pursuit of scientific progress.