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Preface

Preface
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Contributors (1)
Published
Jun 17, 2019

Volume I.

Preface

The event on which this fiction is founded has been supposed, by Dr. Darwin, and some of the physiological writers of Germany, as not of impossible occurrence. I shall not be supposed as according the remotest degree of serious faith to such an imagination; yet, in assuming it as the basis of a work of fancy, I have not considered myself as merely weaving a series of supernatural terrors. The event on which the interest of the story depends is exempt from the disadvantages of a mere tale of spectres or enchantment. It was recommended by the novelty of the situations which it developes; and, however impossible as a physical fact, affords a point of view to the imagination for the delineating of human passions more comprehensive and commanding than any which the ordinary relations of existing events can yield.

I have thus endeavoured to preserve the truth of the elementary principles of human nature, while I have not scrupled to innovate upon their combinations. The Iliad, the tragic poetry of Greece,—Shakespeare, in the Tempest and Midsummer Night’s Dream,—and most especially Milton, in Paradise Lost, conform to this rule; and the most humble novelist, who seeks to confer or receive amusement from his labours, may, without presumption, apply to prose fiction a licence, or rather a rule, from the adoption of which so many exquisite combinations of human feeling have resulted in the highest specimens of poetry.

The circumstance on which my story rests was suggested in casual conversation. It was commenced, partly as a source of amusement, and partly as an expedient for exercising any untried resources of mind. Other motives were mingled with these, as the work proceeded. I am by no means indifferent to the manner in which whatever moral tendencies exist in the sentiments or characters it contains shall affect the reader; yet my chief concern in this respect has been limited to the avoiding the enervating effects of the novels of the present day, and to the exhibition of the amiableness of domestic affection, and the excellence of universal virtue. The opinions which naturally spring from the character and situation of the hero are by no means to be conceived as existing always in my own conviction; nor is any inference justly to be drawn from the following pages as prejudicing any philosophical doctrine of whatever kind.

It is a subject also of additional interest to the author, that this story was begun in the majestic region where the scene is principally laid, and in society which cannot cease to be regretted. I passed the summer of 1816 in the environs of Geneva. The season was cold and rainy, and in the evenings we crowded around a blazing wood fire, and occasionally amused ourselves with some German stories of ghosts, which happened to fall into our hands. These tales excited in us a playful desire of imitation. Two other friends (a tale from the pen of one of whom would be far more acceptable to the public than any thing I can ever hope to produce) and myself agreed to write each a story, founded on some supernatural occurrence.

The weather, however, suddenly became serene; and my two friends left me on a journey among the Alps, and lost, in the magnificent scenes which they present, all memory of their ghostly visions. The following tale is the only one which has been completed.


Letter I.

To Mrs. SAVILLE, England.

St. Petersburgh, Dec. 11th, 17—.

You will rejoice to hear that no disaster has accompanied the commencement of an enterprise which you have regarded with such evil forebodings. I arrived here yesterday; and my first task is to assure my dear sister of my welfare, and increasing confidence in the success of my undertaking.

I am already far north of London; and as I walk in the streets of Peters-burgh, I feel a cold northern breeze play upon my cheeks, which braces my nerves, and fills me with delight. Do you understand this feeling? This breeze, which has travelled from the regions towards which I am advancing, gives me a foretaste of those icy climes. Inspirited by this wind of promise, my day dreams become more fervent and vivid. I try in vain to be persuaded that the pole is the seat of frost and desolation; it ever presents itself to my imagination as the region of beauty and delight. There, Margaret, the sun is for ever visible; its broad disk just skirting the horizon, and diffusing a perpetual splendour. There—for with your leave, my sister, I will put some trust in preceding navigators—there snow and frost are banished; and, sailing over a calm sea, we may be wafted to a land surpassing in wonders and in beauty every region hitherto discovered on the habitable globe. Its productions and features may be without example, as the phænomena of the heavenly bodies undoubtedly are in those undiscovered solitudes. What may not be expected in a country of eternal light? I may there discover the wondrous power which attracts the needle; and may regulate a thousand celestial observations, that require only this voyage to render their seeming eccentricities consistent for ever. I shall satiate my ardent curiosity with the sight of a part of the world never before visited, and may tread a land never before imprinted by the foot of man. These are my enticements, and they are sufficient to conquer all fear of danger or death, and to induce me to commence this laborious voyage with the joy a child feels when he embarks in a little boat, with his holiday mates, on an expedition of discovery up his native river. But, supposing all these conjectures to be false, you cannot contest the inestimable benefit which I shall confer on all mankind to the last generation, by discovering a passage near the pole to those countries, to reach which at present so many months are requisite; or by ascertaining the secret of the magnet, which, if at all possible, can only be effected by an undertaking such as mine.

These reflections have dispelled the agitation with which I began my letter, and I feel my heart glow with an enthusiasm which elevates me to heaven; for nothing contributes so much to tranquillize the mind as a steady purpose,—a point on which the soul may fix its intellectual eye. This expedition has been the favourite dream of my early years. I have read with ardour the accounts of the various voyages which have been made in the prospect of arriving at the North Pacific Ocean through the seas which surround the pole. You may remember, that a history of all the voyages made for purposes of discovery composed the whole of our good uncle Thomas’s library. My education was neglected, yet I was passionately fond of reading. These volumes were my study day and night, and my familiarity with them increased that regret which I had felt, as a child, on learning that my father’s dying injunction had forbidden my uncle to allow me to embark in a sea-faring life.

These visions faded when I perused, for the first time, those poets whose effusions entranced my soul, and lifted it to heaven. I also became a poet, and for one year lived in a Paradise of my own creation; I imagined that I also might obtain a niche in the temple where the names of Homer and Shakespeare are consecrated. You are well acquainted with my failure, and how heavily I bore the disappointment. But just at that time I inherited the fortune of my cousin, and my thoughts were turned into the channel of their earlier bent.

Six years have passed since I resolved on my present undertaking. I can, even now, remember the hour from which I dedicated myself to this great enterprise. I commenced by inuring my body to hardship. I accompanied the whale-fishers on several expeditions to the North Sea; I voluntarily endured cold, famine, thirst, and want of sleep; I often worked harder than the common sailors during the day, and devoted my nights to the study of mathematics, the theory of medicine, and those branches of physical science from which a naval adventurer might derive the greatest practical advantage. Twice I actually hired myself as an under-mate in a Greenland whaler, and acquitted myself to admiration. I must own I felt a little proud, when my captain offered me the second dignity in the vessel, and entreated me to remain with the greatest earnestness; so valuable did he consider my services.

And now, dear Margaret, do I not deserve to accomplish some great purpose. My life might have been passed in ease and luxury; but I preferred glory to every enticement that wealth placed in my path. Oh, that some encouraging voice would answer in the affirmative! My courage and my resolution is firm; but my hopes fluctuate, and my spirits are often depressed. I am about to proceed on a long and difficult voyage; the emergencies of which will demand all my fortitude: I am required not only to raise the spirits of others, but sometimes to sustain my own, when their’s are failing.

This is the most favourable period for travelling in Russia. They fly quickly over the snow in their sledges; the motion is pleasant, and, in my opinion, far more agreeable than that of an English stage-coach. The cold is not excessive, if you are wrapt in furs, a dress which I have already adopted; for there is a great difference between walking the deck and remaining seated motionless for hours, when no exercise prevents the blood from actually freezing in your veins. I have no ambition to lose my life on the post-road between St. Petersburgh and Archangel.

I shall depart for the latter town in a fortnight or three weeks; and my intention is to hire a ship there, which can easily be done by paying the insurance for the owner, and to engage as many sailors as I think necessary among those who are accustomed to the whale-fishing. I do not intend to sail until the month of June: and when shall I return? Ah, dear sister, how can I answer this question? If I succeed, many, many months, perhaps years, will pass before you and I may meet. If I fail, you will see me again soon, or never.

Farewell, my dear, excellent, Margaret. Heaven shower down blessings on you, and save me, that I may again and again testify my gratitude for all your love and kindness.

Your affectionate brother,

R. WALTON.

Letter II.

To Mrs. SAVILLE, England.

Archangel, 28th March, 17—.

How slowly the time passes here, encompassed as I am by frost and snow; yet a second step is taken towards my enterprise. I have hired a vessel, and am occupied in collecting my sailors; those whom I have already engaged appear to be men on whom I can depend, and are certainly possessed of dauntless courage.

But I have one want which I have never yet been able to satisfy; and the absence of the object of which I now feel as a most severe evil. I have no friend, Margaret: when I am glowing with the enthusiasm of success, there will be none to participate my joy; if I am assailed by disappointment, no one will endeavour to sustain me in dejection. I shall commit my thoughts to paper, it is true; but that is a poor medium for the communication of feeling. I desire the company of a man who could sympathize with me; whose eyes would reply to mine. You may deem me romantic, my dear sister, but I bitterly feel the want of a friend. I have no one near me, gentle yet courageous, possessed of a cultivated as well as of a capacious mind, whose tastes are like my own, to approve or amend my plans. How would such a friend repair the faults of your poor brother! I am too ardent in execution, and too impatient of difficulties. But it is a still greater evil to me that I am self-educated: for the first fourteen years of my life I ran wild on a common, and read nothing but our uncle Thomas’s books of voyages. At that age I became acquainted with the celebrated poets of our own country; but it was only when it had ceased to be in my power to derive its most important benefits from such a conviction, that I perceived the necessity of becoming acquainted with more languages than that of my native country. Now I am twenty-eight, and am in reality more illiterate than many school-boys of fifteen. It is true that I have thought more, and that my day dreams are more extended and magnificent; but they want (as the painters call it) keeping; and I greatly need a friend who would have sense enough not to despise me as romantic, and affection enough for me to endeavour to regulate my mind.

Well, these are useless complaints; I shall certainly find no friend on the wide ocean, nor even here in Archangel, among merchants and seamen. Yet some feelings, unallied to the dross of human nature, beat even in these rugged bosoms. My lieutenant, for instance, is a man of wonderful courage and enterprise; he is madly desirous of glory. He is an Englishman, and in the midst of national and professional prejudices, unsoftened by cultivation, retains some of the noblest endowments of humanity. I first became acquainted with him on board a whale vessel: finding that he was unemployed in this city, I easily engaged him to assist in my enterprise.

The master is a person of an excellent disposition, and is remarkable in the ship for his gentleness, and the mildness of his discipline. He is, indeed, of so amiable a nature, that he will not hunt (a favourite, and almost the only amusement here), because he cannot endure to spill blood. He is, moreover, heroically generous. Some years ago he loved a young Russian lady, of moderate fortune; and having amassed a considerable sum in prize-money, the father of the girl consented to the match. He saw his mistress once before the destined ceremony; but she was bathed in tears, and, throwing herself at his feet, entreated him to spare her, confessing at the same time that she loved another, but that he was poor, and that her father would never consent to the union. My generous friend reassured the suppliant, and on being informed of the name of her lover instantly abandoned his pursuit. He had already bought a farm with his money, on which he had designed to pass the remainder of his life; but he bestowed the whole on his rival, together with the remains of his prize-money to purchase stock, and then himself solicited the young woman’s father to consent to her marriage with her lover. But the old man decidedly refused, thinking himself bound in honour to my friend; who, when he found the father inexorable, quitted his country, nor returned until he heard that his former mistress was married according to her inclinations. “What a noble fellow!” you will exclaim. He is so; but then he has passed all his life on board a vessel, and has scarcely an idea beyond the rope and the shroud.

But do not suppose that, because I complain a little, or because I can conceive a consolation for my toils which I may never know, that I am wavering in my resolutions. Those are as fixed as fate; and my voyage is only now delayed until the weather shall permit my embarkation. The winter has been dreadfully severe; but the spring promises well, and it is considered as a remarkably early season; so that, perhaps, I may sail sooner than I expected. I shall do nothing rashly; you know me sufficiently to confide in my prudence and considerateness whenever the safety of others is committed to my care.

I cannot describe to you my sensations on the near prospect of my undertaking. It is impossible to communicate to you a conception of the trembling sensation, half pleasurable and half fearful, with which I am preparing to depart. I am going to unexplored regions, to “the land of mist and snow”; but I shall kill no albatross, therefore do not be alarmed for my safety.

Shall I meet you again, after having traversed immense seas, and returned by the most southern cape of Africa or America? I dare not expect such success, yet I cannot bear to look on the reverse of the picture. Continue to write to me by every opportunity: I may receive your letters (though the chance is very doubtful) on some occasions when I need them most to support my spirits. I love you very tenderly. Remember me with affection should you never hear from me again.

Your affectionate brother,

ROBERT WALTON.

Letter III.

To Mrs. SAVILLE, England.

July 7th, 17—.

MY DEAR SISTER,

I write a few lines in haste, to say that I am safe, and well advanced on my voyage. This letter will reach England by a merchant-man now on its homeward voyage from Archangel; more fortunate than I, who may not see my native land, perhaps, for many years. I am, however, in good spirits: my men are bold, and apparently firm of purpose; nor do the floating sheets of ice that continually pass us, indicating the dangers of the region towards which we are advancing, appear to dismay them. We have already reached a very high latitude; but it is the height of summer, and although not so warm as in England, the southern gales, which blow us speedily towards those shores which I so ardently desire to attain, breathe a degree of renovating warmth which I had not expected.

No incidents have hitherto befallen us, that would make a figure in a letter. One or two stiff gales, and the breaking of a mast, are accidents which experienced navigators scarcely remember to record; and I shall be well content, if nothing worse happen to us during our voyage.

Adieu, my dear Margaret. Be assured, that for my own sake, as well as your’s, I will not rashly encounter danger. I will be cool, persevering, and prudent.

Remember me to all my English friends.

Most affectionately yours,

R. W.

Letter IV.

To Mrs. SAVILLE, England.

August 5th, 17—.

So strange an accident has happened to us, that I cannot forbear recording it, although it is very probable that you will see me before these papers can come into your possession.

Last Monday (July 31st), we were nearly surrounded by ice, which closed in the ship on all sides, scarcely leaving her the sea room in which she floated. Our situation was somewhat dangerous, especially as we were compassed round by a very thick fog. We accordingly lay to, hoping that some change would take place in the atmosphere and weather.

About two o’clock the mist cleared away, and we beheld, stretched out in every direction, vast and irregular plains of ice, which seemed to have no end. Some of my comrades groaned, and my own mind began to grow watchful with anxious thoughts, when a strange sight suddenly attracted our attention, and diverted our solicitude from our own situation. We perceived a low carriage, fixed on a sledge and drawn by dogs, pass on towards the north, at the distance of half a mile: a being which had the shape of a man, but apparently of gigantic stature, sat in the sledge, and guided the dogs. We watched the rapid progress of the traveller with our telescopes, until he was lost among the distant inequalities of the ice.

This appearance excited our unqualified wonder. We were, as we believed, many hundred miles from any land; but this apparition seemed to denote that it was not, in reality, so distant as we had supposed. Shut in, however, by ice, it was impossible to follow his track, which we had observed with the greatest attention.

About two hours after this occurrence, we heard the ground sea; and before night the ice broke, and freed our ship. We, however, lay to until the morning, fearing to encounter in the dark those large loose masses which float about after the breaking up of the ice. I profited of this time to rest for a few hours.

In the morning, however, as soon as it was light, I went upon deck, and found all the sailors busy on one side of the vessel, apparently talking to some one in the sea. It was, in fact, a sledge, like that we had seen before, which had drifted towards us in the night, on a large fragment of ice. Only one dog remained alive; but there was a human being within it, whom the sailors were persuading to enter the vessel. He was not, as the other traveller seemed to be, a savage inhabitant of some undiscovered island, but an European. When I appeared on deck, the master said, “Here is our captain, and he will not allow you to perish on the open sea.”

On perceiving me, the stranger addressed me in English, although with a foreign accent. “Before I come on board your vessel,” said he, “will you have the kindness to inform me whither you are bound?”

You may conceive my astonishment on hearing such a question addressed to me from a man on the brink of destruction, and to whom I should have supposed that my vessel would have been a resource which he would not have exchanged for the most precious wealth the earth can afford. I replied, however, that we were on a voyage of discovery towards the northern pole.

Upon hearing this he appeared satisfied, and consented to come on board. Good God! Margaret, if you had seen the man who thus capitulated for his safety, your surprise would have been boundless. His limbs were nearly frozen, and his body dreadfully emaciated by fatigue and suffering. I never saw a man in so wretched a condition. We attempted to carry him into the cabin; but as soon as he had quitted the fresh air, he fainted. We accordingly brought him back to the deck, and restored him to animation by rubbing him with brandy, and forcing him to swallow a small quantity. As soon as he shewed signs of life, we wrapped him up in blankets, and placed him near the chimney of the kitchen-stove. By slow degrees he recovered, and ate a little soup, which restored him wonderfully.

Two days passed in this manner before he was able to speak; and I often feared that his sufferings had deprived him of understanding. When he had in some measure recovered, I removed him to my own cabin, and attended on him as much as my duty would permit. I never saw a more interesting creature: his eyes have generally an expression of wildness, and even madness; but there are moments when, if any one performs an act of kindness towards him, or does him any the most trifling service, his whole countenance is lighted up, as it were, with a beam of benevolence and sweetness that I never saw equalled. But he is generally melancholy and despairing; and sometimes he gnashes his teeth, as if impatient of the weight of woes that oppresses him.

When my guest was a little recovered, I had great trouble to keep off the men, who wished to ask him a thousand questions; but I would not allow him to be tormented by their idle curiosity, in a state of body and mind whose restoration evidently depended upon entire repose. Once, however, the lieutenant asked, Why he had come so far upon the ice in so strange a vehicle?

His countenance instantly assumed an aspect of the deepest gloom; and he replied, “To seek one who fled from me.”

“And did the man whom you pursued travel in the same fashion?”

“Yes.”

“Then I fancy we have seen him; for, the day before we picked you up, we saw some dogs drawing a sledge, with a man in it, across the ice.”

This aroused the stranger’s attention; and he asked a multitude of questions concerning the route which the dæmon, as he called him, had pursued. Soon after, when he was alone with me, he said, “I have, doubtless, excited your curiosity, as well as that of these good people; but you are too considerate to make inquiries.”

“Certainly; it would indeed be very impertinent and inhuman in me to trouble you with any inquisitiveness of mine.”

“And yet you rescued me from a strange and perilous situation; you have benevolently restored me to life.”

Soon after this he inquired, if I thought that the breaking up of the ice had destroyed the other sledge? I replied, that I could not answer with any degree of certainty; for the ice had not broken until near midnight, and the traveller might have arrived at a place of safety before that time; but of this I could not judge.

From this time the stranger seemed very eager to be upon deck, to watch for the sledge which had before appeared; but I have persuaded him to remain in the cabin, for he is far too weak to sustain the rawness of the atmosphere. But I have promised that some one should watch for him, and give him instant notice if any new object should appear in sight.

Such is my journal of what relates to this strange occurrence up to the present day. The stranger has gradually improved in health, but is very silent, and appears uneasy when any one except myself enters his cabin. Yet his manners are so conciliating and gentle, that the sailors are all interested in him, although they have had very little communication with him. For my own part, I begin to love him as a brother; and his constant and deep grief fills me with sympathy and compassion. He must have been a noble creature in his better days, being even now in wreck so attractive and amiable.

I said in one of my letters, my dear Margaret, that I should find no friend on the wide ocean; yet I have found a man who, before his spirit had been broken by misery, I should have been happy to have possessed as the brother of my heart.

I shall continue my journal concerning the stranger at intervals, should I have any fresh incidents to record.

August 13th, 17—.

My affection for my guest increases every day. He excites at once my admiration and my pity to an astonishing degree. How can I see so noble a creature destroyed by misery without feeling the most poignant grief? He is so gentle, yet so wise; his mind is so cultivated; and when he speaks, although his words are culled with the choicest art, yet they flow with rapidity and unparalleled eloquence.

He is now much recovered from his illness, and is continually on the deck, apparently watching for the sledge that preceded his own. Yet, althoughunhappy, he is not so utterly occupied by his own misery, but that he interests himself deeply in the employments of others. He has asked me many questions concerning my design; and I have related my little history frankly to him. He appeared pleased with the confidence, and suggested several alterations in my plan, which I shall find exceedingly useful. There is no pedantry in his manner; but all he does appears to spring solely from the interest he instinctively takes in the welfare of those who surround him. He is often overcome by gloom, and then he sits by himself, and tries to overcome all that is sullen or unsocial in his humour. These paroxysms pass from him like a cloud from before the sun, though his dejection never leaves him. I have endeavoured to win his confidence; and I trust that I have succeeded. One day I mentioned to him the desire I had always felt of finding a friend who might sympathize with me, and direct me by his counsel. I said, I did not belong to that class of men who are offended by advice. “I am self-educated, and perhaps I hardly rely sufficiently upon my own powers. I wish therefore that my companion should be wiser and more experienced than myself, to confirm and support me; nor have I believed it impossible to find a true friend.”

“I agree with you,” replied the stranger, “in believing that friendship is not only a desirable, but a possible acquisition. I once had a friend, the most noble of human creatures, and am entitled, therefore, to judge respecting friendship. You have hope, and the world before you, and have no cause for despair. But I——I have lost every thing, and cannot begin life anew.”

As he said this, his countenance became expressive of a calm settled grief, that touched me to the heart. But he was silent, and presently retired to his cabin.

Even broken in spirit as he is, no one can feel more deeply than he does the beauties of nature. The starry sky, the sea, and every sight afforded by these wonderful regions, seems still to have the power of elevating his soul from earth. Such a man has a double existence: he may suffer misery, and be overwhelmed by disappointments; yet when he has retired into himself, he will be like a celestial spirit, that has a halo around him, within whose circle no grief or folly ventures.

Will you laugh at the enthusiasm I express concerning this divine wanderer? If you do, you must have certainly lost that simplicity which was once your characteristic charm. Yet, if you will, smile at the warmth of my expressions, while I find every day new causes for repeating them.

August 19th, 17—.

Yesterday the stranger said to me, “You may easily perceive, Captain Walton, that I have suffered great and unparalleled misfortunes. I had determined, once, that the memory of these evils should die with me; but you have won me to alter my determination. You seek for knowledge and wisdom, as I once did; and I ardently hope that the gratification of your wishes may not be a serpent to sting you, as mine has been. I do not know that the relation of my misfortunes will be useful to you, yet, if you are inclined, listen to my tale. I believe that the strange incidents connected with it will afford a view of nature, which may enlarge your faculties and understanding. You will hear of powers and occurrences, such as you have been accustomed to believe impossible: but I do not doubt that my tale conveys in its series internal evidence of the truth of the events of which it is composed.”

You may easily conceive that I was much gratified by the offered communication; yet I could not endure that he should renew his grief by a recital of his misfortunes. I felt the greatest eagerness to hear the promised narrative, partly from curiosity, and partly from a strong desire to ameliorate his fate, if it were in my power. I expressed these feelings in my answer.

“I thank you,” he replied, “for your sympathy, but it is useless; my fate is nearly fulfilled. I wait but for one event, and then I shall repose in peace. I understand your feeling,” continued he, perceiving that I wished to interrupt him; “but you are mistaken, my friend, if thus you will allow me to name you; nothing can alter my destiny: listen to my history, and you will perceive how irrevocably it is determined.”

He then told me, that he would commence his narrative the next day when I should be at leisure. This promise drew from me the warmest thanks. I have resolved every night, when I am not engaged, to record, as nearly as possible in his own words, what he has related during the day. If I should be engaged, I will at least make notes. This manuscript will doubtless afford you the greatest pleasure: but to me, who know him, and who hear it from his own lips, with what interest and sympathy shall I read it in some future day!

Comments
226
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Noor Malallah: Walton is actually a pretty popular Passionate character while he is teaching himself and also touring for his personal educational things to do. Feeling unhappiness at his own lack of knowledge and wanting to further improve himself, he laments within the letter that my education was in fact mistreated, however, I had been passionately attached to reading.
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Stephanie Hejna: This illustrates the narrator’s character. He is very calculating, and procedural. He insinuates he is not very spontaneous, and plans everything. This is an important trait that will most likely be relevant throughout the story.
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Stephanie Hejna: Here, the narrator discusses his loneliness, and illustrates his desire for companionship. This (i predict) is foreshadowing the rest of the story. I feel this will be an important theme throughout the book.
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Maria Jimenez: test
Catherine Ahearn: General comment
Catherine Ahearn: Comment here. Question!
Catherine Ahearn: Respond
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Kevon Curry: The theme of making is prevalent in chapter 3.This shows that height of hubris for Victor. Creating human life of unnatural means is a bad idea. Especially since the being is made up of the remains of the dead.This type of arrogance leads to rash judgement and lack of planning./
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Albert Bang: In the second paragraph of chapter IX it highlights the monster’s ultimatum. Victor is quick to refuse and I don’t blame him for doing so, for any sane man would. But unless you can somehow delete his monstrosity of a mistake, refusing this request would be a mistake not only for Victor’s well being but for all of mankind. For the monster’s loneliness and alienation from the rest of the world would only fuel his rage and resentment towards mankind, which will only bring more deaths and destruction in his wake. Victor should create a female companion for the monster for he will be content and leave the world of mankind alone.
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sekou X: The main character created her own paradise from her imagination from misery. This can be as real to her as frankensteins monster is to us, a thought, an idea
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Ji Brust: Since Victor is no longer blinded by the “enthusiastic frenzy” and obsession of his work, it is here that he realizes his the ethical issues tied within is work. Victor has the opportunity to recreate and even revised his second creature for the advancement of science. However, sometimes, even when we discover a groundbreaking scientific discovery, it doesn’t bring the best outcome as with the creation of the atomic bomb.
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James Lent: Here we see Beaufort makes, of himself, a “made-man”. He becomes wealthy through his work as a merchant. However, he is then un-made, by the fate of the world, and plummets into poverty and deep depression. Victor’s father, nobly, rescues Beaufort, his best friend, temporarily, with a lump sum of money. However, Beaufort cannot shake his newfound, wretched mental illness, and is un-made entirely. -James Lent
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Skyler Myers: This is the point in the story where Victor is deciding what size he should make his creature, and he decides to make it eight feet tall. This should have been the point where he decided to make the creature small, or not create it at all.
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Ian Martin: It is in this part of the story that Victor really begins the process of making the Creature; it is conceived in knowledge and imagination, and a passionate curiosity and desire to innovate. Although ultimately his demise, his choice to pursue knowledge is definitely a good idea. What are we as a species or as individuals if we do not continuously strive for greater understanding and greater mastery of the world around us? If existence is truth, then to come to a greater understanding of the truth is to come to a greater understanding of what exists, and with that, it’s methods of function. By straining to more clearly see, understand and control what exists, Victor makes himself more truly Human, and advances a cause that contains within it, when extrapolated to it’s furthest reaches of potential, the powers of both ultimate existence and ultimate destruction. We must embrace the risks and beauty of that dichotomy and in so doing fulfill our potential and what it means to be Human.
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Spencer Sandvig: this is a good instance because the character is going through a moral crisis to receive redemption for his actions. The creature through self reflections and upon seeing the demise of his creator is filled with confusion. This confusion will lead him down the path of empathy and become better for all of humanity
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Jaelene Munoz: In this section, the creature states a female companion is necessary to his being. This statement alone is very sexist towards woman as describing their existence as a necessity for men. Nowadays, in our more progressive society, it is known that woman are their own humans and are not put on this Earth to please men. I believe the creature does not have an understanding of the opposite gender and the possibilities of his mate, not agreeing with him or anything of the sorts. Another thing to mention, it that having a mate is not something everyone needs and it definitely not a necessity to life.
Ashley Cohen Conner: test
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selena dodson: My thematic topic is nature vs. nurture, In Frankenstein Victor made a creature, and left it. Was it suppose to be evil when it was made or did Victor leaving him and rejecting him make him who he is? I think leaving the “monster” acts the way he does the murder because of how Frankenstein treated him. The “monster” doesn't know how to treat others because he wasn't trained or taught, he just saw how Frankenstein treated him.  The rejection he experienced affected him to treat others how he was treated instead of being loved and loving them. The way we are treated will impact who you are as a person. In the case of designer babies it would be nature because your being able to change how your child would be.
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kaden cameron: I believe that Victor Frankenstein did not make the ethical choice when he created the monster. In the book Frankenstein he creates a creature, but as soon has he creates the creature, he rejects it. That’s stated here when he said “I had finished, the beauty of the dream vanished, and breathless horror and disgust filled my heart.” He was so driven to finish his pride and joy, his life’s work, but this got the better of him and he didn’t take responsibility. He later said “I rushed out of the room and continued a long time traversing my bed- chamber, unable to compose my mind to sleep.” You could say he is avoiding responsibility, but I think that he is just taking a moment to process what has happened. Later on in the book the creature stalks Victor and then confronts him to make a second creature to be his wife/girlfriend/mate or whatever you want to call it. Victor reluctantly agrees, but then later changes his mind, the creature becomes really mad and replies with this “If I cannot inspire love, I will cause fear!”, showing that people hate him and reject him from their society than he is just going terrorize people just to find his place in the world. When Victor is making the creature he says “She also might turn with disgust from him to the superior beauty of man; she might quit him, and he be again alone, exasperated by the fresh provocation of being deserted by one of his own species” He is feeling sympathy for the creature which is multiple levels of ethics. Overall I believe that Frankenstein should have not created the creature and when he did he did not take responsibility for that, but tried to flip the situation around in the end, but to avail.
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Luis Reyes: Based on the events of the book “Frankenstein” by Mary shelley and the French Revolution, I believe that as you progress, you’ll have to make tough decisions. This is shown in the book Frankenstein when the protagonist Victor, has the decision to follow the monster’s orders and make a female companion because of his progression in reanimating corpses, he decides not to. While he his working on the female monster he decides to destroy it. This was a hard decision for him because he contemplates if the female monster would turn out destructive like the other monster. Furthermore in the Industrial Revolution progress was made at a fast rate, this led to factories needing a lot of workers. According to ATC Risk Management, in the 18th century child labor was a inexpensive solution to the need of workers, but led to work accidents. This was then changed by a law called, “The Factories Act” which decreased child injuries in the factories. This idea can be applied in the innovation that I’m studying, mind recording and uploading. There are discussions about if we should even continue this technology because it could benefit humans but also hinder us. Stanford University has expressed some of these ethical questions in a article they wrote.
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Oscar Castellanos: Knowledge is power. One of our most power weapons and traits is our brain and the ability to learn the way we do. At times we see our species constantly strive to learn new information. Once we learn that, we keep going so we can learn more, our most powerful weapon as a species is our brain. We see this in Mary Shelley's  Frankenstein in our 3 main characters when they strive and gain knowledge. Victor goes to his university and learns for years becoming obsessed with knowledge leading him on a path to create something completely new. The creature Victor creates spends about a year by himself studying the world around him. He ends up learning how to speak and read. This allows him to further his knowledge about the world around him and about himself,  how he was created. For our last main character Robert Walton. He talks about his goal. His goal is to travel to the north pole so he can improve himself and his own knowledge. This relates to the industrial revolution because of how the people were constantly looking for new inventions to make their lives easier, and to make certain process faster. Like the Spinning Jennies. That allowed them to make more clothing items, allowing more than half the population to own more than just 2 clothing items. And there were many more inventions to follow that one.
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David Tokar: Frankenstein abandoned his creation and forced it to grow up in a world that hated it. Growing up with nothing but hatred and rejection transformed him into a monster. If Frankenstein had not fled from his responsibility, his creature would have grown up more comfortable, and learned how the world works in a more gentle manner. But who is really responsible for the way the creature ended up, his creator, who left him, or the people of the world, who scorned him when he searched for some form of companionship?
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Ryan Topper: In today's golden age of technology, knowledge is a powerful tool that can lead to valuable progress or destructive innovations. In Mary Shelley’s award winning book, Frankenstein: Or, The Modern Prometheus, the main character, Victor Frankenstein, possesses an extreme desire for learning the secret to life. Early in the novel, Shelley writes "Frankenstein—more, far more, will I achieve; treading in the steps already marked, I will pioneer a new way, explore unknown powers, and unfold to the world the deepest mysteries of creation.” (2). This shows Frankenstein’s early ambitions, as he is slowly poisoned by an abundance of knowledge that later causes him to create unnatural life. Artificial intelligence is a contemporary example of this unnatural life with the ability to serve and benefit humanity, or lead to our demise. As soon as computers are able to think for themselves, they can decide the way they want to interact with other life, including humankind. Victor’s progress is a double-edged sword - while he learns more beneficial knowledge, he begins to use it for no good. The same “double edged” sword is shown in the industrial revolution. While a lot of beneficial innovations were made, air pollution, along with poor working conditions plagued the factories. According to a report by the House of Commons in 1832: “there are factories, no means few in number, nor confined to the smaller mills, in which serious accidents are continually occurring, and in which, notwithstanding, dangerous parts of the machinery are allowed to remain unfenced”. This report further shows how knowledge has a destructive and less recognized side. Today, modern science still depends on knowledge, with potential to have negative impacts. According to Klaus Schwab, an executive of the World Economic Forum: “together shape a future that works for all by putting people first, empowering them and constantly reminding ourselves that all of these new technologies are first and foremost tools made by people for people.”. Take artificial intelligence for example; a subject that poses many ethical dilemmas and can parallel Frankenstein. Where artificial intelligence can be used to support mankind in many beneficial ways, it still has the same double-edged dilemma that Frankenstein and the Industrial Revolution shared. As you can see, knowledge leads to many progressive innovations, but will always have a lesser known negative side waiting to be discovered in retrospect.
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Isabel Martin: The classic argument of whether nature or nurture is more powerful has a spin in Frankenstein. The novel shows that it’s neither nature or nurture that’s more powerful, it’s the one that’s more negative. We see this first with Victor Frankenstein.  He has a perfect childhood with wonderful nurturing but Victor nature is to be pessimistic and depressed, therefore his negative nature won over. The creature’s nature is quite the opposite of Victor’s he is kind and curious. We see this in Chapter 11 when he describes how he is fascinated by everything from the moonlight to the huts of a little village, to fire. Unfortunately every encounter the creature had with humans was negative, he was chased out of towns and the home of his protectors. He was even shot by a father who’s daughter he saved from drowning. Since he had no real nurturing from anyone the violent actions of humans towards him were his only form of nurturing turning him from a curious and innocent creature into a violent and murderous monster. Nowadays people are trying to prevent having to worry about their child having a negative nature through genetic manipulation. “Designer babies” will soon be a reality so parents can not only choose their babies’ physical traits, but their mental ones. This will not only revolutionize parenting, but it will also change society since traits that lead to social isolation and depression will be considered undesirable and will be removed from gene pool.  So for better or worse, there will be no more Victor Frankensteins in the future.
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Ken Denney: See what she did there?
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Graham Durfee: Frankenstein’s fear of innovation and progress is reactionary to the era when it was written. In 1818, the Industrial Revolution was just beginning to make headway, and the counterculture of the romantic movement came close behind. In a world where factory bosses ignored ethical considerations in the name of progress, it makes sense that freethinkers like Lord Byron and Mary and Percy Shelley would look to nature as a way to escape. Romantics saw a gray and lifeless world around them and looked to return to what they saw as the more innocent time of the medieval era.  But often, this important questioning was taken too far. This is especially clear in Frankenstein. Victor’s regret causes him to attempt to turn Robert Walton away completely from his scientific endeavors. While it is one thing to say “perhaps we should consider what happens when we create an entirely new life form”, it is another to say “you must abandon all quests for scientific knowledge”. This crosses the line from sensible caution into illogical paranoia. Does this sound familiar to you? In our modern era, outside voices question scientific advancements from their conception. This actually can help protect the scientists from putting themselves in regrettable situations when it’s too late. However, even after these questions have been answered some parties will continue to fight against an invention or legal ruling. Without any hope of being anything other than unproductive, these parties stand in the way of progress simply because they don’t like it.
Mary ShelleyPhilosophy & PoliticsTechnology
Damien Williams: As Charles E. Robinson notes, in his introduction, Mary’s choice of the word “dæmon” throughout the text is deliberate, and not necessarily intended to mean “an evil beast.” Though this spelling seems archaic, if we follow its transformation over time, we can better understand how the term signals Mary’s understanding of the creature, and we can make connections to our modern-day technology, including computing. The Greek word “Δαιμον,” or “Daimon,” meant “divine spirit,” “soul,” or any supernatural entity other than a god. In his Nicomachean Ethics, the Greek philosopher Aristotle used the word “Ευδαιμονια” or “eu-daimonia” to mean “a good spirit,” or a human soul in harmony as a result of cultivating a virtuous character. When the Romans came, the word “δαιμον” became “dæmon,” which was later simplified to “demon” as a result of the Neo-Latin turn beginning in the fourteenth century. But religion and culture changed along with language. As Christianity spread and the Roman Empire gave rise to the Holy Roman Catholic Church, the metaphysical implications of words were altered. “Demons” could no longer be neutral spirits. There was good, and there was Evil, and that meant that anything not sent by God must be evil. A Greek word for “Spirits From God” had already been adopted (“Αγγελος” or “Angel”), so Demons became Evil Spirits. As Mary was versed in Latin and Greek language and history as well as Christian traditions, it is likely that she would have known most of this, leading to her intentional usage of the term. She wanted her readers to understand the otherworldly awe the creature is meant to inspire—a being made to be like us, but also powerful and alien.We still use the word “dæmon” today: It is the name we give to any automated process running in the background of a computer system. If you’ve ever received a bounced email, then you’ve encountered the Mailer-Daemon. Though the name comes the Maxwell’s demon thought experiment, in which a small spirit sits in the background of the universe, computer Dæmons are born of an operation whereby a “parent” process splits off a “child” and then “orphans” it, to complete its operations in the background of the world. As we think about animating spirits, orphaned children, and computer programs, it might behoove us to think more carefully about how we engage with the digital offspring we are generating today. Though it may possess a powerful and even unpredictable nature, a dæmon is not necessarily evil; it merely requires care and cultivation to understand.
Health & MedicinePhilosophy & Politics
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Emily Zarka: Captain Walton’s method of resuscitating Victor would have been familiar to Mary’s readers. In 1774, the Royal Humane Society of Britain was formed under the original title “The Society for the Recovery of Persons Apparently Drowned.” This group developed techniques to aid people in restoring consciousness to those they believed to be victims of sudden death by drowning, stroke, convulsions, suffocation “by noxious vapors,” or strangulation. The recommended course of treatment was best performed by at least three individuals. In addition to drying and warming the body, one person would blow air into the lungs of the victim. Meanwhile, a second attendant would force tobacco smoke into the rectum and a third would vigorously rub the body with a coarse cloth dipped in alcohol or dry salt. If the victim could swallow liquid, it was recommended that a small portion of alcohol should also be administered. The Society offered a payment of two guineas for any person who used their treatment for resuscitation. The amount increased to four guineas if the attempts were successful. These techniques were also promoted as helpful for frozen bodies, and Captain Walton’s treatment of the immobilized Victor suggests that Mary was familiar with the Society’s methods.
ScienceTechnology
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Lawrence Dritsas: Exploring ships since the eighteenth century are best viewed as scientific instruments in their own right, similar to the Voyager or Cassini spacecraft today. Ships are a platform for a wide variety of scientific activities, but the science must be done properly. The validity and accuracy of ships’ logs and observations is warranted and sustained by disciplined record-taking and the use of supposedly “objective” instruments of measurement. Telescopes, chronometers, and other instruments gave travel accounts a semblance of credibility that simple narrative prose did not enjoy. Walton’s expedition is further verified as an example of scientific travel through its use of telescopes. (For more information, see Richard Sorrenson’s essay “The ship as a scientific instrument in the eighteenth century.”) Further, the use of telescopes is a great narrative device here, allowing Walton and other members of the crew to observe the creature directly, without threatening him and without endangering themselves. Before we even meet Victor, the creature is an established fact in the story, even though no character has interacted with him. This gives Victor’s revelation of his story especial interest, as we already know the creature has great strength and endurance.
Philosophy & Politics
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Adam Chodorow: During times of war, British ships were entitled to take enemy vessels, including merchant vessels, as “prizes.” The prizes belonged to the crown, but the captain and crew were awarded some portion of the value of the ship and merchandise as prize-money as a way to create incentives for the taking of such ships. A Prize Court determined whether the ship was properly captured and how much would be distributed and to whom. Payouts depended upon a sailor’s rank and function on the capturing ship. Many a sailor made significant sums in prize-money, but, as sailors are wont to do, many squandered their prizes as quickly as they earned them. Thus, the phrase “spending money like a drunken sailor” contains an implicit reference to prize-money, though it is by no means limited to such funds.
Science
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Robert Oppenheimer: “Keeping” in this passage means perspective. Realistic pictures keep the proper relation of near and distant objects, and of important and unimportant features. For a contemporary source on “keeping” and painting, see William Gilpin’s An essay upon prints (1792).
Science
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Lawrence Dritsas: Mary publishes this fictional account of Arctic exploration in the same year (1818) that saw a British attempt to reach the North Pole and traverse the Northwest Passage that was unsuccessful, but nonetheless rekindled interest in the Arctic (for more on 1818 as a watershed year in Arctic exploration, see Adriana Craciun’s book Writing Arctic Disaster: Authorship and Exploration). In this passage, Walton equates his search for a route to lands near the North Pole with the search for the Northwest Passage, and reveals his inspiration from reading travel accounts, a favorite pastime of Enlightenment scholars. Given her rich education directed by a free-thinking father, William Godwin, Mary was certainly aware of the voyages of James Cook and George Vancouver to the North Pacific in the 1770s and 1780s, and the many reports of whalers in the North Atlantic (whom she has Walton join in his youth). Ice appeared to block any passage to the far North, but hopes remained in the early nineteenth century that a route may yet exist through the uncharted region, connecting the Atlantic and Pacific more directly. Mary might be recalling her own freedom to read about exploration in a well-stocked domestic library when Walton writes, “My education was neglected, yet I was passionately fond of reading.”
Science
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Lawrence Dritsas: Here Mary has Walton join an ancient discussion about the mythical land of the far North, possibly inhabited by fantastic Hyberboreans. Since antiquity the far North has been a space to imagine difference, possibility, and horror. Tales of endless days and nights followed the amber trade from the Baltic Sea to the Mediterranean, sparking speculations into what life would be like under the North Star. Mary uses Walton’s fantasies about the far North, at odds with reasoned conclusions, to examine the passions that may lead a person to explore beyond the borders of humanity, and possibly human decency, in the name of science.
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Donald Fleming: Walton’s statements—here and below where he mentions that in Arctic regions “snow and frost are banished” and anticipates “sailing over a calm sea,” —refer to the theory of an open polar sea advanced by some seamen and geographers. This sea was supposed to exist beyond the belt of ice, nearer to the pole itself. In the eighteenth century, belief in it was waning, but in the 1770s Daines Barrington made arguments in its favor to the Royal Society, which led to the polar expedition of Captain Phipps in 1773. Barrington republished his tracts arguing for an open polar sea in 1818, the same year that Shelley’s novel first appeared. Ironically, the theory actually gained adherents in the nineteenth century until Arctic exploration finally disproved it.
Influences & AdaptationsMary Shelley
Joey Eschrich: The collection of ghost stories that Mary Shelley and her compatriots read during the rainy, inclement summer of 1816 is Fantasmagoriana, a French anthology of German stories published in 1812. Learn more about the book and see page images at the British Library, and read an English translation, published in 1820 as Tales of the Dead, at the Internet Archive.
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Jonus Valenzuela: The gothic fiction Frankenstein by Mary Shelley is about Knowledge and reveals that becoming so enthralled in your studies can lead to a loss of ethical thinking and alienation. Letters 1-4 of the book describes Robert Walton, a character who travels to the North Pole to make a scientific discovery. He describes his reasoning for travelling there as this,“I shall satiate my ardent curiosity with the sight of a part of the world never before visited, and may tread a land never before imprinted by the foot of man. These are my enticements, and they are sufficient to conquer all fear of danger or death and to induce me to commence this laborious voyage with the joy a child feels when he embarks in a little boat, with his holiday mates, on an expedition of discovery up his native river.”(Shelley 2). Here Mary Shelley describes to the reader the feelings of Robert and philosophers as they are on the brink of discovery. However, one thing is missing from this text that the reader hasn’t been introduced to as of yet. That thing is the ramifications of studying so deeply into a subject. Robert Walton begins to feel secluded from society and it reflects in his second letter, stating, “I have no friend, Margaret: when I am glowing with the enthusiasm of success, there will be none to participate my joy; if I am assailed by disappointment, no one will endeavor to sustain me in dejection.”(Shelley 5). In this the reader begins to discover that even though these philosophers are able to recognize their disconnect from others, they will still go on to fulfill their satisfaction. We are able to observe this even further when Victor Frankenstein describes his state of mind when studying the creation of life at Ingolstadt, he states, “My attention was fixed upon every object insupportable to the delicacy of the human feelings.”(Shelley 42). Even though Victor had recognized this, it was only after he had brought his creation to life. This can even be reflected in the industrial revolution and the ramifications it had on the environment. According to History.com, “Coal came into large-scale use during the Industrial Revolution. The resulting smog and soot had serious health impacts on the residents of growing urban centers. In the Great Smog of 1952, pollutants from factories and home fireplaces mixed with air condensation killed at least 4,000 people in London over the course of several days”. However, it is only until recently that we have reflected upon the past and realized the ramifications of our actions, much how Victor has. Whether it be in bringing a creature to life, or the Industrial Revolution, we are able to reflect on our past. However, with new coming innovations we must be careful in not tunneling our vision upon the success of our creations. Humanity, as we develop new innovations, must remain ethical thinkers.
Equity & InclusionInfluences & AdaptationsMary ShelleyPhilosophy & Politics
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Lisa Yaszek: Although Mary claims she is writing a new kind of novel without “prejudicing any philosophical doctrine of whatever kind,” this passage connects Frankenstein with A Vindication of the Rights of Woman (1792), a pioneering feminist manifesto by Mary’s mother, Mary Wollstonecraft. In Vindication, Wollstonecraft argues that women’s unrealistic expectations about marriage and motherhood derive in large part from reading romance novels rather than being allowed to acquire formal educations that promote reason and virtue. Here, Mary takes her mother’s argument in new directions by claiming to have written a novel that provides exactly the kind of intellectual and moral education promoted by her mother and other early feminists.
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C M: As a work of negative romanticism, it is interesting that Shelley’s introduces her work with a connection to the ancestor of Charles Darwin, father of the modern Theory of Evolution. The primitive Theory of Evolution referenced in the Preface fits uniquely into negative or dark romanticism because one element of this style of romanticism is an exploration of whether mankind’s development will ultimately be it’s destruction. The Theory of Evolution and its precursors are grounded in nature and the way it influences the natural development of a species, yet mankind’s recent “evolutions” have been accelerated by technologies. Essentially, humanity began leveraging nature to advance itself during the Industrial Revolutions, developments which negative romanticism is often a reaction. By introducing the idea that Frankenstein is a work of fantasy/fiction, but also not a scientific impossibility, Shelley frames the dilemma as to whether mankind’s technologically-accelerated evolution, a deviation from the course of natural events, will ultimately be self-destructive. This dilemma is likely to play an integral role in the subsequent sections of Shelley’s classic, especially as it pertains to the views of negative romantics.
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Hope Davis: Refers to Shelly in saying her work is a work of “negative romanticism” and connects to science in saying Shelly introduces her work with a connection to the ancestor of Charles Darwin, the father of the modern Theory of Evolution.
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abigail galloway: Hi my name’s Abby and I go to newtech. My topic is Ethics, Ethics means Choosing what’s morally right and wrong. In Frankenstein, Victor making the creature was an example of an ethical dilemma. It’s a dilemma because when Victor Frankenstein's creature wanted a companion, victor knew that his creation was violent and hurt people but was considering making another one. He knew that making another one would contradict what he felt and also put himself and others in danger. This is just like robotic surgery. Robotic surgery is computer assisted surgery, it uses robotic systems to help with surgical procedures. Robotic surgery represents an ethical dilemma because some people feel it’s unnatural. and there could be complications during surgery or that the robot could spontaneously malfunction.
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Ashley Lopez: In the book the tematic topic alienations seems to appear throughout the story in many different characters but the character who I felt like experienced alienation the most was the creature. Through the book the creature is sorta just left to himself because of the way he looks.On page 148 the monster states this as he tries to get Victor  to make him a creature that looks just like him so he has someone who he can relate to stating “ I intend to reason. This passion is detrimental to me, for you do not reflect that you are the cause of its excess. If any being felt emotions of benevolence towards me, I should return them a hundred and a hundredfold; for that one creature’s sake I would make piece with the whole kind! But I now indulge in dreams of bliss that cannot be realized. What I ask of you is reasonable  and moderate; I demand a creature of another sex, but as hideous as myself; the gratification is small, but it is all that I receive, and it shall content me.”.. This fictional creature  can relate to real life with CRISPR. CRISPR is a system  that genetically modified DNA to the modifers liking. With CRISPR you can have a child with any kind of liking of eye color, hair color and even gender. With sometime children modified by CRISPR could feel as there too “Perfect” compared to other normal human beings just like the creature who felt as if he was too ugly compared to the normal human. Another real life example isDuring the industrial revolution and even now a lot of workers become alienated because of class groups that they were put into According to “Alienation in industrial society , Projects for English language. liceo linguistico vico”  “ This caused a dramatic increase in the population and mass society  was a direct result  of this phenomenon. The French sociologist  Emile  Durkheim  described  it as a mass  of undifferentiated, atomicos  individuals. This loss of  individually  led to widespread alienation, the object of study for a lot of social scientist. The alienation workers is an important aspect  of Marx’s critique  of the capitalist system.”
Influences & AdaptationsMary ShelleyScienceTechnology
Bob Beard: Mary imagined the idea that eventually became Frankenstein at a time when the Earth’s climate was thrown off balance by the volcanic eruption of Mount Tambora, and the weather was wildly unpredictable. Though a common reading of the novel focuses on Victor’s scientific hubris or “playing God,” the story of Frankenstein’s genesis and continuing legacy has much to say about how humans adapt to “acts of God” in the natural world, through technological innovation or artistic endeavors. In June 2016, public radio reporter and producer Eric Molinsky examined the influences underpinning Mary’s creation on his podcast Imaginary Worlds, with assistance from scholars Ron Broglio, Charlotte Gordon, and Gillen d’Arcy Wood.
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Lynn Sch: V needs a lesson in evaluating facts. His father did not follow up after giving him the books. V came to incorrect conclusions
Philosophy & Politics
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Michael White: In attempting to comfort Victor about the murder of his younger brother, Clerval invokes “the Stoics” as providing a perspective on death that should not be emulated. Indeed, the Stoic doctrine is so inhuman that not even a committed Stoic such as Cato the Younger (a first-century BCE Roman senator and opponent of Julius Caesar), could follow it.The Stoicism to which Clerval refers was an ancient philosophical school which originated with Zeno of Citium in the Hellenistic period (about 300 BCE) and extended into the Roman imperial period. There remain only fragments from the pre-Roman history of the school, collected by the German scholar Hans von Arnim in his Stoicorum Veterum Fragmenta (Fragments of the Ancient Stoics) in 1903–05, long after the publication of Shelley’s novel. From the imperial Roman period, we have more complete presentations of Stoicism in the works of Seneca the Younger (statesman and advisor to Nero in the first century CE), the Roman emperor Marcus Aurelius, and the former Greek slave Epictetus. During the eighteenth century, Stoicism gained some popularity as a rationalist and humanistic view of the world. Shelley’s knowledge of Stoicism would have been filtered through Cicero (the Roman republican statesman and writer of the first century BCE), whose moral and political writings were influenced by Stoicism and were well-known and well-respected in the eighteenth century, and through writers such as the eighteenth-century Anglican Bishop of Durham, Joseph Butler.Like other Hellenistic philosophical schools, Stoicism endeavored to establish a unified view of the world, in which natural philosophy (what we would call “science”), theology or “first philosophy,” and ethics and politics constitute a coherent unity. The Stoics held that the universe is determined in every detail by rational providence (identified with Zeus or fate). The only thing over which people have complete control is our reason, which partakes of the Reason with an upper-case “R” that governs the universe and which gives us a kinship with that Reason and with all other rational beings that exist. The Stoic ethical ideal is to “live in conformity to nature,” but that nature is just our rational nature. Because the only true good is virtuous/rational behavior and the only evil is vicious/irrational behavior, we must learn to be guided by reason, not by our feelings or passions, which the Stoics regarded as false beliefs. Since we cannot control what happens to us but, at the same time, we do know that it is the result of a rational (and, hence, good) providential fate, we must learn not to react to these external events with irrational passions such as anger, grief, or despair. Hence, those “maxims” to which Clerval refers: “death was no evil, and that the mind of man ought to be superior to despair on the eternal absence of a beloved object.”
Science
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Emily Zarka: Long before the term “scientist” as we understand it today was invented, individuals who used deductive reasoning to explore the natural world and its functions were referred to as “natural philosophers.” Primarily, this investigation involved the study of nature, and it ultimately led to the development of disciplines we now recognize today such as biology, physics, astronomy, and chemistry. The term “natural philosopher” was used well into the nineteenth century. Practitioners did not require formal training and although some worked in private laboratories, many of these individuals simply used the natural world to conduct their research.
Health & MedicineScience
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Emily Zarka: This description of the creature is reminiscent of the depiction of mummies during the Romantic period. Physicians and scholars would publically and privately dissect Egyptian mummies, unwrapping their bandages to examine the corpses beneath. The Western world had become fascinated with mummies and the grandeur of Ancient Egypt in the early eighteenth century, although the Napoleonic campaigns to Egypt and the subsequent artifacts and publications they produced encouraged the trend. Mummy “unwrappings” became a popular social activity, and tickets were sold to the public to view dissections of a mummified bodies. Wealthy people even hosted unwrapping parties in their homes as a form of entertainment. Published accounts of mummy examinations often included comments about the prominent display of perfectly white teeth, due to the retracted lips of the dead body. The “shriveled” appearance of the mummies’ preserved flesh and the emphasis on the sunken orbital sockets are observed in works by the physicians A.B. Granville, John Frederic Blumenbach, and Thomas “Mummy” Pettigrew. The creature’s own stretched, shriveled skin, “teeth of pearly whiteness,” and straight black lips directly reference these texts, connecting Mary’s fictional construction with the real-life appearance of mummified corpses. This demonstrates just how influential the British fascination with Egyptian culture had become, and also suggests Mary had read at least some of the scientific publications detailing mummy necropsy.
Mary Shelley
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Emily Zarka: As a child, Mary and her father would visit her mother Mary Wollstonecraft’s grave in the churchyard of St. Pancras almost every day. Godwin even taught Mary to read using her mother’s gravestone as a guide. Mary continued to visit the cemetery as she grew, and even introduced her lover and later husband Percy Bysshe Shelley to her mother during their courtship. The cemetery was a frequent spot for their secret rendezvous; the two would visit the grave and read aloud to each other from various texts, including Wollstonecraft’s own works. According to Percy Shelley’s own diary, Mary declared her love and threw herself into his arms for the first time in that very spot. Mary’s physical and verbal declaration of love at her mother’s gravesite—an unconscionable act for a Romantic-period woman—illuminates the importance of the spot to her identity and demonstrates the shared rebellious spirit of mother and daughter. Victor’s reflection that understanding the dead is necessary for conceptualizing life echoes sentiments Mary herself may have felt as she sought out her mother’s grave throughout her lifetime.  
Health & MedicinePhilosophy & Politics
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Emily Zarka: Captain Walton’s method of resuscitating Victor would have been familiar to Mary’s readers. In 1774, the Royal Humane Society of Britain was formed under the original title “The Society for the Recovery of Persons Apparently Drowned.” This group developed techniques to aid people in restoring consciousness to those they believed to be victims of sudden death by drowning, stroke, convulsions, suffocation “by noxious vapors,” or strangulation. The recommended course of treatment was best performed by at least three individuals. In addition to drying and warming the body, one person would blow air into the lungs of the victim. Meanwhile, a second attendant would force tobacco smoke into the rectum and a third would vigorously rub the body with a coarse cloth dipped in alcohol or dry salt. If the victim could swallow liquid, it was recommended that a small portion of alcohol should also be administered. The Society offered a payment of two guineas for any person who used their treatment for resuscitation. The amount increased to four guineas if the attempts were successful. These techniques were also promoted as helpful for frozen bodies, and Captain Walton’s treatment of the immobilized Victor suggests that Mary was familiar with the Society’s methods.
Influences & AdaptationsMary ShelleyPhilosophy & Politics
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Emily Zarka: The stops Victor mentions reflect the typical itinerary of the “Grand Tour,” a popular travel route for upper-class young men beginning in the seventeenth-century, which usually spanned across France, Switzerland, Italy, and Germany. These travels were seen as an education in art, antiquity, and the upper echelon of “polite society.” Unsurprisingly, these trips had a larger impact, influencing trade relations and the tourism industry in all countries included in the route, as well as inspiring art, architecture, and literature. Travel was an important element in British national identity even before the Romantic period. By 1800, hundreds of guidebooks were in circulation, but the letter remained the most prolific genre of travel writing, a phenomenon Mary reflects by structuring Frankenstein in the epistolary style. Mary’s mother, Mary Wollstonecraft, published her own successful collection Letters Written in Sweden, Norway, and Denmark (1796). Journals and diaries were another popular form of travel literature, offering personal insight into British responses to foreign lands and cultures. Travel was an expensive, time-consuming activity, but published accounts enabled a larger public to experience cross-cultural exchange from the comfort of their own homes.
Mary ShelleyPhilosophy & Politics
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Emily Zarka: The gratitude expressed by Victor here reflects Mary’s own respect and appreciation for her father William Godwin’s dedication to her education. As an author, political journalist, and reformer, it comes as little surprise that Godwin supported Mary’s informal education, encouraging the development of her reading and writing abilities and paying for a governess. He also frequently hosted noted scholars and writers of the period in their home, and served as her tutor for a variety of subjects. Godwin’s devotion to fostering Mary’s schooling was also influenced by the thinking of his late wife, Mary’s mother Mary Wollstonecraft. Although Godwin admitted he was not following the philosophies presented in Wollstonecraft’s Thoughts on the Education of Daughters (1787) and A Vindication of the Rights of Woman (1792), the attention Mary’s schooling received was, like her mother’s ideas about women’s education, radical for the time. Godwin withdrew his support when Mary eloped with Percy Shelley in 1814. However, Mary’s decision to dedicate the culmination of her youthful intellectual prowess, Frankenstein, to her father significantly improved their relationship. The modern-day inclusion of Frankenstein in countless curriculums (the book is the most-assigned novel in university courses, according to the Open Syllabus Project) continues the family’s educational legacy.
Mary Shelley
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Judith Guston: This scene on the frozen sea, with cracking ice and calving icebergs causing thunderous noise and forceful motion in the ocean and the wind, is a reminder that Mary created Frankenstein during conditions of tumultuous, unexpected, and frightening weather.After the deadliest volcanic eruption on record at Indonesia’s Mount Tambora in 1815, millions of tons of sulphur dioxide entered the stratosphere, causing clouds to circle the Earth and block sunlight. The effects of this were widespread, including aberrant weather events, crop failures, and outbreaks of disease across the globe. Meteorologists estimate that the global temperature cooled to two degrees Fahrenheit below normal in the year following the catastrophic volcanic eruption, causing 1816 to be called “The Year Without a Summer.”In the two centuries since The Year Without a Summer, global temperatures have risen two degrees above normal levels, which has inspired some scientists to consider how we might artificially recreate the effects of a similar volcanic event to reduce the effects of global, human-made (“anthropogenic”) climate change. Taking inspiration from Frankenstein, The Rosenbach created a fictional narrative based on the experimental science of geoengineering. Explore how scientists might use weather manipulation as a solution to dwindling crop yields on a Warming Planet.
ScienceTechnology
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Judith Guston: Victor’s methods of collecting human parts for his creature were in keeping with the ethics of the time. Teaching surgeons and anatomists frequently procured corpses for their demonstrations illegally, and the practice was rampant in Mary’s day. People who robbed graves and sold bodies to medical schools or teachers were known as “resurrection men,” as though this work could bring the dead back to life. As human knowledge of biology accumulated and developed, the increasingly blurry line between the living and the dead horrified many. In 1803, the Italian physicist Giovanni Aldini (1762–1834) performed a notorious public electrical reanimation experiment on the corpse of a dead prison inmate, a performance so grotesque that he was subsequently exiled from England. Imagery from such experiments may have had an impact on Mary’s writing—and possibly on a review of her novel, which called it “a tissue of horrible and disgusting absurdity.”In the tradition of Frankenstein, The Rosenbach created a fictional narrative experience imagining how recent discoveries in synthetic biology could lead to a future in which human limbs are grown and harvested for profit. Explore the ethics of this fictional (but increasingly plausible) technology in Body Snatchers.
Influences & AdaptationsMotivations & Sentiments
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Judith Guston: During Mary’s time, vampires were vicious ghosts that haunted individuals or communities—a definition altered by John Polidori’s rational and cruel yet alluring Lord Ruthven in his novella The Vampyre. Polidori’s book was the first example of vampire fiction, penned in response to the same writing challenge that inspired Mary to write Frankenstein at the Villa Diodati in 1816. Although Polidori’s novella, originally published as Byron’s Vampyre, did not enjoy the success of Frankenstein, it established one of the earliest conventions of vampire literature: the noble fiend. Varney the Vampire, a pulp “penny dreadful” serialized from 1845-47, featured an aristocrat similar to The Vampyre’s who experienced vampirism as a sickness. Later, when Bram Stoker began to sketch out his genre-defining novel Dracula, he took inspiration from Polidori’s creature, along with contemporary medical discoveries around epidemiology. This creative alchemy molded the popular image of the vampire that endures today. In the tradition of Frankenstein and Dracula, The Rosenbach created a fictional narrative experience based on the contemporary Zika virus. Explore how scientists might try to manage a future mosquito-borne illness in Bloodsuckers.
Influences & AdaptationsMary ShelleyScienceTechnology
Bob Beard: Mary imagined the idea that eventually became Frankenstein at a time when the Earth’s climate was thrown off balance by the volcanic eruption of Mount Tambora, and the weather was wildly unpredictable. Though a common reading of the novel focuses on Victor’s scientific hubris or “playing God,” the story of Frankenstein’s genesis and continuing legacy has much to say about how humans adapt to “acts of God” in the natural world, through technological innovation or artistic endeavors. In June 2016, public radio reporter and producer Eric Molinsky examined the influences underpinning Mary’s creation on his podcast Imaginary Worlds, with assistance from scholars Ron Broglio, Charlotte Gordon, and Gillen d’Arcy Wood.
Health & MedicinePhilosophy & PoliticsScienceTechnology
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Kim Hammond: German sociologist Ulrich Beck’s risk society theory is echoed in Frankenstein. For Beck, the risk society begins when external, natural threats (like predators, food scarcity, dangerous inclement weather, or epidemics) are replaced by risks and uncertainties “manufactured” within society. Science and technology are no longer society’s response to external or natural risks, but rather are responsible for the uncertainties we face. Beck argues that where the pre-risk society’s “logic of scientific discovery presuppose[s] testing before putting into practice,” this is “breaking down in the age of risk”: Nuclear technologies have to be built in order to study their functioning and risks. Test tube babies have to be born in order to find out theories and assumptions of biotechnologies. Genetically engineered plants have to be grown in order to test the theory. The controllability of the experiment is lost. This causes serious problems … In the risk society, mistakes mean that nuclear reactors leak or explode, test tube babies are born deformed, people are killed by CJD [Creutzfeldt-Jakob disease, which can be contracted through tissue transplants or by eating contaminated meat].Victor “manufactures uncertainty.” He does not know what will happen before he begins his research; he creates a being whose hideousness surprises him, and he abandons the creature with no knowledge about the effects that his new, hideous creation will have on society. Frankenstein points to the potential for a risk society in the early stages of modernity, both in the kinds of “high” technology that appeared to be on the horizons of early nineteenth century science and in the social, political, and economic context within which that science was practiced. For more on the risk society theory, read Beck’s 1992 book Risk Society: Towards a New Modernity, and his essay “Politics of Risk Society,” in the collection The Politics of Risk Society, edited by Jane Franklin (1998).
Equity & InclusionPhilosophy & PoliticsScience
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Tiffany Trent: In her groundbreaking book The Death of Nature: Women, Ecology, and the Scientific Revolution, the philosopher and historian of science Carolyn Merchant argues that Enlightenment-era science and its mandate to “wrest Nature’s secrets” is responsible for the large-scale environmental destruction at the hands of industry that our planet now faces. She particularly emphasizes the works of early scientists like Francis Bacon, who was an advocate of using experimental methods to reproduce results. While this is a taken-for-granted part of the scientific method today, it is Bacon’s framing of it that is echoed here in Mary’s phrasing. In addition to studying the natural sciences, Bacon was a legal inquisitor who tortured women accused of witchcraft, according to historian David Fideler as well as Merchant. Bacon likens scientific experimentation to “an inquisition,” and speaks in his Novum Organum, like Mary here, of “penetrating” Nature “to find a way at length into her inner chambers.” Ecofeminists argue that what Bacon and his ilk ultimately advocated was the rape of the natural world for the progress of science and industry. The penetration of Nature, as Victor discovers, can often lead to unintended, even deadly, consequences.
Philosophy & PoliticsScience
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Rae Ostman: Victor’s mentor M. Waldman advocates for an integrated approach to sciences, which today we often group together as STEM (science, technology, engineering, and mathematics). Much important scientific research today is interdisciplinary, transdisciplinary, and/or multidisciplinary—more simply put, it cuts across traditional fields of study. The field of STEM education is also putting more emphasis on connecting concepts across domains and developing the range of skills and practices that scientists and engineers use. The Next Generation Science Standards (NGSS) for K-12 STEM instruction identify three key dimensions to learning STEM: cross-cutting concepts, science and engineering practices, and disciplinary core ideas. Some educators argue that the NGSS (like the University of Ingolstadt in Frankenstein) do not adequately integrate societal and ethical thinking into STEM studies, as the connections among science, technology, society, and the environment are contained in an appendix, rather than integrated into the main text.
Philosophy & PoliticsScience
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Rae Ostman: The approach to teaching and learning that Victor describes resonates with current thinking in formal and informal education, and this kind of pedagogy can still be contrasted with “ordinary methods” that allow less individual choice and self-direction. For example, Victor and Elizabeth “had an end placed in view,” rather than learning by rote or emulation. Today, educators emphasize problem-based or project-based learning as a way to encourage active learning and better retention. (Interestingly, given Victor’s later pursuits, the modern trend for problem-based learning across the curriculum can be traced back to reforms in medical education.) Victor also recalls that their “studies were never forced,” but rather that he and Elizabeth instead were able to follow their own interests and set their own goals. Victor’s pathway to studying science is supported by educational research, which indicates that learners are motivated to use scientific methods and tools when they are appropriate means for addressing questions or problems that are important to them.
Technology
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Michael Simeone: The creature’s experience with language acquisition is reminiscent of the foundational ideas behind machine learning, which originated in the middle of the twentieth century and has transformed society on a global scale. Some of the biggest and most influential technology companies in the world—Facebook, Google, Apple—have used machine learning to create computer-based systems that adapt to new information as it is presented to them. From advertisements to friend matching to online search results, computers that can learn have permeated everyday life.   The concept of machine learning is intertwined with the history of computing and artificial intelligence (AI). Alan Turing’s famous test of a machine intelligence, known now as the Turing Test, features an “interrogator” that passes messages between a human subject and a computer; the interrogator is asked to make a judgment about which conversation partner is human, and which is artificial. In order to pass this test, Turing argued, a machine would have to emulate human thinking and learning. This could not happen, however, by programming a set of rules. Instead, Turing maintained that a machine could learn from practice under the supervision of a human experimenter, and through a process he likened to natural selection, adopt patterns based on the rewards or punishments of the trainer. Turing’s paper, “Computing Machinery and Intelligence,” was published in 1950. Sixty-eight years later, much of machine learning still relies on human “supervision”—that is, a human experimenter providing positive examples of the words, images, or phenomena that an artificial system is supposed to be able to identify or emulate. Modern machine learning technologies can take in new examples and use them to refine the categories and decision-making established in their initial training. Of course, this is not to say that the creature is a machine. But, most humans learn their first language over a time span of years. Here, the creature exhibits incredibly rapid language acquisition that emerges from a very structured set of observations, suggesting a kind of mental development that may be not quite—or at least not typically—human.
Technology
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Liz and James Fiacco: Much like the creature, recent machine learning models learn language by observing human language. Furthermore, both come into the world without innate knowledge given by their creators. Their understanding of language is solely the result of their observations of the words they hear and the contexts in which those words are uttered. They don’t choose to exist with these limitations; they simply can’t know anything else.The incomplete understanding that the creature acquires through observation is actually fairly similar to how errors are commonly made by machine learning algorithms. For instance, the creature hears the young man called “Felix,” “brother,” and “son,” but does not immediately know that one of these words is a name, while the others describe two different relationships. The creature is deprived of the necessary information to make these connections, and because Victor abandons him, he lacks a teacher to help correct these kinds of errors, which makes learning language far more difficult.Similarly, machine learning algorithms that are given human feedback or annotated data frequently learn much more quickly than those without these kinds of inputs. A supervised learning algorithm can be trained to do a more sophisticated tasks, such as determining implications between sentences, using human-annotated data.To explore machine learning and language yourself, you can play Lab Assistant, a game we created based on language processing technology, where you teach a slime creature powered by artificial intelligence how to help you solve puzzles. The creature also starts as a blank slate, only learning vocabulary as it observes how you use it. Part of our goal in designing Lab Assistant was to make an intelligence that the player is inclined to nurture, rather than abandon like the creature in Frankenstein. You can download them game here, for free. (Note: Lab Assistant currently only works on Windows machines.)
Technology
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Erin Walker: The type of learning described in this passage has been facilitated in modern times with the rise of Web 2.0 technologies, online communication technologies such as blogs and social media that connect people and allow them to participate in the generation and sharing of ideas (for more on Web 2.0 and learning, see McLouglin and Lee 2007). John Seely Brown and Richard Adler, in their article “Minds on Fire: Open Education, the Long Tail, and Learning 2.0,” describe how people participating in online communities learn “to be” rather than learn “about” —that is, they take on real tasks as part of these communities and develop skills related to these tasks. For example, someone might join an open-source community and improve their programming skills and habits through the process of contributing software, apprenticing under more established members of the community. These online communities also facilitate “long-tail learning,” whereby people can pursue niche interests (like cross-stitch, or Frisbee golf, or cross-stitch featuring themes from Frisbee golf) through computer-mediated connection to the small subset of people around the world that have similar interests. This new kind of socialization and information sharing is a phenomenon that would not have been possible before the advent of contemporary network technologies.
Science
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Elizabeth Denlinger: In fact, what Erasmus Darwin (grandfather of Charles) described in The Temple of Nature (1803) is the “vorticella, or wheel animal … capable of continuing alive for many months though kept in a dry state,” which, placed in water, “assumes the form of a lively maggot” and starts looking for food.
Influences & AdaptationsPhilosophy & Politics
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Elizabeth Denlinger: This sentence is one of the illustrative texts given in the Oxford English Dictionary for an obsolete use of the word “necessary” employed by Mary’s father William Godwin and earlier Enlightenment philosophers: “Impelled by the natural force of circumstances upon the will; having no independent volition.” That is: insofar as human beings suffer from desires beyond their basic physical needs, those desires enslave them, and make free will unfree. And the desires that enslave us are always changing; Victor closes his meditation by quoting from Percy Shelley’s poem “Mutability,” which repeats the ancient apothegm that nothing is permanent but change.
Science
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Elizabeth Denlinger: Natural philosophy is roughly equivalent to “science” as we now use the term. Chemistry—which in its most comprehensive sense embodies a great deal of all scientific knowledge—is the most important  discipline in Frankenstein. To the extent that Mary ascribes any method to the creature’s making, it is chemistry. But we should remember that chemistry and alchemy were originally synonyms, and Victor, though he throws off his old love, does not throw it very far: when he describes his discovery of a way of reanimating dead tissue, he does so purely by analogy to a great light breaking on his mind.  He may claim enlightenment but has not yet escaped the thrall of magical thinking.
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C M: As a work of negative romanticism, it is interesting that Shelley’s introduces her work with a connection to the ancestor of Charles Darwin, father of the modern Theory of Evolution. The primitive Theory of Evolution referenced in the Preface fits uniquely into negative or dark romanticism because one element of this style of romanticism is an exploration of whether mankind’s development will ultimately be it’s destruction. The Theory of Evolution and its precursors are grounded in nature and the way it influences the natural development of a species, yet mankind’s recent “evolutions” have been accelerated by technologies. Essentially, humanity began leveraging nature to advance itself during the Industrial Revolutions, developments which negative romanticism is often a reaction. By introducing the idea that Frankenstein is a work of fantasy/fiction, but also not a scientific impossibility, Shelley frames the dilemma as to whether mankind’s technologically-accelerated evolution, a deviation from the course of natural events, will ultimately be self-destructive. This dilemma is likely to play an integral role in the subsequent sections of Shelley’s classic, especially as it pertains to the views of negative romantics.
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Steven Haker: As the monster began to understand human behavior, he began to identify himself in terms of the feelings he observed from the De Laceys. Having done nothing wrong, the monster saw himself as a being capable of benevolence and generosity, though he did not understand why people commit wrong acts. This is alluded to when he says that he looked at crime as “a distant evil,” and not something he thought himself capable of. Observing the De Laceys made the monster want to reflect their mannerisms, and thus become more human. When he says that he desires to “become an actor in the busy scene where so many admirable qualities were called forth,” he alludes to the fact that he now understands more fully what it is to be human, as he has committed atrocious acts since then, such as killing William. The monster now understands that no human is entirely benevolent, and by wanting to act like he was he played the role of an actor, lying to himself.
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Sydney Hayes: In this instance, the creation’s greatest fears come true. After having watched the family in the  cottage for such a long time, he decides to confront the blind De Lacey in hopes that they could interact and empathize. Because the monster has been deprived for so long of interaction with other sentient beings, he was left deprived of the affection needed for his happiness. So, when he confronts De Lacey and is welcomed as a regular human, he feels a sense of accomplishment and is more open to the idea of people. All of these hopes are “quitted” when the rest of the family returns home to find him sitting alongside De Lacey, and their reaction is of horror. This fulfills the monster’s worst nightmares of the situation, and he allows Felix to beat him because he feels defeated. To describe this sensation, the simile “I could have torn him limb from limb, as the lion rends the antelope” portrays how when the monster is full of rage and power, he can physically overpower the humans. But in reality, the people play the role of the lion that “rends” apart the helpless monster’s soul and defeats him. This quote overall portrays a climax in the monster’s development where after he meekly sought sympathy from people, he was rejected epically, “rending” apart his future hopes of ever living with humanity and his tolerance for people. This marks the point at which the monster resolves to lash out at mankind for not accepting him, and his monstrous behavior begins.
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Esther Fuentes: He talks to Frankenstein, his creator, of how he changed from being naive of what emotions came to play with different situations to being aware of all different emotions. He talks about the fact that when he stalked the cottager’s he only saw good but as his learned and became aware of things his scope of human emotions widened. This connects to the theme of coming into consciousness. While he learns from the cottager’s he thinks they only experience happiness and love but as he spend more time stalking and studying them he begins to unravel what truly is being the veil of emotions. He starts to see pain, sadness and the feeling of losing something or someone. He wanted to participate in the act of feeling all these wonderful emotions. He wanted to be part of a family, have connections and contact. He wanted to experience things that he has never felt. From the limited access he has he thinks that what they have is normal, that that is what he should be experience not hate and fear. When he talks about expanding his intellect, he acknowledges that he has learned from his experiences and that the mistakes or misjudgements he made a few months ago will not be repeated.
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Aristotle Hartzell: Here it is clearly shown that if one is only exposed to one thing then they come to believe that is all that exists. Similar to Plato’s Allegory yet a happy family is the shadows he sees. However his situation is also different because the monster still knows that crime exists. The monster says that crime was seen as a distant evil just as those who live in certain areas of the world, raised in a bubble, also see it as a distant concept they need not worry about. I find that many people in sub-urban areas and first world countries are distracted from the problems in the world. This cottage home is like the painted veil, it is a mask of a happy family to cover up the “far off” horrors which in reality lie not so far away. He bears such a resemblance to a child, one shielded away from foreign beliefs and mostly exposed to peace. Yet he is still very rational and smart at the same time. He wishes to take part in their happiness yet he is still smart enough to know they would not accept him because of his appearance. Yet the continual exposure to this loving family shall become unbearable and he soon devises a plan to introduce himself.
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Jackson Alpin: The monster picks up information very fast, as he also applies everything he learns directly to himself. He read the fiction book Paradise Lost as if it were an autobiography and thought of everything it had as real life. The monster knows loved but has never been loved. What he did know was that in these stories god was the creator, and the creator cared for his humans. God looked out for and wanted his humans to succeed. That is where the monster was different. He knew his creator was not God but Victor. Who didn’t care for him or wanted him to succeed, but instead was frightened by him and left him. I think the monster made a connection to the fact that he may be too ugly and unfixable. That is why in the monster’s mind, Victor left him. Being so innocent to the world and the meaning of feeling, the monster has nothing to do but sorrow in his hovel. The monsters lack of knowledge was his own defeat.
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aislinn russell: The monster decided to first meet Delacy, thinking that his blindness will remove the bias most people have against the monster’s looks. He hopes that he can speak to Delacy and get him to see the monster for who he is, beyond his looks, and then Delacy will convince the other cottagers to give the monster a chance. Unfortunately, his interaction with Delacy is cut short by Agatha, Safie and Felix arriving early back at the cottage. They have the worst possible reaction to the monster. They are terrified of him before he even has a chance to speak. Felix begins to beat him, and instead of fighting back he just accepts the pain. Because the pain of the beatings can’t compare to the emotional pain of being rejected instantly by people he wishes to befriend. In this moment he gives up. He no longer considers the possibility of family, friends or happiness. He knows that he is doomed to a life of isolation, because no person could ever love a monster. This may be the event that triggers his idea of getting a monster for a companion. People will never accept him, maybe the only one who ever will is somebody just as ugly and lonely.
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Lucien Frank: The monster describes the moment he obtained and read literature for the first time. Reading for the first time the monster experiences various different emotions as one does when reading and interpreting art. He learns to equate art and other people’s experiences to that of his own. In Sorrows of Werter he observes that sorrow can occur in even a simple country life, this ultimately helps him connect and understand the family he observes. Not only does he gain a better understanding of Felix, De Lacey, and Agatha but he also learns more about human nature from the books he reads. The monster later talks about the great emotion he felt when the main character of In Sorrows of Werter kills themselves. He cries without understanding why which is a power metaphor for the monsters existence. He exists without knowing why, he was created without knowing why, and he was abandoned and hated with knowing why.
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Eli Fresco: The monster is at a loss when he finds books in the woods. The things in the books seem so ordinary to common humans, but he has a hard time grasping things. Daily life for the monster is not quite living but more watching others live and thinking to himself. He has few interactions, the majority of which have a negative outcome. When he finds books, which are a good summary of normal human culture, it puzzles him and makes him feel left out, because he is. Stories are written to be relatable to an extent, and make sense to an extent. However, when he reads them, he just feels upset that he has none of the experiences or relationships described in the book. He realizes that he has nothing, and that he is different from everybody else and will never be the same. The monster knows what humans are supposed to look like, and he knows he is not it. The book almost gloats to him and makes fun at how he isn’t like the rest of people. He was created and since then has had no real interactions and no learning experiences outside of what he figured out himself.
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Julian Galvan: What is being said in the quote is that you may call me the worst of men but you will never have me realize that perspective. Then he goes on to say “create another like yourself”, he is telling the monster what harm he has done and that no one wants to be around him. The monster is having many things said to him and he also realizes that no one likes to be near him or even maintain a relationship with him. Begone he says to the monster Victor feels that he has been through so much with the monster and realizing now that he is not all that Victor expected him to be. Victor is fed up with the monster and wants no part of him anymore or even guiding the Monster. “You may torture me, but I will never” what is being said is that the monster can let all his anger out on Victor but that won't do him any good. In life getting back at someone in a physical was is not the way to forget your problems, you need to talk with the person. - Julian Galvan
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Theory Millar: The Monster wishes for someone who he can share emotions with. He realizes that he is not like anyone else on this earth, and wants someone who understands what he is experiencing. He later says that when he has this female to keep him company they will move to South America where they can hide from the rest of the world. He understands that Victor Frankenstein is the only person with the power to create a being like himself, and that is why he wants to force him to do so. He speaks about how having another monster is his “right,” and he wants it to be true, but Frankenstein has the power to control whether or not a second monster is created. The Monster doesn’t realize that he has no place in society, and therefore no rights in general. For him to have the same rights as anyone else he must first be accepted as a person. For him to be accepted as a normal person in society, he must first be accepted by Frankenstein so that he may have a mate. The Monster realizes that the only way to be happy and be part of society is to have a mate just like everyone else, and to stop scaring everyone he sees.
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Charlie Kopp: In this quote, the monster feels a great rage, as Victor says “contortions too horrible for human eyes to behold.” Note that Victor says specifically human eyes, reinforcing the fact that this monster does not belong in the human world and will never be able to fit in. Again in this quote the monster’s inhumanity is emphasized, in its “fiendish rage.” Fiendish, meaning unusually cruel or devilish further dehumanizes the monster, emphasizing and further encouraging the alienation that the monster experiences throughout his short life span. This dehumanization in descriptions is not only seen in Frankenstein and other works of fiction of human-like monsters, but also in real life of actual humans. Just look at the language used in US legislation concerning immigrants, with the word ‘alien’ being used multiple times to describe foreign citizens (Esther Yu Hsi Lee “The Dehumanizing History Of The Words We’ve Used To Describe Immigrants). Although the word has since been removed (in 2015), the impact and effect stays, these inhuman descriptors encouraging xenophobia and making it easier for many Americans to dismiss immigrants as an ‘other’ and ‘things’ that we should look down upon. This relates back to Frankenstein, because all throughout the book Victor is trying to find ways to distance himself from the monster, just as some of my fellow Americans try to distance themselves from immigrants. The easiest solution to distancing being simply to say that, ‘they’re different from me’.
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Lance Davenport: Mary Shelley uses many different literary devices to get the monsters point across alongside bringing more action into this novel. This passage specifically shows Shelley’s use of metaphors and hyperboles adds to the description already seen in this play. Shelley adds description to further develop the characters and the plot. Shelley used a hyperbole to help set a tone for the monster in the rest of the novel, “his face was wrinkled into contortions too horrible for human eyes to behold” Victor Frankenstein already does not like the Monster because of his “ugliness” but Shelley added this hyperbole for the reader to understand what Victor felt when he saw the Monster.  Shelley's description especially when she described the monsters face “contorting” shows her ability to draw the reader in and keep them interested. Shelley also described the monster as too ugly for anyone to “behold” further developing the readers vision of the monster and the readers thoughts of the monster. Shelley's description of the monster adds to the plot and allows the reader to understand what the monster feels and looks like.
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Mia Brisbin: In this passage, Frankenstein has just finished telling his magnificent story to Victor, his creator, and has left Victor in a state of complete shock. After the Monster tells Victor his tale he expresses a request for another like himself, except female. Victor, considering the traumatizing experience he has had in the past when created the present Monster, refuses his request. “‘I do refuse it,’ I replied; ‘and no torture shall ever extorts consent from me…’” Here Victor declines the Monster’s request to create a second creature much like himself. Since the Monster he has already created has already killed one of his family members he fears that the second monster will do the same thing. Even though the monster negotiates that him and the other creation will share interests and live outside of humanity, Victor worries that his second creation might not desire the same as the Monster, therefore advancing the problem. Victor also expresses what would happen if the second monster he creates does not live up to the Monster’s standards. “...whose joint wickedness might desolate the world” Victor is worried that if the Monster is upset with the outcome of his second creation, that the Monster and his new “friend” will go off doing the same thing; creating chaos.
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Daniela Sanchez: In this quote, the Monster shows very human-like character traits. Humans are a social species and need other humans to socialize, survive, and thrive. Humans are not to be kept alone and isolated and the Monster begins to feel the repercussions of that. Victor Frankenstein created the Monster with a human-like model, so, naturally, the Monster will need the same kind of attention necessary for humans to prosper. Humans shouldn’t be alone or isolated, and the Monster just wants Victor to realize that it needs the same interactions with other beings. The Monster’s intention in asking for a partner is not to create a new “monster race”, like Victor imagines. The Monster’s intention is to find sympathy and compassion from another being: something that he hasn’t been able to receive from humans. Every human the Monster has interacted with has reacted in horror upon seeing the Monster and those experiences leave it feeling very dejected and alone. The Monster craves to have a normal relationship and normal interactions with similar beings, much like any human would. Although the Monster is not truly a human, he acts, thinks, and feels in the same way and hopes to be treated as one.
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Lily Cataldi: In this quote, the Monster had gone to Victor himself to ask for a companion who he can spend his life with. Although at first, Victor was in denial and did not accept what the Monster had to say, he knew deep down that it could have been a solution to his problems. Throughout the Monster’s time observing the people in the cottages and scaring others along the way, the Monster was looking for someone who would have accepted him for himself, and someone who would not judge him based on his appearance. During this time, I believe that Victor felt guilty due to the fact that he was the one who created him, who abandoned him, and the one that left his creation to struggle in the world alone with no self control. The Monster came into the world with little to no knowledge, didn’t know how to communicate with others and he had nobody to show him what the “acceptable” rules of the world were. However, he used the intelligence to watch people from afar and obtain new knowledge including languages, history, and how to care for others overall. Feelings are something that some cannot control even if they try their hardest and in order to forgive those that had made a mistake, you must give them another chance in order to understand the story behind it.
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Nicolas de Oliveira: This quote emphasizes on the monster’s characterization. At first, Victor portrays this monstrous creature as violent and gruesome. However during the past few chapters, the monster’s character develops into a sympathetic character. The monster reveals his sensitivity, eloquence, and similarities to a normal human being. He shows his “sympathetic” character to the reader through expressing feelings of emotional isolation. He may look scary from the outside, however the monster shows the reader that he takes the same wants, needs, and feelings as a normal human would. These lonely emotions drive him into a depressive state, leading him to committing violent actions against Victor. With the significant other he asks Victor for, he believes these depressing feelings would soon diminish and bring him into a state of emotional peace. The feelings drive him to anger as he “demands” for Victor to create this female creature. The monster’s emotions pile up to a place where he can no longer contain them and begins to take them out on Victor and those whom he cares about. He envisions this creation as a “right” he deserves due to the depressive state he lives in. - Nicolas de Oliveira
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Dexter Mayo: The Monster has requested for Victor to build and create him a woman monster, with whom he can share his life in hopes that it will not be as miserable with company. Victor is reluctant to create another monster, and does not know if he should help the Monster. Because of what the Monster did to William and Justine, Victor knows what he is capable of, and does not want to see these animals ruining the human world. The monster threatens Victor by saying “Have a care: I will work at your destruction, not finish until I desolate your heart, to that you cure the hour of your birth”. The Monster needs to show Victor that he has the ultimate control, and that since Victor has created a being so much more powerful than him, he is now subject to the Monster. But, this is exactly what Victor is worried of. Should he create a Monster, that might potentially ruin the world, with his new female counterpart? Especially if the monster has just shown so much power and hatred towards humans. Or, should Victor not create him and possibly enrage the Monster even more, and put his family and the human race in danger? Another reason for Victor not to create a monster is that he has many bad memories of when he first created the Monster; being closed off from his family, not eating, not sleeping, and being cut off from the outside world. Frankenstein does not want to waste more time of his life making a creature he knows will only bring horror to his world.
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Jeremy Fried: In this passage, the Monster shows his true colors. He demonstrates how he is nothing but an ugly creature with a good heart. Although filled with rage, the Monster is able to contain himself and reason with Victor. After being self-educated, the amount of knowledge and communication skills is other-worldly. These skills are truly put to the test as he must confront his creator, whom he possess nothing but hatred for. The Monster admits he is flawed, but that he will overcome it, “I will revenge my injuries: if I cannot inspire love, I will cause fear; and chiefly towards you my arch-enemy, because my creator, do I swear inextinguishable hatred.” He speaks about his hatred for Victor because of his treatment of him after birth. Frankenstein ditched him with no intellect and less than a day on Earth. As a birth giver, one is automatically presented a responsibility to take care and nurture their child. In this scenario, Frankenstein abandoned him. Because of that, the Monster swears on his eternal hatred for Frankenstein and promises to overcome the challenges bestowed upon him by his creator.
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liv reinis: Here Frankenstein is making a point to the Monster that he would never create a being like him. The Monster has already asked, forcefully at that, which is why Frankenstein’s response is so hostile. When he says “and no torture shall ever extort a consent from me”, he is proving even further that this request is far beyond unattainable. However, from previous passages we know that Frankenstein is terrified of the Monster no matter how stoic his facade is. It is undoubtedly so that Frankenstein truly does not want to create another being like the monster, but with how intimidating and powerful it is there is an uncertain outcome. Also, he does not reference death when saying what he would do to refrain from creating such a monster perhaps because he values not only his life but life in general too much. For the duration of the entire book we see Frankenstein’s continuous fascination with manipulating life, which, as the Monster might be able to notice is his biggest weakness.On the other hand, the Monster is very vulnerable here as well. He is desperate for a companion, and Frankenstein is the only one who can fulfill his wishes. So even if he realizes dying is one of his creators biggest fears it does him no good. Additionally, the Monster can evidently tell that when Frankenstein says “Shall I create another like yourself, whose joint wickedness might desolate the world” he is very serious. Frankenstein is opposed to this on all levels, because he is forcing himself to believe that two monsters is the definition of world destruction, even if he knows it could never happen. What’s even more interesting about this is that if Frankenstein continues to ramble on about how the Monster is completely evil and could never change, the Monster might wish to make those dreams come true.
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Brennan Jackson: This passage demonstrates how much Vicor has gone through. Shelley shows this through the line “the medicine had been fatal.” This shows that no matter what Victor does to give him a break from constantly worrying about the monster, it doesn’t work. This passage also reminds the reader of Victor’s family, displaying the distress placed on them as well. Shelley reminds the reader of the cost at which the progression of knowledge takes on people. Shelley does this through not only the repercussions shown in Victor’s physical and mental health, but also in the people the Monster has affected as well. The reader is encouraged to be cautious with the progression of knowledge. Victor had originally wanted to make life so badly that it consumed every minute of his time. But now, he wants nothing to do with what he created, but it’s too late to turn back now. It is important for Shelley to depict the state at which Victor is in in order to display the progression of the character. This is what teaches some of the lessons in which Shelley attempts to make. Once the reader sees the character go through this hardship, they can see the lesson in which they are meant to take away.
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Lola Hakim: In this quote, the Monster demands that Victor creates him female companion of his own kind. As the Monster has caused much destruction to Victor’s life, Victor refuses the Monster’s wish out of spite and fear. The thought of another demoniacal and malicious creature out in the world inserts fear in Victor. When Victor refuses, the Monster makes the point that he has not always been malignant and odious. The Monster states that he was initially benevolent, as he was just discovering the ways of the world. But once society rejected and shunned the Monster, he began to believe that not only was he the Monster that people made him out to be, but he developed a sense of vengeance towards the world in return for how they treated him. The monster illustrates his struggles to Victor about the ways he was hated by all mankind, and then states that even Victor, the man who created him, would take joy in his destruction. He states that although Victor calls the Monster’s actions murder, if Victor killed the Monster he wouldn’t believe it to be so. The monster then proceeds to ask a question which makes Victor vacillate, “Shall I respect man, if he contemns me?” The Monster forces Victor to think of the Monster as human, by comparing himself to others. He makes the point that if society rejects him, why should he respect society. The Monster manipulates Victor by justifying all of his unlawful actions, eventually leading Victor to agree to comply with his demands.
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Ethan Avery: Although mankind doesn’t view the Monster as a person because of the way he looks, the Monster feels the same emotions that they do. Therefore he believes that because humans are able to experience love with one another, it is his right to have a companion.
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Noelle Gillies: Orientalist view of Muslim culture is in this section. This trope of the subjugation of women is alive and well today. Back in 2003 one reason for going to Afghanistan and later invading Iraq was to liberate the oppressed women.
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Noelle Gillies: Margaret Atwood’s Oryx & Crake updates the Frankenstein tale with the story of a young man who uses biotechnology to create a genetically modified version of humans who leave a smaller ecological footprint(they eat raw plants). This creator feels he can create a better human who is peaceful(almost dull and passive), without jealousy and who can purr like cats. The creator and his partner set out to educate these creations with a new cosmology until a deadly pandemic is unleashed and most people are killed. The genetically modified people he has created survive and eventually meet a group of people who survived the pandemic and they learn to live together(in the second and third books of the trilogy), a different outcome from Frankenstein where the creator rejects the creature and the creature lashes out violently.
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Isabella Toscano: When creating something that has never been done before or an innovation it can cause you to isolate others and this can make you fail to remember the effects that could occur in the environment around you as well as a change of your state of mind. For example, one innovation that is being created in today's science is the “ invisibility cloak” or known as Quantum Stealth, which is being created by a company known as Hyperstealth. They say that this technology will be used in the military. A parallel I see here between the book and this technology is that the creators have not opened up to the consequences that might occur if this comes out to the public. The company has listed many scenarios on their website, on how their Quantum Stealth would be useful, but other than that I have not seen or read any future predictions on any effects that could happen on their website so far. Who knows what could happen?  But, in Victor's case in the novel, his creation caused deaths to his loved ones. At this moment Victor did not think of the consequences that would come with animating life. One thing I’ve seen in Quantum Stealth is that the company has taken a measure so that the process could not be replicated by others. Of course, they are being secretive and alienating themselves from the world about the process of this innovation. This is what Frankenstein did as well. On chapter 4 p.g 45 it says “  In a solitary chamber, or rather cell, at the top of the house and separated from all the other apartments…”This is where Victor isolated himself during the period of creating his invention. And that's what I have on the connections I see in the book and in today's science.
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Gillian Votaw: We are born into the world innocent, but through what we learn and how we are treated, we are shaped into who we are. When Frankenstein’s creature was brought into our world, he was helpless, like a child. He didn’t know the language, he only wanted companionship. After being regected by his creator, he fled to the forest, only to be regected by a man in his cabin, sending him screaming in fear, the creature then ran to the village where the people were terrified of him. Eventually, he gave up on being near humans at all. (Chapter 11.) Being violently shunned damaged the creature, who is still basically a child, born into this world alone and afraid. The creature had the chance to be good, but he wan’t given it fairly, instead he was shot into the cold forest to find his own way in the world and to learn the harsh truths of reality alone. This forced alienation brewed anger, sadness and fear in the creature, so he sought vengance and blood. The creature was never given the chance to be good, he had no help or companionship, all he ever knew was fear and violence so that is what he turned to.
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mckenna cook: At the begining of Frankenstein victor was in a loving family but then after  he left he stopped responding to their letters, cutting himself off even though he had family that were there for him. In doing this he was isolating himself both physically and mentally.  This connects perfectly to modern innovation technology because some people will argue that cell phones and such divices are socially isolating. Personally i dont belive that but it still brings up the question are we intentionally isolating ourself like victor frankenstein in the book? Much like frankenstein we have the ability of isolating ourself so gradually that we can almost
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Annika Lindroos: Many of the ethical problems presented in Frankenstein  are still applicable today. Victor dove head first into his creation without considering the ethics behind his decision as we see so many innovators do in science today. They have the knowledge of the present but not the knowledge of the future. When we think about, say, surgical robots how do we know that it will in fact be the safest way to perform an operation. Having a computer that controls a robot that is operating inside the human body leaves so much room for errors. The ethical dilemmas in Frankenstein are still very true to the twenty first century and we can not ignore their risks.
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Eva Clark-Dupuy: We do so much to satisfy our curiosity but sometimes we take it too far. Maybe curiosity did kill the cat. Scientists and sci-fi creators alike have always seemed interested in modifying the natural course of our existence. In my project, I am considering the issue of Designer babies, or genetically modifying human fetuses.  Meanwhile, the book Frankenstein was published in 1818, and the concepts are still immensely crucial to this day. 200 years later, we are still wrestling with the same concept: Trying to perfect human life. The problem Victor Frankenstein was faced with in the book, we will be faced with in the near future. We need to consider the repercussions of our actions, and our ideas.
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abigail galloway: Hi my name’s Abby and I go to newtech. My topic is Ethics, Ethics means Choosing what’s morally right and wrong. In Frankenstein, Victor making the creature was an example of an ethical dilemma. It’s a dilemma because when Victor Frankenstein's creature wanted a companion, victor knew that his creation was violent and hurt people but was considering making another one. He knew that making another one would contradict what he felt and also put himself and others in danger. This is just like robotic surgery. Robotic surgery is computer assisted surgery, it uses robotic systems to help with surgical procedures. Robotic surgery represents an ethical dilemma because some people feel it’s unnatural. and there could be complications during surgery or that the robot could spontaneously malfunction.
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benito sanchez: The creature was after being created left to fend for itself. But without anybody to take care of him he only found the bad side of humanity and wasn’t shown how to act how to speak of how to, “feel”. He eventually ended up realizing that humans are not friendly to anything they don’t recognize. Once he figured that out he went off and stayed away from humans and only hated them. He killed William. How is this related to CRISPR one might ask, well you see Frankenstein’s creature is much like a designer baby. The baby doesn’t have a choice of whether it wants to look like it did. The only problem with this is that there is no way of knowing what it wants because well, it’s a baby. This is quite the ethical dilemma, we could leave the children to grow up naturally until they can make their own decisions or we could change them from birth and have them grow up in artificial life. We can choose for them, or we could have them choose for themselves. But it won’t be much different than it is now, we make children that don’t ask to be made, but that’s nature, reproduction of animals. The children don’t ask to be made, we just make them. Crisper is not much different but if we change them from birth they might feel different they might feel like they aren’t normal. They might want to be normal and we never gave them that opportunity. The same sort of situation happened in “Frankenstein” the monster didn’t ask to be made but how could anybody ask before he was made, the monster didn’t exist. Same goes for a child.
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Freddy Palmas: The lesson that Frankenstein is teaching us through knowledge is that seeking knowledge is the door of discovering something new. Victor knew things that if he told other people about them, they would’ve saved people’s lives. Like if rich people in America spread the word about a new innovation that could potentially save people’s babies all over the world from having disorders and other things like that. And if Victor had the knowledge to be a father to the creature, the creature would’ve been properly educated. And, if you have the knowledge to do something out of the league, like bringing something to life, you shouldn’t. With this technology you can create lovable things, like cute little babies, and other things like serial killers. Knowledge can be good but can also end a people’s life.
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Austin Gugenheim: Victor Frankenstein creates his famous creature for the sole fact to execute what he knew about the secret of life. While the creature is meant to be a symbol representing progress and how it affects people, the creature itself should not be considered progress. It is my thought that things created to show that it could be created are not progress. Ideas that are considered progress when they come to fruition have one or more reasons to exist. One example is the Quantum Stealth technology that is being developed by HyperStealth. Quantum Stealth is being made for military use in order to hide things from light itself. This is the closest thing to invisibility cloaking, which many people would love to have, but it is progress because it has a specific reason for existing, unlike Frankenstein's Creature who was not made with a certain purpose in mind. Quantum Stealth is a great step in science, but the creature is just a big mistake.
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Jonus Valenzuela: The gothic fiction Frankenstein by Mary Shelley is about Knowledge and reveals that becoming so enthralled in your studies can lead to a loss of ethical thinking and alienation. Letters 1-4 of the book describes Robert Walton, a character who travels to the North Pole to make a scientific discovery. He describes his reasoning for travelling there as this,“I shall satiate my ardent curiosity with the sight of a part of the world never before visited, and may tread a land never before imprinted by the foot of man. These are my enticements, and they are sufficient to conquer all fear of danger or death and to induce me to commence this laborious voyage with the joy a child feels when he embarks in a little boat, with his holiday mates, on an expedition of discovery up his native river.”(Shelley 2). Here Mary Shelley describes to the reader the feelings of Robert and philosophers as they are on the brink of discovery. However, one thing is missing from this text that the reader hasn’t been introduced to as of yet. That thing is the ramifications of studying so deeply into a subject. Robert Walton begins to feel secluded from society and it reflects in his second letter, stating, “I have no friend, Margaret: when I am glowing with the enthusiasm of success, there will be none to participate my joy; if I am assailed by disappointment, no one will endeavor to sustain me in dejection.”(Shelley 5). In this the reader begins to discover that even though these philosophers are able to recognize their disconnect from others, they will still go on to fulfill their satisfaction. We are able to observe this even further when Victor Frankenstein describes his state of mind when studying the creation of life at Ingolstadt, he states, “My attention was fixed upon every object insupportable to the delicacy of the human feelings.”(Shelley 42). Even though Victor had recognized this, it was only after he had brought his creation to life. This can even be reflected in the industrial revolution and the ramifications it had on the environment. According to History.com, “Coal came into large-scale use during the Industrial Revolution. The resulting smog and soot had serious health impacts on the residents of growing urban centers. In the Great Smog of 1952, pollutants from factories and home fireplaces mixed with air condensation killed at least 4,000 people in London over the course of several days”. However, it is only until recently that we have reflected upon the past and realized the ramifications of our actions, much how Victor has. Whether it be in bringing a creature to life, or the Industrial Revolution, we are able to reflect on our past. However, with new coming innovations we must be careful in not tunneling our vision upon the success of our creations. Humanity, as we develop new innovations, must remain ethical thinkers.
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Denna Dom: Knowledge is acquired throughout our entire lives, and there’s always room for more. Though it helps us progress, it can be harmful when fixated on, and this is very evident in the story of Frankenstein. From the very beginning, Robert Walton’s quest for knowledge led him to a weakened Victor who wished to tell his story (as seen in Letters 1-4). Then, the Monster’s desire for knowledge made him learn how to read and speak, and how to think about his own life and who made him, and why he was made (as seen in Chapters 12, 13, and 14). Much later on, Victor’s thirst for knowledge led him into making a monster that became self aware of its creation and began killing everything and everyone that made Victor happy (Shown in Chapters 5, 6, 7, and 21). While a quest for knowledge can lead to great things, such as advancements in technology today, sometimes it can raise some ethical questions on its intended use. For example, gene editing tools like CRISPR could be a great leap in biological technology, but it could also have some great consequences. It raises many questions like ‘Who gets the right to have their life changed/prolonged?” and “Who doesn’t?”. Even if we have achieved the level of knowledge needed to make this innovation possible, should we really continue with it?  Some knowledge seeking quests can lead to terrible devastation and may have not been necessary in the first place, as shown in Frankenstein.
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selena dodson: My thematic topic is nature vs. nurture, In Frankenstein Victor made a creature, and left it. Was it suppose to be evil when it was made or did Victor leaving him and rejecting him make him who he is? I think leaving the “monster” acts the way he does the murder because of how Frankenstein treated him. The “monster” doesn't know how to treat others because he wasn't trained or taught, he just saw how Frankenstein treated him.  The rejection he experienced affected him to treat others how he was treated instead of being loved and loving them. The way we are treated will impact who you are as a person. In the case of designer babies it would be nature because your being able to change how your child would be.
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Ema Dusky: We, as People have a tendency to  get sucked into the intense feelings advancement brings us, leaving us tunnel visioned with the idea of progress, and disregard for ethics. This is portrayed through Frankenstein, and the Industrial Revolution in a very intense way. To be more specific, there is a scene in the Frankenstein book where The doctor, Frankenstein, is working on his creation, and it isn’t until after he achieves his goal, of creating life he thinks of whether or not this really was the best thing for the world to be introduced to.Throughout the industrial revolution, there were extreme advancements in machinery and production of goods. However due to the physical and mental demands of working all day Minimal sleep, and usage of children and tight spaces, this setup became deteriorating, and neglectedThis proves that as a society, whether fictional or in reality, we get tunnel visioned with the idea of progress, rather than considering ethical dilemmas.
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kaden cameron: I believe that Victor Frankenstein did not make the ethical choice when he created the monster. In the book Frankenstein he creates a creature, but as soon has he creates the creature, he rejects it. That’s stated here when he said “I had finished, the beauty of the dream vanished, and breathless horror and disgust filled my heart.” He was so driven to finish his pride and joy, his life’s work, but this got the better of him and he didn’t take responsibility. He later said “I rushed out of the room and continued a long time traversing my bed- chamber, unable to compose my mind to sleep.” You could say he is avoiding responsibility, but I think that he is just taking a moment to process what has happened. Later on in the book the creature stalks Victor and then confronts him to make a second creature to be his wife/girlfriend/mate or whatever you want to call it. Victor reluctantly agrees, but then later changes his mind, the creature becomes really mad and replies with this “If I cannot inspire love, I will cause fear!”, showing that people hate him and reject him from their society than he is just going terrorize people just to find his place in the world. When Victor is making the creature he says “She also might turn with disgust from him to the superior beauty of man; she might quit him, and he be again alone, exasperated by the fresh provocation of being deserted by one of his own species” He is feeling sympathy for the creature which is multiple levels of ethics. Overall I believe that Frankenstein should have not created the creature and when he did he did not take responsibility for that, but tried to flip the situation around in the end, but to avail.
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Ashley Lopez: n the book the tematic topic alienations seems to appear throughout the story in many different characters but the character who I felt like experienced alienation the most was the creature. Through the book the creature is sorta just left to himself because of the way he looks.On page 148 the monster states this as he tries to get Victor  to make him a creature that looks just like him so he has someone who he can relate to stating “ I intend to reason. This passion is detrimental to me, for you do not reflect that you are the cause of its excess. If any being felt emotions of benevolence towards me, I should return them a hundred and a hundredfold; for that one creature’s sake I would make piece with the whole kind! But I now indulge in dreams of bliss that cannot be realized. What I ask of you is reasonable  and moderate; I demand a creature of another sex, but as hideous as myself; the gratification is small, but it is all that I receive, and it shall content me.”.. This fictional creature  can relate to real life with CRISPR. CRISPR is a system  that genetically modified DNA to the modifers liking. With CRISPR you can have a child with any kind of liking of eye color, hair color and even gender. With sometime children modified by CRISPR could feel as there too “Perfect” compared to other normal human beings just like the creature who felt as if he was too ugly compared to the normal human. Another real life example isDuring the industrial revolution and even now a lot of workers become alienated because of class groups that they were put into According to “Alienation in industrial society , Projects for English language. liceo linguistico vico”  “ This caused a dramatic increase in the population and mass society  was a direct result  of this phenomenon. The French sociologist  Emile  Durkheim  described  it as a mass  of undifferentiated, atomicos  individuals. This loss of  individually  led to widespread alienation, the object of study for a lot of social scientist. The alienation workers is an important aspect  of Marx’s critique  of the capitalist system.”
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Everett Meckler: As time goes on, the alienation brought about by our own minds becomes more apparent than alienation inspired by external differences. In Frankenstein, the creature provides us with many examples of external difference lead to great isolation, but the other characters can show us many examples of our own minds leading to alienation as well. The story, in fact, begins with one who’s own mind and thoughts isolate himself. Robert Walton’s passions and the pressure to succeed drive him to a very sparsely populated area of the world. Robert finds himself lonesome even in the midst of the crew he assembles from the few who live nearby because he cannot relate or converse with them. Victor’s passions also lead him down a path of isolation. Eventually, Victor ultimately becomes depressed, so much so, that many times he becomes very reclusive. Near the end of the story it is a sense of duty that isolates him. Eventually, what originated as only thought, depression, and passion in Victor’s head manifests in a more literal sense in the way that his loved ones die. In our connected and globalized world, external indicators don’t matter to us quite as much, for we have much less of a need for worrying about survival. With the advent of the internet and computers, we have much less real interaction and are desensitised. Depression and anxiety have skyrocketed. If we were to take a next step forward and say connect the human brain to computers, then these issues would only be emphasized more so. We have gone from judging based on external features to judgement based on limited interaction and knowledge of people intellectually.
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shawn mabry: Alienation and being alone is a gruesome truth about the world, but it can help us grow as people. This is shown in Frankenstein many times through both Victor and the monster. The first, and most an most obvious incident was in chapter 5 and 6 when Victor abandoned when the monster right after he created him (Quote) Obviously this created a sense of loneliness and neglect for the monster. Victor also becomes saddened and has a great amount of guilt after he didn't defend Justine in her court case about killing William. The monster probably doubled the amount of isolation than that of victors. When Victor created the monster at first in chapter 6, he was horrified and ran away from it, thus leaving the monster alone and scared. The same thing happened in chapter 20, when he destroyed his second monster, but the monster was angry and wanted revenge. It also happened when the monster stayed in the barn at the cottage in chapter 15. He trusted the family so much and knew everything about them, but yet again, they scared him away because of his appearance. This is similar to how in The Industrial Revolution, many peoples jobs were replaced by faster, more efficient machines. Thus creating more jobs to operate machines, but the previous jobs were replaced. This is relevant today, when MOST jobs are replaced by high tech machines to make things like goods and technology.
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Graham Durfee: Frankenstein’s fear of innovation and progress is reactionary to the era when it was written. In 1818, the Industrial Revolution was just beginning to make headway, and the counterculture of the romantic movement came close behind. In a world where factory bosses ignored ethical considerations in the name of progress, it makes sense that freethinkers like Lord Byron and Mary and Percy Shelley would look to nature as a way to escape. Romantics saw a gray and lifeless world around them and looked to return to what they saw as the more innocent time of the medieval era.  But often, this important questioning was taken too far. This is especially clear in Frankenstein. Victor’s regret causes him to attempt to turn Robert Walton away completely from his scientific endeavors. While it is one thing to say “perhaps we should consider what happens when we create an entirely new life form”, it is another to say “you must abandon all quests for scientific knowledge”. This crosses the line from sensible caution into illogical paranoia. Does this sound familiar to you? In our modern era, outside voices question scientific advancements from their conception. This actually can help protect the scientists from putting themselves in regrettable situations when it’s too late. However, even after these questions have been answered some parties will continue to fight against an invention or legal ruling. Without any hope of being anything other than unproductive, these parties stand in the way of progress simply because they don’t like it.
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Marifer Ortiz: Alienation can be caused by many things but for me one of the bigger reasons for alienation to happen is when society rejects people because of what they believe in or what they look like, people tend to isolate themselves from the negativity. For example on page 103 of Frankenstein the creature is not wanted by people or villages due to his appearance, “but I had hardly placed my foot within the door before the children shrieked, and one of the woman fainted. The whole village was roused: some fled, some attacked me, until, grievously bruised by stones and many other kinds of missile weapons, I escaped to the open country…” After this happened the creature ends up isolating himself away from people, so he won’t scare them and so he won’t get attacked anymore. In that same page 103 through the end of the chapter he talks about finding a cottage in which he hides in “Here then I retreated and lay down happy to have found a shelter however miserable from the inclemency of the season and still more from the barbarity of man”.  In 1692 “The Salem Witch Trial” took place, where women would be accused of being witches. A women named Bridget Bishop was described as “wearing black clothing and odd costumes” which was against the rules so she was accused of being a witch and she was later hung for her “appearance”.
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yiellsee Chavez: Isolating yourself from others can come in handy sometimes, but you may find yourself alienating away from society which can be harmful.  In Frankenstein ,we find out about Victor and how he starts to search knowledge about the secrets of life. When this happens he gets so involved trying to make a living creature that he does not notice that 2 years of his life have past. He decides to isolate himself from society because of the urge to finish his creation.  In some ways this has something to do with today's technology According to Karam Adibifar, people started to create a way to communicate with each other without having to be in the same room as each other. This was a very good invention but it has its downs. In today's society, people tend to distance themselves from each other by using their smartphones. With this you do not even have to go outside to socialize. This in some ways relate to Frankenstein because since Victor was so caught up in his creation, he distanced himself for others just like how people are doing that by using their phones instead of interacting with one another.
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Caity Cattolica Tittle: Ethics are what stand in the way of unchecked progress, they're what make the argument for regulations and discussions about what we can do vs. what we should do. In Frankenstein, like in Jurassic Park, he was so focused on what he could do he didn't stop to think if he should. Once he has accomplished bringing life to the world he ran away from it and had to suffer the consequences of his choices. When people test the limits of science there has to be thorough research and preparation for what could happen. Like when we perfected nuclear weapons, Dr. Oppenheimer after he realized what he had done said “I have become death, the destroyer of worlds.” and along with many others wished he had never done it.  Was it moral to make weapons of mass destruction? Was it moral of frankenstein to make his monster? Do we sacrifice our sense of ethics to further the technology for our race? Will our innovation that we’re studying be the same way, will hive minds end up a disaster?
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Josephine Wallace: This is really important to keep in mind as we progress more and more. We need to fully consider the moral implications of our innovations, and yet, as a wise man once said, “Progress waits for no one.”
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Josephine Wallace: Something’s character is not wholly determined by its nature, but also by its environment as it progresses through life, and if something is nurtured properly, it may become good, no matter the evil in it;s nature upon birth, however good may turn evil in the same way. In Frankenstein or the Modern Prometheus, Frankenstein’s monster is a clear example of this. At the beginning of the monster’s tale, he appeared to be lonely and wanting of love, however due to the violent reception’s that greeted him every which way. We can also see this truth in the possibility of a future ruled by hiveminds. Hiveminds could have the power to transform good people and evil people alike into mindless drones, ruled by one person, who may be good or evil themselves.
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Connor Treder: The novel Frankenstein connects quite well to many ideas of modern and industrial science in relation to ethics. In noth history, modern science, and the novel, there are times where an ethical question arises. Just because we can, should we? When Frankenstein makes his creature, or when the mass production of items began, or even now with furthered computer development, we should ask ourselves if that which is within our reach should be touched at all. What would the repricosions be? Would it be worth them? In many cases, the answer depends on circumstances. Frankenstein decided later on that he had made a mistake, and now we are trying to reduce global emissions from the factories we created. We even thought about the repercussions of AI before it was even fully thought of. The question may just be whether the creation worth it.
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ToeKnee Gonzalez: As humans, we are always making progress whether it be in technology or science, but as we’ve seen in Mary Shelley's Frankenstein and the industrial revolution, progress can lead to negative outcomes. In Frankenstein, Victor makes huge step for science by reanimating this creature to life, but was it lead to many downsides. For one, the creature cost the lives of many people and it also blackmailed Victor. It goes to show that progress doesn’t always mean positive outcomes. During the industrial revolution, more and more workers were needed as the factories progressed and it caused cities to make very cramped houses which lead  to quickly spread diseases. And inside the factories the conditions weren’t much better, they had to work 12 hours a day 6 days a week.
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Isabel Martin: The classic argument of whether nature or nurture is more powerful has a spin in Frankenstein. The novel shows that it’s neither nature or nurture that’s more powerful, it’s the one that’s more negative. We see this first with Victor Frankenstein.  He has a perfect childhood with wonderful nurturing but Victor nature is to be pessimistic and depressed, therefore his negative nature won over. The creature’s nature is quite the opposite of Victor’s he is kind and curious. We see this in Chapter 11 when he describes how he is fascinated by everything from the moonlight to the huts of a little village, to fire. Unfortunately every encounter the creature had with humans was negative, he was chased out of towns and the home of his protectors. He was even shot by a father who’s daughter he saved from drowning. Since he had no real nurturing from anyone the violent actions of humans towards him were his only form of nurturing turning him from a curious and innocent creature into a violent and murderous monster. Nowadays people are trying to prevent having to worry about their child having a negative nature through genetic manipulation. “Designer babies” will soon be a reality so parents can not only choose their babies’ physical traits, but their mental ones. This will not only revolutionize parenting, but it will also change society since traits that lead to social isolation and depression will be considered undesirable and will be removed from gene pool.  So for better or worse, there will be no more Victor Frankensteins in the future.
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Korey Rangel: near the end of chapter 1, Victor and his family decide to take a visit inside of a poor cot, inside they found a peasant and his wife with five hungry babies, however out of all the poverty in this abode, one of the babies seemed to attract Victor’s mother. The mother of the children noticing the attention eagerly told her the child's backstory and Victor’s mother became so fond of the child that she ended up adopting her from the poor family. So in this situation nurture seems like it was the right thing to do since that family in poverty was struggling, adopting her was giving them one less mouth to feed and perhaps a good future for the baby.
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Gerardo Flores: As technology advances, more ethical dilemmas arise. As we see in both the Industrial Revolution, and in the novel Frankenstein, these advances in technology can lead to ethical dilemmas. Some examples of these being the living conditions during the industrial revolution, having 5 to 9 people in one house, and kids working in factories and coal mines. Other examples are in the book, where Victor creates this creature and gives it life, then leaving it to fend for itself. The advances of technology in this story is what leads to Victor being able to create this monster that he ultimately regrets creating. In the Industrial Revolution, the advances that were made at that time really helped shape the modern times we are currently in, but some aspects of these changes were extremely dim, and bleak. In the novel, Victor has some ethical dilemmas, for example, when he learns that his younger brother, William, is killed. Victor knows that the creature killed his brother, but the maid of family is framed. Victor has an ethical debate with himself, either being a bystander to an innocent woman being executed, or being seen as crazy for creating this creature.
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Ryan Topper: In today's golden age of technology, knowledge is a powerful tool that can lead to valuable progress or destructive innovations. In Mary Shelley’s award winning book, Frankenstein: Or, The Modern Prometheus, the main character, Victor Frankenstein, possesses an extreme desire for learning the secret to life. Early in the novel, Shelley writes "Frankenstein—more, far more, will I achieve; treading in the steps already marked, I will pioneer a new way, explore unknown powers, and unfold to the world the deepest mysteries of creation.” (2). This shows Frankenstein’s early ambitions, as he is slowly poisoned by an abundance of knowledge that later causes him to create unnatural life. Artificial intelligence is a contemporary example of this unnatural life with the ability to serve and benefit humanity, or lead to our demise. As soon as computers are able to think for themselves, they can decide the way they want to interact with other life, including humankind. Victor’s progress is a double-edged sword - while he learns more beneficial knowledge, he begins to use it for no good. The same “double edged” sword is shown in the industrial revolution. While a lot of beneficial innovations were made, air pollution, along with poor working conditions plagued the factories. According to a report by the House of Commons in 1832: “there are factories, no means few in number, nor confined to the smaller mills, in which serious accidents are continually occurring, and in which, notwithstanding, dangerous parts of the machinery are allowed to remain unfenced”. This report further shows how knowledge has a destructive and less recognized side. Today, modern science still depends on knowledge, with potential to have negative impacts. According to Klaus Schwab, an executive of the World Economic Forum: “together shape a future that works for all by putting people first, empowering them and constantly reminding ourselves that all of these new technologies are first and foremost tools made by people for people.”. Take artificial intelligence for example; a subject that poses many ethical dilemmas and can parallel Frankenstein. Where artificial intelligence can be used to support mankind in many beneficial ways, it still has the same double-edged dilemma that Frankenstein and the Industrial Revolution shared. As you can see, knowledge leads to many progressive innovations, but will always have a lesser known negative side waiting to be discovered in retrospect.
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Averi Dropping: Alienation and being isolated from society can go many ways, it can help to get things done but it can also lead to being lonely and depressed. For example, in Frankenstein or the Modern Prometheus, the protagonist, Victor makes himself isolated for a large portion of the novel. The downside with him doing this is that he is alone with his thoughts which start to drive him crazy and he ends up getting very sick. He does this to himself because this way he can learn and work without distractions and nobody can get hurt. Victor worked on most of his real scientific innovations while he was alone. This could be because he didn’t want anybody to know about it and so they wouldn’t get hurt but it could also be that this is how he got the work done. You can see this alot with many scientists in history and today. Often, the best work is done with total concentration and not having any distractions.  
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Jose Salgado: Frankenstein made huge progress but didn’t reflect upon it fast enough to notice that his creation was good (Chapter 5). Progress should always be reflected on, to make sure everything is ok. Then even more progress can be made. Progress feeds on itself.The steam engine was a great technological progress but it was causing a lot of pollution. Now we have electric cars to fix that pollution problem. The steam engine and gas engines were reflected on and then we found out that they were causing some problems.
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Oscar Castellanos: Knowledge is power. One of our most power weapons and traits is our brain and the ability to learn the way we do. At times we see our species constantly strive to learn new information. Once we learn that, we keep going so we can learn more, our most powerful weapon as a species is our brain. We see this in Mary Shelley's  Frankenstein in our 3 main characters when they strive and gain knowledge. Victor goes to his university and learns for years becoming obsessed with knowledge leading him on a path to create something completely new. The creature Victor creates spends about a year by himself studying the world around him. He ends up learning how to speak and read. This allows him to further his knowledge about the world around him and about himself,  how he was created. For our last main character Robert Walton. He talks about his goal. His goal is to travel to the north pole so he can improve himself and his own knowledge. This relates to the industrial revolution because of how the people were constantly looking for new inventions to make their lives easier, and to make certain process faster. Like the Spinning Jennies. That allowed them to make more clothing items, allowing more than half the population to own more than just 2 clothing items. And there were many more inventions to follow that one.
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amy duran: Now a days peoples creations are very intriguing , people invent really creative things . just like Victor Frankenstein , he created a monster who he was at first very excited to see if he was able to make such a big creation .it took him a while to figure out how to make something come to life. Our creations are not as big as his , we have made things that are helpful is our everyday lives.  peoples generations change and so does peoples inventions. Victor was not proud of his creation and wanted nothing to with it because he didn't want to be responsible for him, there is many creations now a days that don't work out as planned but everyone manages to make things work out or fix the situation
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Aaliyah Ferroni: Young minds without a parental figures often act based on nurture rather than nature. In Frankenstein, the monster is abandoned as soon as he is created. He has no one to guide him through this life he was given. He makes his own way through the world, where everything he sees and touches are his first experiences. These experiences are violent like in Chapter 15, where the monster shows himself to the old man in the cottage. He talks to him, and because the old man cannot see he is not afraid. Then, the young man Felix enters. As the monster describes, ““Felix darted forward, and with supernatural force tore me from his father, to whose knees I clung, in a transport of fury, he dashed me to the ground and struck me violently with a stick.” This shows just how the monster is treated, teaching him that this rejection will be a constant for the rest of his life. This causes him to kill the people closest to Dr. Frankenstein, in an attempt for the monster to show him the pain that he has lived with since he was abandoned. He acts on his nurture, the way his experiences shaped him, rather than his nature which was to learn and embrace those around him. His nature was showed as he observed the cottagers, and found joy in their music and speech. He is a young mind, and after the departure of Dr. Frankenstein, his nurture unfortunately overcame his nature as he was abused and cast aside throughout the entire book.
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David Tokar: Frankenstein abandoned his creation and forced it to grow up in a world that hated it. Growing up with nothing but hatred and rejection transformed him into a monster. If Frankenstein had not fled from his responsibility, his creature would have grown up more comfortable, and learned how the world works in a more gentle manner. But who is really responsible for the way the creature ended up, his creator, who left him, or the people of the world, who scorned him when he searched for some form of companionship?
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Luis Reyes: Based on the events of the book “Frankenstein” by Mary shelley and the French Revolution, I believe that as you progress, you’ll have to make tough decisions. This is shown in the book Frankenstein when the protagonist Victor, has the decision to follow the monster’s orders and make a female companion because of his progression in reanimating corpses, he decides not to. While he his working on the female monster he decides to destroy it. This was a hard decision for him because he contemplates if the female monster would turn out destructive like the other monster. Furthermore in the Industrial Revolution progress was made at a fast rate, this led to factories needing a lot of workers. According to ATC Risk Management, in the 18th century child labor was a inexpensive solution to the need of workers, but led to work accidents. This was then changed by a law called, “The Factories Act” which decreased child injuries in the factories. This idea can be applied in the innovation that I’m studying, mind recording and uploading. There are discussions about if we should even continue this technology because it could benefit humans but also hinder us. Stanford University has expressed some of these ethical questions in a article they wrote.
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Aaliyah Ferroni: Young minds without a parental figures often act based on nurture rather than nature. In Frankenstein, the monster is abandoned as soon as he is created. He has no one to guide him through this life he was given. He makes his own way through the world, where everything he sees and touches are his first experiences. These experiences are violent like in Chapter 15, where the monster shows himself to the old man in the cottage. He talks to him, and because the old man cannot see he is not afraid. Then, the young man Felix enters. As the monster describes, ““Felix darted forward, and with supernatural force tore me from his father, to whose knees I clung, in a transport of fury, he dashed me to the ground and struck me violently with a stick.” This shows just how the monster is treated, teaching him that this rejection will be a constant for the rest of his life. This causes him to kill the people closest to Dr. Frankenstein, in an attempt for the monster to show him the pain that he has lived with since he was abandoned. He acts on his nurture, the way his experiences shaped him, rather than his nature which was to learn and embrace those around him. His nature was showed as he observed the cottagers, and found joy in their music and speech. He is a young mind, and after the departure of Dr. Frankenstein, his nurture unfortunately overcame his nature as he was abused and cast aside throughout the entire book.
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Jacqueline Coronado: Victor Frankenstein pushed away the ethical considerations of re-animating a creature. Although there was some outcomes of creating the creature,victor didn't think about how the creatures life was gonna be and how people would react to it. Once the creature was created he was filled with disgust as he explains in chapter 5 page 49,he quotes “ i had finished,the beauty of the dream vanished, and breathless horror and disgust filled my heart. Unable to endure the aspect of the being i had created, i rushed out of the room…”.
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Francisco Sipiora: The thirst for knowledge that allowed Victor Frankenstein to persevere and make his creature is what has allowed the scientists in our generation to make so many groundbreaking discoveries. It is a natural habit of humans to want to pursue knowledge. We would still be cavemen without it. We can see this branching from the very beginning of the human race that people are naturally inclined to learn and understand what surrounds them. There have been many benchmarks of human ingenuity, the wheel, the steam engine, and even the most basic tool of all--Language. The development of a complex language proceeded from people wanting to communicate their discoveries, feelings, ideas, and anything else, to each other. Even though Frankenstein created his monster with the utmost enthusiasm and was certain of its success, it came out quite a shock to him, and that is reflected in many types of innovations created today. We have used our intellectual ability to create horrible technologies, like weapons of mass destruction. There are so many dilemmas concerning these modern day innovations that it has become rather ominous. Frankenstein and modern day sciences share many traits, which include the good ones, just as much as the bad ones.
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roanin fisher: As a class we have been looking at different thematic topics present in the book the one i have researched isolation or alienation. I believe this is a very prominent topic with how the story unfolds, with the creation of frankenstein's monster victor is horrified about what he has made and runs away in terror. By not acknowledging the creature victor isolates it from the rest of the world, i think this cruel first moments helped to shape the creature into the murderer we see later on.Alienation is probably most present when we get to hear the monsters point of view after its creation. The depiction of it having to figure out that he is an abomination in comparison to other people through the cruelty of the people he meets pushes him to this angry place. Was this alienation the reason for the monsters violence?
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Stephan Breit: 1/29/18 Alienation can lead to a disconnect from society and emotional trauma that can end in drastic measures. In the book, Frankenstein by Mary Shelley, Frankenstein's monster is neglected out of fear from the beginning of his existence, and by everyone he meets. People that are smarter are typically withdrawn and lack the emotional connection with others. If people were to get advanced intelligence implemented, do you believe that they would turn out with the same neglect-leads to anger that the monster did?
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Yessica Lopez: Although work is what keeps us all busy and allows us to be creative it can be what alienates us. In the novel Frankenstein, written by Mary Shelley, Victor Frankenstein has the desire to create life. He zealously devotes himself to this labor and neglects everything else from his family and friends to his studies and social life. “Who shall conceive the horrors of my secret toil as I dabbled among the unhallowed damps of the grave or tortured the living animal to animate the lifeless clay?” (Shelley 49). Victors intense focus on his goal allows him to fulfill his aspiration, however, all at the same time he cut himself off from society.
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Peyton Souza: Starting off I think Frankenstein is a great book and it presents a complex story line with complex characters as well. Looking back on the story one of the biggest issues in the story is ethics, such as when Victor decided to reanimate the dead. Victor would have had a very different if he established his moral/ethical compass and used it for better outcomes. Instead he never thought and asked himself just because he can reanimate the dead should he? Taking this into the real world and the industrial revolution nobody asked the question and it wasn't until much later that they did. By then it was too late and many people and kids alike lost their lives due to a lack of both morals and ethics. In 1750 14% of the workforce was under the age of 14 and some of them lost their lives working in the dangerous work environments. It wasn't until 1833 that work conditions finally improved. You could argue that this is much like how in Frankenstein Victor totally over worked himself and it is one of the reasons he became very ill following the monster’s escape. In the beginning of the book Victor has a lousy moral compass, but this however improves and shows its might after he destroys the new monster.
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Isabel de Blois: We as a society create things with no idea of the consequences. It is not that we are all stupid, or have harmful intentions- it’s that we cannot possibly foresee the result of our actions. It is shown in some of our greatest literature such as Mary Shelley's Frankenstein, to something more modern, like our iPhones. Originally created for better communication, due to the advancement of technology, the iPhone now lets us look anything up without lifting a finger using the feature Siri, ( in addition to better communication). However, though our iPhones, or smartphones for that matter, allow us to contact on social media platforms like Instagram or Snapchat, they isolate us from our surroundings.  We have all been in a conversation where one person is engaged on their phone rather than speaking. In fact, an article written by Katherine Hobson states that in a survey done  of adults ages 19-32 “People who reported spending the most time on social media — more than two hours a day — had twice the odds of perceived social isolation.” As for Mary Shelley's Frankenstein, the main protagonist of the novel, Victor Frankenstein, spent months devoting his time to creating  a creature that ultimately destroyed his life, killing all of the people Victor loved, leaving Victor in a state of despair. This revenge on the people Victor loved, was the reaction out of the extreme loneliness and alienation, a consequence of the creature not being like the world around them. There is no doubt in my mind if Victor had been able to predict the disturbing consequences his creation, he would have stopped his work.
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Thomas Carter: In Frankenstein, It seems that almost all of the Monster’s experiences are vile and full of hatred towards him, for example Throughout the book, the monster is constantly being thrown in the dirt, first by his creator, Victor, then the villagers he meets and he even gets shot the one time he tries to be nice to humans, and all of these people who are acting this way is sort of sculpting this monster into the way they view him. People hate him so he hates them back. This is sort of what is happening in today’s view of technology and advancements where many movies and TV shows for example Black Mirror show technology like AI, and robots are creating these horrible disasters - which makes the shows interesting of course but at the same time it’s sort of creating people to be hesitant about advancing technology and people now have this skeptical mindset that if we make these advancements the exact same disasters will happen to us. I just think it’s interesting that no matter how far back or recent we look, people are always afraid of advancements or changing things and a lot of that fear can come from books and shows and people imaginations.
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Austin Chavoen: The Luddites of the Industrial Revolution destroyed the machines that were helping the world to progress because they felt threatened, just as Victor Frankenstein felt threatened by his own progress and had wanted to destroy it. This is also much like technologies today such as AI, artificial intelligence. For example, in the movie The Avengers: Age of Ultron, Tony Stark, (played by legendary actor Robert Downey Jr.), creates an AI that he believes will be able to help him, which they then spend nearly the entire movie trying to destroy because they fear that it is a threat. The movie series, Terminator, is also about people who create a technology to help better the world, and then spend multiple movies trying to destroy. Yes these are just movies but these movies were made because this is a real fear that people have.
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Carly Harvey: People normally have good ethics but in times of stress that is challenged. For example, When you are stressed about a grade in school and you know you should work on your homework to `get your grade up you sometimes just ignore the work and end up stressing even more. Victor Frankenstein creates this monster with the best parts of dead people. This is similar to making designer babies since making designer babies is picking the best parts of you and your partner to create the “perfect” baby.  However, ethics of designer babies, in some circumstances it is a good idea like when a parent has a gene for a disease and the parents don’t want the child to have it. In other cases it is a bad idea because many things can go wrong. They don't know if genetically modifying babies will change the gene pool.
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Peyton Souza: Starting off I think Frankenstein is a great book and it presents a complex story line with complex characters as well. Looking back on the story one of the biggest issues in the story is ethics, such as when Victor decided to reanimate the dead. Victor would have had a very different if he established his moral/ethical compass and used it for better outcomes. Instead he never thought and asked himself just because he can reanimate the dead should he? Taking this into the real world and the industrial revolution nobody asked the question and it wasn't until much later that they did. By then it was too late and many people and kids alike lost their lives due to a lack of both morals and ethics. In 1750 14% of the workforce was under the age of 14 and some of them lost their lives working in the dangerous work environments. It wasn't until 1833 that work conditions finally improved. You could argue that this is much like how in Frankenstein Victor totally over worked himself and it is one of the reasons he became very ill following the monster’s escape. In the beginning of the book Victor has a lousy moral compass, but this however improves and shows its might after he destroys the new monster.
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Evangeline Anguiano: Victor is so fascinated and excited about his creation that he jumps straight into it. He was aware of the fact that reanimating the dead was going to be frowned upon, but his pursuit of knowledge made him ignore that completely. Those who seek knowledge often ignore ethical concerns around it. In our world, Nuclear fusion is an incredible energy source. It could be a revolutionary innovation if we could learn how to harness it. Besides being a good energy source, it can harmful to the environment, because radiation and the waste is a huge issue. The most concerning factor is, that it can be used as weapons. Even though it can be used as such, people are still researching how to use them. In both Frankenstein and the use of nuclear fusion, the knowledge of great use is available, but the ethics of whether or not they should be explored is ignored.
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Angelica Oram: Frankenstein poses many ethical considerations that are still discussed today. Victor created a creature without knowing anything about the creature aside from its physical abilities. Today, for example, with nuclear fusion, we are trying to advance in this science with only guesses to what can happen next. Nuclear fusion can improve life, but will it also be harmful? This is a question Victor should have posed to himself about his creation before enveloping himself in his work. Victor could have nurtured this creature in a way that could have been helpful to society, but he did not realize the consequences. The same occurs in science today. Are phones, computers, nuclear energy, etc. really helping us progress as humans or are we actually going backwards?
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Christopher Saenz: I believe that prolonged alienation could potentially lead to madness. We can see this shown in Frankenstein, as the monster feels alienated from his creator. This leads to the monster becoming consumed with anguish as Victor Frankenstein condemns him to an existence with only itself to relate to. Connecting it with modern life, we can see a loose similarity to this relationship with the impersonalization of the modern work environment. The modernization of the workforce led to the creation of the factory job, an incredibly tedious and harsh line of work which provides both little social interaction and little care for one’s well being. Alienation in the real world can have incredibly negative effects on one’s mind, pushing some to depression or other demons. Moving forward, we can potentially see this impersonalization become normal with the increase of office work. Physical pain becomes monotony with the same pitfalls of mental torment.
Science
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Lawrence Dritsas: In the eyes of the public, sensational stories of exploration, filled with tales of near-death faced nobly, mattered far more than somber reports of scientific discovery. A good example of this is the legacy of William Spiers Bruce’s Scottish National Antarctic Expedition (1902–04). Bruce’s expertly planned and nearly flawless expedition to the Weddell Sea produced a wealth of data, but no drama. Meanwhile, Scott’s fatal expedition to the South Pole (1910–12) and Shackleton’s story of survival and rescue, but little science or success, in 1916, enthralled the public and remain well-known. This is not a recent phenomenon; the value of adventure over actual success was already a fact in the eighteenth century and earlier. Explorers wanted to be remembered for their bravery. For more on the drama of exploration, and explorers as celebrities, see Beau Riffenburgh’s book The Myth of the Explorer: The Press, Sensationalism, and Geographic Discovery.
Influences & AdaptationsPhilosophy & Politics
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Lawrence Dritsas: Mutinies are among the worst things that can happen on board a ship. The lawful authority of the captain is overthrown. The only way this might be considered legal and not result in the execution of the mutineers is if the captain was breaking the law or placing the lives of the crew in unreasonable danger. Here, the crew approaches Walton because they want to avoid a situation where they might mutiny and get Walton’s assurance that they will turn south if they ever get the chance. The most famous story of mutiny circulating at the time Mary was writing was certainly that of the mutiny on the Bounty in 1789. That event saw Fletcher Christian lead part of the crew to mutiny against its captain, William Bligh, in the South Pacific. In 1792, eleven of the mutineers were captured in Tahiti and three of them were eventually hanged in Portsmouth, England. Meanwhile, Fletcher Christian and a band of mutineers, Tahitian wives, and male servants had escaped to the remote Pitcairn Island, where they were not rediscovered until 1810, when this fantastic story was reignited in the public’s imagination. As a result, we can be confident that Mary, and her readers, would have taken any suggestion of mutiny very seriously indeed.
ScienceTechnology
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Lawrence Dritsas: Exploring ships since the eighteenth century are best viewed as scientific instruments in their own right, similar to the Voyager or Cassini spacecraft today. Ships are a platform for a wide variety of scientific activities, but the science must be done properly. The validity and accuracy of ships’ logs and observations is warranted and sustained by disciplined record-taking and the use of supposedly “objective” instruments of measurement. Telescopes, chronometers, and other instruments gave travel accounts a semblance of credibility that simple narrative prose did not enjoy. Walton’s expedition is further verified as an example of scientific travel through its use of telescopes. (For more information, see Richard Sorrenson’s essay “The ship as a scientific instrument in the eighteenth century.”) Further, the use of telescopes is a great narrative device here, allowing Walton and other members of the crew to observe the creature directly, without threatening him and without endangering themselves. Before we even meet Victor, the creature is an established fact in the story, even though no character has interacted with him. This gives Victor’s revelation of his story especial interest, as we already know the creature has great strength and endurance.
Science
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Lawrence Dritsas: Mary publishes this fictional account of Arctic exploration in the same year (1818) that saw a British attempt to reach the North Pole and traverse the Northwest Passage that was unsuccessful, but nonetheless rekindled interest in the Arctic (for more on 1818 as a watershed year in Arctic exploration, see Adriana Craciun’s book Writing Arctic Disaster: Authorship and Exploration). In this passage, Walton equates his search for a route to lands near the North Pole with the search for the Northwest Passage, and reveals his inspiration from reading travel accounts, a favorite pastime of Enlightenment scholars. Given her rich education directed by a free-thinking father, William Godwin, Mary was certainly aware of the voyages of James Cook and George Vancouver to the North Pacific in the 1770s and 1780s, and the many reports of whalers in the North Atlantic (whom she has Walton join in his youth). Ice appeared to block any passage to the far North, but hopes remained in the early nineteenth century that a route may yet exist through the uncharted region, connecting the Atlantic and Pacific more directly. Mary might be recalling her own freedom to read about exploration in a well-stocked domestic library when Walton writes, “My education was neglected, yet I was passionately fond of reading.”
Health & MedicinePhilosophy & Politics
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Heather Ross: Memory for stressful events can be fallible, with profound implications for justice. Our perception is subjective, and memory is not always reliable, especially with regard to specific details. It is well known that stressful events can impact memory and that our recollections shift over time. Psychologists have studied the accuracy of recall with regard to specific details of an event in both staged and real conditions, in and out of the laboratory. In one case, naïve eyewitnesses experienced a wallet theft in a public outdoor setting. On questioning, recall differed markedly between eyewitnesses on key details including color and size of the wallet, physical appearance of the suspect, and course of events. This phenomenon has serious consequences for our justice system, which often depends on witness recall to provide key evidence in a trial, including identifying suspects during a criminal investigation. It is well-documented that witness recall is often flawed, resulting in faulty suspect identification. Despite these shortcomings, eyewitness testimony based on memory recall is still admitted as evidence in the court system, and has resulted in multiple wrongful convictions leading to life sentences, or even the death penalty in some cases. Time and again, people convicted of felonies have been exonerated based on concrete DNA evidence that is finally tested after they have served years, or even decades, in prison as an innocent person.
Equity & InclusionHealth & MedicineMotivations & Sentiments
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Julie Lekstrom Himes: Victor posits that greatness is there for the taking, as long as one eludes the restraints of cowardice or carelessness. As readers, we’re left nearly breathless at the scale of his ambition. His character is defined by a combination of grandiosity, brilliance, and romanticism—a common blend for literary protagonists bedeviled by hubris. In Victor’s mind, his cause is great and just, and any requirement for review and endorsement by his peers or the public, or even for the acquiescence of the creature, is superfluous. In 1966, the Harvard anesthesiologist Henry Beecher published a special article on ethics and clinical research in the New England Journal of Medicine. In a near-direct rebuttal to Victor, Dr. Beecher quotes Pope Pius XII in saying, “science is not the highest value to which all other orders of values … should be subjugated.” Beecher describes 22 examples of unethical human research, which in several cases resulted in significant harm or death to their subjects. The physicians leading these studies were the products of premier medical schools, university hospitals, government military departments of the Army, Navy, and Air Force, as well as the National Institutes of Health and the hospitals of the Veterans Administration (now called the Department of Veterans Affairs). Beecher reported that he’d easily collected 50 examples, but provided only 22 due to space constraints in the journal. Of the 22 studies in his article, three involved researchers withholding antibiotics of well-established benefit and offering placebos in their stead. Two studies were conducted merely to confirm and restate that certain therapies that had already been proved toxic were indeed harmful. One of these used adolescents as young as 13 who were inmates of a children’s detention facility. Numerous studies were conducted on anesthetized patients (both adult and children) to test well-established principles of pulmonary and cardiovascular physiology using invasive procedures utterly unrelated and unnecessary to the patients’ conditions. Nearly all were performed without the patient’s knowledge or agreement. Beecher postulates what we may consider a thin excuse: that these are the consequences of the terrific pressures placed upon young physician-scientists who desire those few and coveted tenured faculty positions. Perhaps we must leave the final analysis to the novelists, who with the tools of fiction can fully unearth the complexities of human nature and reveal well-intentioned individuals as monsters, and monsters as people.
Science
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Lawrence Dritsas: Here Mary has Walton join an ancient discussion about the mythical land of the far North, possibly inhabited by fantastic Hyberboreans. Since antiquity the far North has been a space to imagine difference, possibility, and horror. Tales of endless days and nights followed the amber trade from the Baltic Sea to the Mediterranean, sparking speculations into what life would be like under the North Star. Mary uses Walton’s fantasies about the far North, at odds with reasoned conclusions, to examine the passions that may lead a person to explore beyond the borders of humanity, and possibly human decency, in the name of science.
Equity & InclusionHealth & MedicineScienceTechnology
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Samuel Redman: Victor's fascination with the grisly mechanics of dead human bodies has been shared by many people, scientists and otherwise, for centuries. Cabinets of curiosities displayed in the homes of European nobility in the sixteenth century frequently included human skulls. Early medical museums were primarily focused on training medical students through hands-on experience. Almost reluctantly, they began opening their doors to the public, and were surprised by the large number of visitors curiously entering their galleries.Consequently, collections aimed more squarely at the general public flourished. The Army Medical Museum exhibited human remains between 1887 and the 1960s (living on as the National Museum of Health and Medicine). The Smithsonian’s National Museum of Natural History built its own large body collections, especially during the early twentieth century. Popular exhibits at the American Museum of Natural History exhibited human remains in New York City just steps from Central Park. Notable exhibits featuring human remains or innovative reproductions were also popular at World’s Fairs, including Chicago (1893), St. Louis (1904) and San Diego (1915), among many others. People crowded galleries even as these exhibits proved vexing to critics. In the quest to rapidly build collections, remains were sometimes collected under highly questionable ethical circumstances. Bodies were removed from graves and sold, gathered from hospitals near exhibitions reminiscent of human zoos, and rounded up haphazardly from battlefields. In the U.S., the human body in the late nineteenth and early twentieth century was racialized in almost every respect imaginable. Many people became obsessed with fictitious biological differences between Native Americans, African Americans and European Americans—occasionally stretching claims into rigid hierarchies of humankind. The exhibitions dehumanized bodies by casting them as observable data points rather than actual human beings.By middle of the twentieth century, the racialized science that had led to collecting thousands of skulls and other bones from people around the world had come under increased scrutiny. The comparative study of race, which dominated early displays of human remains, was discredited. Indigenous activists, tired of seeing their ancestors viewed as “specimens,” also began pushing back against their display. Some exhibit planners began seeking other methods—including more sophisticated models—and exhibiting actual human remains became less prominent.Nonetheless, our tendency to turn dead bodies into objects for specimens for consumption—rather than complex human beings with emotions and relationships—remains with us. Spectacularly popular exhibits like Body Worlds, created by Dr. Angelina Whalley and Dr. Gunther von Hagens, continue to draw millions of visitors to gaze upon human corpses frozen in place, rigidly posed through a process called “plastination.”To learn more about Body Worlds and human bodies as public exhibits, read this full article published in The Conversation in 2016, or check out the book Bone Rooms: From Scientific Racism to Human Prehistory in Museums (2016).
Technology
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Robert Oppenheimer: Victor’s pursuit of the creature across the desolate northern ice symbolizes the symbiosis between innovators and innovations. The creature would not exist without its creator, who discovers he can no longer exist without the creature (after all, Victor would die without the food the creature is leaving for him). How many times has a new technology been celebrated before unintended consequences become apparent, when people have become reliant on the technology they must change? For example, how can humanity end its dependence on fossil fuels when two percent of global emissions come from the Haber process, pulling nitrogen from the air to feed the world’s growing population through synthetic fertilizer? How can we bite the hand that feeds us? We chase ourselves to the ends of the Earth, finding at every step that the solutions to our old problems have their own new problems, ad infinitum. Perhaps this is the nature of biological evolution itself—through natural selection, our genomes have become riddled with hacks upon hacks as nature made changes, then adapted to the consequences of those changes on our bodies and environments, necessitating endless innovation.
Health & MedicinePhilosophy & PoliticsScienceTechnology
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Robert Oppenheimer: Why is biotechnology sometimes more controversial than other expressions of human creativity? In addition to material concerns about safety faced by any new technology (toxicity, flammability, radioactivity, etc.), biotechnologies attract additional argument about being “natural” or “unnatural.”  The reason for this is apparent in this passage when the creator and creature first converse, revealing they are at cross-purposes. It appears all living things have their own purposes. Any species capable of Darwinian evolution will undergo selection for behavior that is rationally consistent with values prioritizing its own survival and reproduction. All species behave as if they “want” to survive and reproduce, for if they don’t then they rapidly become extinct. In this sense almost any biotechnology (say, producing medicines, biofuels or biomaterials) can be perceived as a kind of slavery. Organisms are used for human purposes rather than being free to pursue their own ends, whatever that means. This is the fear of biotechnology—what happens when the slave rebels? What if they are twisted by slavery into a monster that turns against us?
Health & MedicineScience
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Robert Oppenheimer: Mary frames Victor’s discovery in terms of vitalism, the idea that inanimate and animate matter are different. This difference is the “principle” and “secret cause” separating life and death that Victor discovers and controls. Over the past 200 years, vitalism has become unpopular. A long tradition of experiments has demonstrated that animate matter can be chemically synthesized and retain its biological activity (for example, Friedrich Wöhler’s 1828 synthesis of urea or J. Craig Venter’s 2010 synthesis of genomes). This implies that Victor’s “principle of life” must preexist in all matter or not exist at all, with the latter being a simpler explanation. If biology is “just” complex chemistry, as current scientific consensus suggests, then it is not clear that a single cause of life awaits discovery. Instead there seems to be a spectrum between living and non-living systems. Chemical systems might emulate various processes associated with life—replication, metabolism, evolution, development, adaptation, and so on—though it is unclear which of these defines life. Over the next century, each of these might be explored independently in living and non-living systems spanning natural and artificial chemistries. While the knowledge that animate and inanimate matter are ultimately the same might have restrained Victor’s “supernatural enthusiasm,” it surely would have delighted his romantic side to see a scientific basis for the unity of living and non-living things.
Philosophy & PoliticsScience
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Robert Oppenheimer: Do students experience the enticements of science? For decades, participation in STEM subjects has decreased in Australian high schools. Perhaps, Mary might suggest, this has something to do with students’ experience of science in classes and assessments. Rote-learning information to regurgitate in examinations is less representative of the scientific pursuit than autodidactic learning-by-doing—scientists don’t do exams, they do experiments. Science is a practical way of learning about the world, rather than the abstract knowledge repeated during lectures or examinations. It is unsurprising that when our educational model reflects the active and ongoing scientific process, it improves performance and participation in science. For more on how an active approach improves science learning, see Louis Deslauriers, Ellen Schelew, and Carl Wieman, 2011 and Scott Freeman et al., 2014.
Influences & AdaptationsScience
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Robert Oppenheimer: Here, Mary plays with archetypes of scientists and poets, scrambling references and blurring the lines between these pursuits. For example, Walton is an amateur poet on a scientific voyage, while Victor was Percy Shelley’s pen name in his first published poetry. Mary’s scientists and poets share a love of nature, though they express it in different ways—one theorizes about truth, the other rhapsodizes about beauty. While both require a passionate, curious mind observing nature, the scientist tries to understand how it works and the poet tries to communicate how it feels.Perhaps Mary used these archetypes to represent the ironies of the imagination. We know Mary’s reading list included Francis Bacon, who wrote in his Novum Organum (1620), “The present discoveries in science … lie immediately beneath the surface of common notions. It is necessary, however, to penetrate the more secret and remote parts of nature.” The imagination produces tantalizing false meanings and delusions, but at the same time, enormous feats of imagination are required to think outside existing belief systems. Mary would also have read and reviewed the poems Percy wrote during the European tour when she conceived Frankenstein, including “Mont Blanc,” where he writes, “What were thou [Mont Blanc, the tallest mountain in the Alps], and earth, and stars, and sea, / If to the human mind's imaginings / Silence and solitude were vacancy?” In “Mont Blanc,” Percy describes how human fancies lack the reality and beauty of nature, yet in the same poem he argues that nature is meaningless without the human imagination. Our relationship with our imagination is one of many metaphors in the relationship between Victor and his creation—we create the thing that enslaves us and drives us onward.
Science
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Robert Oppenheimer: “Keeping” in this passage means perspective. Realistic pictures keep the proper relation of near and distant objects, and of important and unimportant features. For a contemporary source on “keeping” and painting, see William Gilpin’s An essay upon prints (1792).
Health & MedicineScienceTechnology
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Emily Redman: In much of the novel, Mary works to separate Victor from alchemical traditions, stressing his supposed objectivity and reliance on repeatable experimental methods. This quote from Professor Waldman, who instructs Victor at the University of Ingolstadt—a careful choice by Mary, as this institution was popularly known as a center for science—situates her protagonist as wholly knowledgeable (and respectful) of contemporary science. Opening with a disavowal of alchemical aims, Waldman celebrates the “new science” priority on the ordinary environment, invoking the work of geologists who literally “dabble in dirt” and the prominent work of physiologists at the time who dirtied their hands with the human body. This passage alludes to the French anatomist Marie François Xavier Bichat, in both his work in histology and his influence on the concept of vitalism, and to the Italian physician Marcello Malpighi, whose “dabbling in the dirt” of vivisection and dissection, as well as his “poring over the microscope,” led to discoveries that contributed to philosophical discussions about reproduction. Both are surely examples of contemporary scientists penetrating of the recesses of nature in its hiding places. 1783 saw the start of a spectacular promise of ascending the heavens, with widely reported balloon flights originating in Paris. Advances in microscopy enabled improvements upon the English physician William Harvey’s theory of the circulatory system, while the air-pump, which Victor greatly admires, increased our understanding of air and gases. Waldman’s final sentence refers to industrial technology’s success in the development of gunpowder—commanding the thunders of heaven and mimicking an earthquake—and the popular showmanship of “magic lantern” technology that projected images of phantoms using optics. The technological spectacle of the magic lantern epitomizes the grey area between the rationalist triumphs of Enlightenment science and the Romantic philosophy of wonder and scientific disillusionment, which serves as a constant tension throughout Shelley’s novel.
Philosophy & PoliticsScience
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Jason Ellis: M. Waldman counsels Victor to avoid plumbing the depths of only one discipline of science. Instead, he suggests that his pupil follow an interdisciplinary approach, or pursue learning across disciplines and develop connections between disciplinary knowledges—an approach which can yield new and otherwise unlikely insights. The science fiction writer Isaac Asimov mirrors Waldman’s advice in 1983, in the essay “Art and Science”: “Knowledge is indivisible. When people grow wise in one direction, they are sure to make it easier for themselves to grow wise in other directions as well. On the other hand, when they split up knowledge, concentrate on their own field, and scorn and ignore other fields, they grow less wise—even in their own field.” Victor’s accomplishment of creating the creature is an interdisciplinary endeavor, because he draws on biology, physiology, anatomy, chemistry, and galvanism/electricity. Each of these fields alone could not lead to Victor’s creation, but when these knowledges and techniques are brought together, they lead to a larger accomplishment than any of them could produce alone. However, M. Waldman’s notion of interdisciplinarity seems confined to the STEM fields of science, technology, engineering, and mathematics. Today, it is encouraged that interdisciplinary learning includes the humanities, such as English, philosophy, and ethics, so that one has the foresight to ask, should I do this thing? instead of only asking, can I do this thing? The mid-twentieth century field of cybernetics and other interdisciplinary fields brought this wide-ranging, intellectually inclusive approach back to the fore: see C. P. Snow 1959; Norbert Wiener [1950] 1954; Julie Thomson Klein 1990.
Health & Medicine
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Jason Ellis: This passage reveals the creature as an example of the posthuman, or the reconfiguration, transformation, or transcendence of humanity into a new, stronger, and more capable species through scientific, medical, and technological interventions. In addition to displaying “superhuman speed” and an extraordinary physique, the creature later describes to Victor how his body is protected from exposure and sustained by coarse nourishment, and his mind is capable of extraordinary learning and reasoning abilities, as evidenced by his experience with the De Laceys and his debate with Victor. The creature—constructed by Victor by the application of the sciences of human physiology, biology, chemistry, and galvanism—surpasses his human predecessors as the member of a new species. In fact, Victor halts the construction of the creature’s female companion when he realizes the risk of unleashing “a race of devils” to terrorize humanity. Some Enlightenment thinkers debated ideas related to the posthuman, including Julien Offray de la Mettrie, who extends Decartes’ animals as machines to humans as machines (1747), and the Marquis de Condorcet, who argues there are no limits to human improvement (1795). Before arriving in Ingolstadt, Victor studies the pseudoscience of alchemy, with the goal of eradicating illness and death. While his pursuits are nonscientific, his goals are aligned with transhumanism, or the application of technoscientific means to extend life, increase intelligence, and otherwise maximize aspects of the human animal without necessarily replacing it. The relationship of transhumanism to the posthuman, and where these terms overlap, are subjects of lively debate: see Rosi Braidotti, 2013; Stefan Herbrechter, 2013; Andrew Pilsch, 2017.
Equity & InclusionMary ShelleyPhilosophy & Politics
Joey Eschrich: Mary’s religious beliefs are difficult to pin down precisely, but she seems to have lived a relatively secular, non-religious life. However, her husband Percy Bysshe Shelley was a noted atheist who wrote the incendiary pamphlet “The Necessity of Atheism” and distributed it anonymously in 1811. Percy refused to deny authorship of the pamphlet and was consequently expelled from Oxford University.
Influences & Adaptations
Joey Eschrich: The names Ariosto and Angelica in this paragraph are references to Orlando Furioso, an Italian epic poem published in the early sixteenth century. Ludovico Ariosto is the author of the poem, and Angelica is a beautiful princess who loves, leaves, and drives insane Orlando, a paladin serving the French king and Roman Emperor Charlemagne. The poem blends chivalric romance, history, and mythology, and includes a trip to the Moon and a hippogriff, a legendary eagle-horse hybrid that is featured memorably in the Harry Potter series. Learn more and see page images from an early seventeenth-century English translation at the British Library, and read a full, later English translation for free at Project Gutenberg.
Equity & InclusionInfluences & AdaptationsPhilosophy & Politics
Joey Eschrich: The Vicar of Wakefield is a novel by the Irish author Oliver Goldsmith (1728–1774), published in 1766. It paints an often-idealizing but also tumultuous picture of rural English life, and can be interpreted both as a sentimental paean to human goodness and as a satire. This quote from the Dutch schoolmaster, and the anti-intellectualism espoused by Henry Clerval’s father, is in opposition with Mary’s own beliefs about education. Her mother and idol, the philosopher Mary Wollstonecraft (1759–1797), was a tireless advocate for the education of young women, and argued in books including Thoughts on the Education of Daughters (1787) and A Vindication of the Rights of Woman (1792) that education was essential for the happiness, productivity, and virtuousness of men and women alike.
Influences & Adaptations
Joey Eschrich: The 1931 film adaptation of Frankenstein by director James Whale is perhaps the most indelible and iconic image of the creature and his creator. The film’s centerpiece is the “It’s alive” scene, where Victor brings his inert creation to life in a technologically intimidating electrical laboratory, complete with giant orbs, serpentine coils, and many other inscrutable scientific instruments. Colin Clive, the actor who plays Victor, delivers an irresistibly manic performance, squirming and writhing in his white lab coat and exclaiming, “It’s alive, it’s alive … In the name of God, now I know what it feels like to be God!” Whale’s film exemplifies a popular interpretation of the novel as a warning against scientific hubris. Everything about the “It’s alive” scene, from the bombastic scientific set dressing and Clive’s performance to the ritualistic pacing, which amplifies the tension of the moment of creation, emphasizes that this is a moment of catastrophic overreach. Whale also has several people witness the experiment, and uses their horrified reactions as a signal to the audience, suggesting the correct response to this spectacle. In this passage, Mary certainly ladles on the terror, setting the creation during “a dreary night” and putting Victor in a state of “anxiety that almost amounted to agony.” The sentence that narrates the creature’s awakening, with its pattering rain and low-burning candle, and the creature’s “dull yellow eye” and juddering first movements, is among the most finely wrought and memorable in the novel. But her decision to omit the nitty-gritty details about the techniques and instruments that Victor used to animate the creature make the scene much less pointed in terms of the scientific-hubris interpretation that has become dominant in popular culture adaptations.
Influences & AdaptationsMary Shelley
Joey Eschrich: The collection of ghost stories that Mary Shelley and her compatriots read during the rainy, inclement summer of 1816 is Fantasmagoriana, a French anthology of German stories published in 1812. Learn more about the book and see page images at the British Library, and read an English translation, published in 1820 as Tales of the Dead, at the Internet Archive.
Influences & AdaptationsPhilosophy & PoliticsScience
Joey Eschrich: In a 1994 essay for the journal Natural History, famed paleontologist, evolutionary biologist, and historian of science Stephen Jay Gould (1941–2002) argues that Hollywood adaptations wrongly depict the creature as innately evil—in the iconic Universal monster movies, born evil, implanted with a criminal’s brain. According to Gould, the creature has kind, benevolent tendencies, and becomes violent because he is repeatedly rejected and scorned because he is enormous, and terrifyingly ugly. This doesn’t exonerate Victor, however. Gould explains that Victor had a responsibility to create the conditions for the creature’s acceptance into society:“Frankenstein's monster was a good man in an appallingly ugly body. His countrymen could have been educated to accept him, but the person responsible for that instruction—his creator, Victor Frankenstein—ran away from his foremost duty, and abandoned his creation at first sight. Victor's sin does not lie in misuse of technology or hubris in emulating God; we cannot find these themes in Mary Shelley’s account. Victor failed because he followed a predisposition of human nature—visceral disgust at the monster's appearance—and did not undertake the duty of any creator or parent: to teach his own charge and to educate others in acceptance.”
Philosophy & PoliticsScience
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William K. Storey: The crew, near mutiny, implores Captain Walton to turn back at the earliest opportunity. This is an example of a crew seizing the initiative, an unusual and dangerous gambit that indicates their desperation. Victor intercedes in the shipboard drama, chiding the crew back into submission. Readers of the early nineteenth century would have understood Victor’s intervention in the context of the famous mutiny against Captain William Bligh (1754–1817), who had been on a scientific mission himself while on board H.M.S. Bounty. The crew cast Bligh adrift, but much to everyone’s surprise, the captain survived an epic, transoceanic voyage in a small craft and testified against the mutineers in court (Dening, 1992). Readers would have also remembered the earlier voyages of explorers such as Captain James Cook (1728–1779), who pushed his crews repeatedly to find the Southern Continent, only to be disappointed after arduous efforts. Readers mostly regarded Cook’s voyages to the Antarctic, and the Arctic voyages of Vitus Bering (1681–1741) and others, as supremely heroic (Hough, 1994; Day, 2013). Readers today must remember that while Victor’s creation of life resonates strongly in the twenty-first century, nineteenth-century readers would have regarded the sciences of exploration, including physical geography and bio-prospecting, with equal awe. Victor urges the crew to keep pushing, not out of a ship’s captain’s authority, but out of the pure authority of science. Ironically, he is the one whose quest for knowledge has put him in a deadly predicament, yet in the context of this meeting, he must remain optimistic. If he dies, the crew must return the ship home so that Walton can tell the story. Victor’s intervention reduces concerns about the completion of the voyage, positing a glorious ending while eliding the sense of incompleteness that comes with much discovery. A discovery’s results, or its completeness in the scientific sense, is often not immediately apparent to the discoverers (Robinson, 2016). The contest over the voyage’s incompleteness is amplified by the book’s ending, in which the creature leaves the ship, promising to kill himself. Readers are left to wonder whether he has really met his end.
Health & MedicineScience
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Verena Schulze Greiving: Health is a particular obsession of the novel, and Mary makes numerous references to the work of alchemists, who among other things were searching for an elixir to prolong human life. In the early stages of the novel, Victor’s health quickly declines because of his isolation and his exhausting efforts to create new life. He postpones the restoration of his health via exercise and amusement until after he has completed his creation, but his physical and mental well-being only worsen once the creature is alive. Today, the relationship between a healthy lifestyle and longevity is still a much-studied topic. Scientists have discovered geographic areas around the world, so-called “Blue Zones,” where people tend to live much longer—including Sardinia (Italy), the islands of Okinawa (Japan), Loma Linda (United States), Nicoya (Costa Rica), and Icaria (Greece). This high longevity is associated with a number of factors the inhabitants of the Blue Zones have in common, such as a healthy diet, regular natural physical activity, choosing a life partner and putting their family first, and being part of social circles that stimulate healthy living. Some scientists use these factors as guidelines for a healthy lifestyle and a longer lifespan—a modern elixir of life, so to speak.
Philosophy & PoliticsScience
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Steven Weiner: The language Waldman uses when advising young Victor provides a snapshot of the changing views of scientific knowledge in the early nineteenth century, while also speaking to its overall cultural ascendancy during this period. The term “natural philosophy” conjures up an ancient vision of science grounded in Aristotle, but also calls to mind Isaac Newton’s Mathematical Principles of Natural Philosophy (1687), one of the seminal works that heralded the European Enlightenment. Waldman’s suggestion that Victor should broaden his intellectual horizons is telling in that he refers explicitly to other realms of scientific inquiry, but does not mention philosophy, literature, or history as “department[s] of human knowledge.” These omissions can be read as a critique of the short-sightedness of some modern scientists, who see no need to consider the broader consequences of their creations and discoveries. If Victor’s educators had compelled him to confront the moral and ethical dimensions of his pursuits, perhaps he could have avoided the tragedies to come.
Philosophy & PoliticsScience
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Stacey Kuznetsov: This passage speaks to the idea that scientific inquiry has no limits: there is always more to learn, and this learning is not confined to professional laboratories or limited to people with specific academic degrees. Over the past few decades, breakthroughs in DIY (do-it-yourself) methods, low-cost technologies, and social media platforms have given rise to many citizen science communities. These groups are engaging in science practice in new and often unexpected ways. Some people are collecting and analyzing environmental data with low-cost sensors, while others are experimenting with biology in art studios, garages, and hackspaces. We can understand these initiatives as publics—groups of people who come together around shared concerns and work towards changing the status quo. Their concerns revolve around some of the greatest challenges of our lives: healthcare, environmental pollution, food production, climate change, or the mechanisms by which professional science operates. Citizen science efforts affect these issues, whether by democratizing science participation, influencing health and environmental policy, shifting public opinion, or shaping the questions asked by professional research. To learn more about citizen science and get involved, a great place to start is Arizona State University’s SANDS (Social and Digital Systems) group.
Influences & AdaptationsMotivations & SentimentsPhilosophy & Politics
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Sean McCafferty: This passage foreshadows the path of Victor’s obsession with bringing his creature to life. Since his early education was focused more on the “end placed in view” rather than the secondary effects of that end, he failed to fully consider the repercussions of creating and unleashing his creature upon the world. The fact that Victor wasn’t driven “by emulation” is also telling, since he diverges so far from societal norms in his research and his conception of right and wrong in his pursuit of creating life. These are common themes not only in Pygmalion stories about giving life to inanimate matter (like Frankenstein), but also science fiction in general. Accordingly, many professionals in the field of science and technology studies are focusing on the human and social aspects of scientific and technological change, in an effort to avoid these pitfalls.
ScienceTechnology
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Samuel Arbesman: Victor recognizes that he is working with what is generally referred to as a complex system. In complexity science, a complex system is one that consists of a large number of interacting parts, often of diverse types, resulting in such hallmarks as nonlinear and emergent behavior. For example, the interactions of cars on a highway—a complex system—can lead to unexpected and emergent traffic jams, which sometimes seem like they arise out of nowhere. But often, massive complex systems—other examples include living organisms, from single cells to elephants—are constructed in ways that make them difficult for our limited human brains to think about. So without a clear understanding of how everything connects and operates in concert within a complex system, a small change might lead to massive unanticipated consequences (foreshadowing!). Victor is suffering from the all-too-common hubris of trying to understand a complex system—in this case, the creature itself—by approaching it like an engineered object like car or a laptop, even though complex living systems are orders of magnitude more complex than most traditional engineered technologies. Victor should have followed his inclination towards first trying to construct a simpler system, which might have been easier to understand.
Influences & AdaptationsPhilosophy & PoliticsScience
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Ron Broglio: Nature serves as a healer of body and mind. This belief was developed during the Romantic period, most notably by philosopher Jean-Jacques Rousseau and through the poetry of William Wordsworth. While philosopher Thomas Hobbes argues that humans are refined and cultured through society, Rousseau proposes that culture corrupts us and draws us away from the purity of our natural state; time spent in nature restores a primitive innocence (or what Hobbes thought of as a primitive crudeness). Mary is drawing from William Wordsworth’s short poems “Expostulation and Reply” and “The Tables Turned,” which are clear delineations of Victor’s experience in nature. Regarding “fellow-creatures” and “feelings of my heart,” the term “fellow feeling” was made popular by Adam Smith, who in The Theory of Moral Sentiments (1759), argues that humans have a natural sympathetic union with others and that this affective nature can be cultivated and is the basis of moral action. Finally, Victor’s attempt to create a science in isolation, “secluded from intercourse of my fellow-creatures,” goes against the notion of science as a community advancing learning through dialogue. For an excellent study on science as a community, see Bruno Latour and Steve Woolgar’s Laboratory Life: the Social Construction of Scientific Facts (1986).
Philosophy & PoliticsScience
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Richard C. Sha: The power of the Romantic imagination lay in its ability to generate ideas and productive analogies, figures of comparison—but not all of its ideas and analogies could be valuable. Even worse, this generation of ideas was so quick that it was widely recognized to be outside the purview of conscious awareness: hence the insistent connection of imagination and dreams in the Romantic period. Such velocity was a double-edged sword. On the one hand, spontaneity could lead to out-of-the-box thinking. On the other hand, to mint spontaneity as knowledge risked madness; out-of-the-boxness is not in itself a virtue. This meant that it was imperative that ideas of imagination be evaluated, which in turn, required the cooperation of imagination and reason. When intuition is counted as evidence, there can be no such cooperation.  And because we don’t refer to useless ideas as “creative,” the imagination’s creativity had to earn its keep.So, this passage from the novel is rife with irony. While Mary recognizes the powerful spontaneousness of the imagination’s workings—she stresses the velocity by which the crossing of the idea in Victor’s imagination leads to conviction—the consequences of conflating the mere presence of an idea with proof would be devastating, and not just to science. Science, moreover, would have no way of distinguishing itself from fantasy. The famed English philosopher and statesman Francis Bacon worried about idols of the mind, but this would be idolatry of the mind. The fault here lies not with Romantic science (which helped to launch the study of biology by arguing that life was separate from inorganic nature and discovered electromagnetism, infrared light, light as a wave, and Brownian motion), but rather with the undisciplined ways that Victor relies on his imagination. Mary’s swipe at Victor’s undeveloped imagination occurs most forcefully in the phrase “irresistible proof,” her point being that this chain of imaginative circumstantial evidence is irresistible only to Victor. Ideas cannot categorically be proof; if that were the case, castles in the air would be real. With all that said, Victor’s intuition is actually correct in this instance. But Mary’s larger argument is that without a way of deliberating upon intuition, only chaos can result.
Health & MedicineMotivations & Sentiments
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Peter Nagy: The melancholy and gloomy mood Victor describes here can be easily interpreted as signs of depression. The cognitive psychologist Aaron Beck argues that people who are depressed think and feel differently when compared to people who are not. In addition to adopting a pessimistic and negative world view, they may also develop a faulty and irrational thinking style. As a result, they misinterpret facts and blame themselves for the bad things happening to them or other people. According to Beck, depressed people are dominated by three dysfunctional beliefs also known as the cognitive triad. First, they tend to think that they are inferior to others and there is something wrong with them. Second, they think that no matter what they do, they cannot succeed in any tasks. And finally, they view their future as hopeless and grim. Applying Beck’s theory to Frankenstein, we can argue that Victor suffers from all three of these dysfunctional patterns of thought. For instance, he thinks that he is defective because he unleashed a monster into the world and caused a lot of pain to others. Victor also thinks that his efforts are futile because he cannot undo and set right his past mistakes. As a result, he imagines his future pessimistically, and holds out no hope to be happy again.
Health & MedicineMotivations & Sentiments
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Peter Nagy: As a perverse sort of new father, Victor here shows the symptoms of postpartum depression: the emotional struggles and the feeling of hopelessness experienced by some women after the birth of a child. A recent article by the psychologist Darby Saxbe suggests that 1 in 10 men also suffers from depression after the birth of a child, as a result of reduced levels of testosterone in their body. As an androgen hormone, testosterone is associated with the development and maintenance of secondary sex characteristics, such as muscles or body hair among males. What researchers found is some men experience sudden drop of testosterone level, which can lead to various depression symptoms. These results may explain why Victor feels so hopeless and emotionally depleted. After “giving birth” to his creation, Victor finds himself ill and weak, constantly wondering about the fate of his “child.” Because he is depressed, Victor cannot bond with and take care of the creature. Like other people suffering from postpartum depression, Victor feels isolated and exhausted, and cannot experience joy or pleasure.
Health & MedicineMotivations & Sentiments
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Peter Nagy: Victor, as the psychoanalyst Melanie Klein (1882–1960) would say, engages in manic defense here. People use manic defense to cope with negative feelings like guilt, shame, or embarrassment by altering or denying reality. Manic defense helps distract them from their problems. Victor cannot face the consequences of his experimentation, and engages in odd behaviors, such as jumping over chairs or clapping. Instead of admitting his emotional turmoil and taking responsibility for the creature, he engages in manic defense to avoid feeling guilty or ashamed. As a result, he does not feel free to confess his project to anyone else, even his dearest friend Clerval. In this passage, Victor engages in manic defense to prevent facing his confusion and despair by entering into a state of euphoria and hysteria. He even bursts into what Klein would call “manic laughter” to further distract himself from his anxieties. His distraction and inaction, however, leads to the death of several people, including his beloved Elizabeth. So, by overusing manic defense, Victor loses his connection to reality and cannot cope with his problems in a constructive way, which ultimately causes a lot of suffering to the people around him.
Health & Medicine
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Patrick McGurrin: The body is constantly perceiving sensory information in the environment, and it is up to the brain to make sense of this information. Different parts of the brain help to process different pieces of information: the olfactory bulb for smell, the occipital lobe for visual information, and the temporal lobe for hearing. Other parts of the brain, including the primary sensory cortex, then combine these discrete sensory components to create a full picture of what’s happening. During infancy, these sensory modalities actually develop at different times, and slowly over the course of the first year develop individually, and subsequently begin to communicate with one another. While all of this sensory information is available to the nervous system, the brain carefully calculates what is most important in each moment, and selectively ignores other information that may be distracting or unhelpful. These tools are even built into the anatomy of the sensory systems. For example, the human eye has a small region in the very center, called the fovea, that contains the largest number of receptors to take in visual information. This region, while small, allows us to see with great acuity a region the size of a thumb, with everything else around it a bit blurry. This lets the eyes focus on the most important part of the visual field, and to move around to refocus on a moving item or to see the details of a larger space.
Health & MedicineScience
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Patrick McGurrin: The brain is composed of three layers, each associated with a different degree of cognitive complexity. The mesencephalon is the oldest brain structure, and is found even in the most basic vertebrates. It is responsible for simple functions, such as the processing of sensory information that allows an organism to respond to environmental stimuli, and it monitors processes like sleep and breathing. As the evolutionary process continued, the diencephalon developed, allowing more advanced processing of this information. The addition of regions of the brain such as the thalamus and hypothalamus introduced basic emotions such as fear responses, like we see in rats and dogs. Humans then developed a telencephalon, which is better known as the cerebral cortex. This region sits atop the mesencephalon and diencephalon, and provides humans with abilities such as critical and abstract thinking, as well as improved spatial processing. These abilities are unique to humans; they are what differentiate us from our closest evolutionary ancestor, the chimpanzee. In many ways, the telencephalon is what sets us free and apart from what Victor calls “the brute,” but it also creates other cognitive challenges (like depression and other complex, sometimes turbulent emotional states) as we experience the world in a uniquely human way.
Equity & InclusionPhilosophy & PoliticsScienceTechnology
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Patrick McGurrin: When human or animal studies occur at a research institution (for example, at a university or a hospital), they require proper authorization by an Institutional Review Board (IRB) or Institutional Animal Care and Use Committee (IACUC), respectively. These organizations monitor research that requires the participation of living things, to ensure that the work is of proper merit and that it abides by established ethical guidelines. It doesn’t appear that Victor had to abide by such regulations when he studied and experimented to create the monster. Victor’s unregulated research raises the question of whether such guidelines should be in place when creating and conducting experiments on artificial intelligences. As we begin to design and test more sophisticated AI systems, scientists will need to ask whether these beings are sentient, and whether research with them requires oversight by mechanisms like those used to oversee research with humans and animals. The creation of AI so far has largely been a quest to determine whether it is technically feasible to create a device capable of mimicking complex human cognition. But once we achieve that goal, we will have to begin answering questions about how and for what reasons we can study these beings. Perhaps we’ll also have to begin considering how and why AIs may study humans!
Philosophy & PoliticsTechnology
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Patrick McGurrin: Victor immediately assumes that the murderer can only be his creation, despite the change in location and the length of time since he last saw the creature. But in reality, Victor didn’t create a murderer. Rather, he brought something (an assemblage of human body parts from different corpses) back to life, with no certainty as to what it may be capable of. He aimed to reanimate life because of his fascination with anatomy and physiology, not to create a monster. This deeply rooted fear or assumption that technology will do harm resembles one we often see today, especially as artificial intelligence (AI) becomes more sophisticated. While in theory these new devices are designed only to perform an intended purpose, a sentiment of fear exists that they will quickly move to harm their human creators. This fear is interesting, as it is scientists who quite literally imbue their creations with purpose through the writing and organization of the AI’s code. These human-crafted scripts are used to bring the AI to life, and to define how it will learn and grow. It is ultimately what shapes the AI’s body of knowledge and subsequent decision-making. Thus, this fear of an AI’s potential for harm links back to a fear of human action or intent—a mistrust of the aptitude and motivations of human creators.
Health & MedicineScienceTechnology
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Patrick McGurrin: Scientists often become lost in the pursuit of bringing an idea to life. This desire to create something that exists purely at the theoretical level and bring it to fruition can become the only focus, leading scientists to ignore other practical or societal implications. From a psychological perspective, this is reminiscent of a condition called inattentional or perceptual blindness, wherein a person is unable to see something that is clearly visible to them. This perceptual inability to see something in the visual field is due to an intense focus on a specific task or goal. An example of this is a recent experiment where scientists asked radiologists to review an x-ray for abnormalities. The doctors consistently failed to report a gorilla image placed in the background of the x-ray. Hyper-focus on a task can cause a person to completely miss something right in front of them, leading to unexpected or unwanted outcomes. Victor’s maddening pursuit of miraculous physiological restoration leaves him blind, so to speak, to the other consequences of bringing a human form back to life. It is not until the task is complete and he sees the outcome that the blindness fades and the true consequences come to light. Issues like this are the impetus for the formation of fields of study like responsible innovation, which aims to prepare us for a wide variety of potential outcomes of technological change.
Equity & InclusionPhilosophy & PoliticsTechnology
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Patrick McGurrin: The creation of life brings with it the challenge of defining that creation, and perhaps more importantly, defining the essence of life itself. To use human parts to reanimate a human in the same form, but to consider it a new species, is reminiscent of current research that aims to design technology that can mimic the human form, and/or human cognitive and social abilities. Artificial neural networks and prosthetic limbs, chatbots and full-on robotic entities, each come with some form of sentience. As the first robot was just granted citizenship in Saudi Arabia, questions about what makes something alive, or human, or self-aware, are becoming increasingly relevant. Should an entity be considered human when it moves and talks in a convincingly human way, with appropriate emotional tone, as required to pass the Turing test? Or more interestingly, perhaps humans, who define these labels, will determine that no technological mimic, regardless of accuracy or form, should ever be granted human status. These issues will become more complex as human enhancement becomes more widespread and technologically sophisticated. Humans may transition from using conventional cognitive enhancers, like caffeine, to implanted devices that stimulate the brain to augment memory or learning more directly. This addition means that the human brain will come to have both biological and artificial components. Furthermore, altering the human genome may introduce changes that offer various physical or cognitive advantages, but may also blur the line between human and nonhuman.
Health & MedicineScienceTechnology
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Patrick McGurrin: The human body remains a physiological work of art, one biomedical engineers and doctors aim to recreate. But how to do this remains elusive, even as research brings forth novel technological advancements. We understand how the brain communicates with muscles to initiate action or maintain behavior: Electrical signals in the motor cortex of the brain signal the activation of muscles in the arms and legs via pathways in the spinal cord. But more intricate questions about how the brain translates a complex thought into mechanical action, even one as simple as lifting a cup of coffee, remains unknown. This challenge confronts scientists and engineers creating devices designed to interface with the human body, like prosthetic limbs, where algorithms try to translate muscle or brain activity into desired motion. The mid-1900s marked a transition away from thinking of prosthetic limbs as foreign attachments to the body with their own properties, and toward approaching prosthetics as human-machine interfaces that would function flawlessly with their biological counterparts. Scientists are attempting to build on this work, starting with movement capabilities, such as how the ankle stabilizes the foot or the wrist the hand. From there, more detailed questions arise about how to mimic the elastic properties of the muscles, or how to design sensors on the fingertips to work seamlessly with nerves in the residual limb (the part of an arm or leg that is still intact after an injury or amputation) to relay sensations like touch and temperature to the brain. Together, these advances aim to create a device that could perform similarly to, or perhaps even surpass the functionality of, a human limb.
Equity & InclusionHealth & MedicineInfluences & AdaptationsTechnology
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Nora S. Vaage: Victor declares that he does not believe his conduct is “blameable,” despite his previous periods of introspection and remorse. However, when he states that he was bound to assure the creature’s happiness and well-being, but had “greater claims” preventing him from creating a companion for it, he deliberately leaves out his behavior just after he brought the creature to life. As the creature’s account of that initial period of abandonment makes clear to the reader, in this critical stage Victor neglected his responsibility towards his scientific subject: the education, compassion, and companionship that might have led the creature toward a different path. Today, artists working in various media are still exploring the nature of this responsibility, of creators to their creations. In the movie Chappie (2015), a police robot endowed with artificial intelligence is stolen from the factory immediately after its “birth,” and is introduced to the world by a group of gangsters, radically affecting its behavior and moral code. Chappie’s creator, at the mercy of the gangsters, tries to instill Chappie with a moral compass, but he is also lying to the robot about its situation, giving rise to emotional reactions of hurt and betrayal, and to all manner of violent mayhem. In a very different medium, the Tissue Culture and Art Project explores our sense of responsibility towards non-sentient life. In the early 2000s, this Australian artists’ group grew small tissue culture sculptures shaped like dolls or wings—basically lumps of cells without an immune system, which could not live outside of bioreactor systems. By performing “killing rituals” for these sculptures at the end of their exhibition, taking them out of their protected environment and having the audience touch them, effectively contaminating and killing them, the artists created awareness that these small shapes were, in some sense, alive and in need of care.
Technology
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Noa Bruhis: Mary juxtaposes energy (the lightning) and water (the imagery of electricity as a fluid drawn from the clouds) in this passage, and both seem very simple to summon. Today we still rely on both energy and water, and neither are quite so easy to get. We are increasingly creative with how we create, capture, and harness forms of energy, including methods that are extractive (dug up from the Earth, like coal), and methods that are considered sustainable (renewable energies like wind and hydropower). However, even these sustainable methods can have destructive impacts on their surroundings: wind farms disrupt bird habitats and their associated ecosystems, while hydroelectric power often devastates fish runs and plants on riverbanks. Unlike energy, we can’t be creative about generating water, and we absolutely need it for survival. While we may invent innovative methods for obtaining, reclaiming, or desalinating water, the more we pollute it, the more costly it is to get it into a usable or drinkable form. If only we could all make kites and summon fluid from the clouds....
Health & MedicineMotivations & SentimentsScience
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Michelle N. Shiota: Wonder and awe are recurring themes in Frankenstein, and many of Mary’s insights resonate with findings from research on emotion. While panoramic views of nature commonly evoke awe, as depicted here, the novel recognizes that awe is subjective, elicited by anything one perceives as vast and extraordinary (Keltner & Haidt, 2003). Victor feels awe upon discovering the scientific principle of life as well as at the summit of Montanvert; the creature feels it when seeing candlelight for the first time, and when reading Paradise Lost. Descriptions of awe as quieting the mind, soothing the body, and interrupting thoughts about the “passing cares of life” all align with experimental psychology research on the subjective, physiological, and cognitive effects of awe (e.g., Rudd, Vohs, & Aaker, 2012; Shiota, Keltner, & Mossman, 2007; Shiota, Neufeld, Yeung, Moser, & Perea, 2011). Frankenstein also suggests that awe may be inextricably linked to horror. The most terrifying scenes in the novel often follow directly upon the most wondrous: after learning the principle of life comes the horror of seeing the monster’s eyes open; in the midst of exquisite scenes on the glacier Montanvert and at Lake Geneva, the creature appears; the creature is amazed by the account of human origins in Paradise Lost, then appalled by Victor’s notes on his own creation. In Mary’s time these concepts were closely related. “Awe” is derived from the Old English word for terror, and she often uses “awful” in its original sense—awe-inspiring—rather than the modern, negative sense. Throughout Frankenstein, Mary seems to ask whether the human capacity for wonder may be the very thing that causes our downfall.
Equity & InclusionInfluences & AdaptationsMary ShelleyPhilosophy & Politics
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Lisa Yaszek: In A Vindication of the Rights of Woman (1792), Mary’s mother, the philosopher Mary Wollstonecraft, argues that while the outward appearance of men and women can vary greatly, in the modern world what really matters is the mind. Thus, all people regardless of gender should have the opportunity to develop their capacity for reason and virtue and to master their base impulses toward passion and violence. As this passage suggests, the tragedy of the creature is that while he has proven his mental abilities time and time again, Victor and the rest of human society are so repulsed by his looks that he is denied a proper place in society and transformed into a vicious, violent being, lower than the “meanest animal.”
Equity & InclusionInfluences & AdaptationsMary ShelleyPhilosophy & Politics
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Lisa Yaszek: Here, Mary dramatizes her mother Mary Wollstonecraft’s ideas about education, gender, and class as expressed in Wollstonecraft’s pioneering feminist manifesto, A Vindication of the Rights of Woman (1792). In the concluding chapter of Vindication, Wollstonecraft argues that women who are denied proper educations in reason and virtue are often unreasonably harsh with their servants, thereby teaching their children that it is appropriate to be cruel to people of other (usually lower) classes. In contrast, Mary shows how properly educating women of all classes might forge bonds of affection between them and foster peace in the home—a fact that is duly noted by young Victor himself.
Health & MedicineScience
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Lisa Yaszek: In this passage, Mary implicitly contrasts Victor’s attempt to create life with the appropriate modes of natural reproduction championed by poet and natural philosopher Erasmus Darwin. Darwin argued in his long poems The Loves of the Plants (1789), The Economy of Vegetation (1791), and The Temple of Nature (1803), as well as in his prose work Zoonomia (1794-96), that paired sexual reproduction, which evolved slowly over time, is evolutionarily more advanced than hermaphroditic reproduction (as in many worm species) or solitary reproduction (as in yeast and many single-celled organisms). By way of contrast, Victor seeks to create life by himself as quickly as possible, using only his mind and whatever technologies are available to him. The disastrous results of this experiment are foreshadowed by Shelley’s description of the creature’s “dull yellow eye” and “convulsive motion,” both of which suggest that Victor’s offspring has been made sickly or brutish by his father/creator’s rash actions.
Equity & InclusionInfluences & AdaptationsMary ShelleyPhilosophy & Politics
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Lisa Yaszek: Although Mary claims she is writing a new kind of novel without “prejudicing any philosophical doctrine of whatever kind,” this passage connects Frankenstein with A Vindication of the Rights of Woman (1792), a pioneering feminist manifesto by Mary’s mother, Mary Wollstonecraft. In Vindication, Wollstonecraft argues that women’s unrealistic expectations about marriage and motherhood derive in large part from reading romance novels rather than being allowed to acquire formal educations that promote reason and virtue. Here, Mary takes her mother’s argument in new directions by claiming to have written a novel that provides exactly the kind of intellectual and moral education promoted by her mother and other early feminists.
Equity & InclusionInfluences & Adaptations
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Lisa Yaszek: Mary’s wryly affectionate hope that her “hideous progeny” might “go forth and prosper” would be echoed nearly a century and a half later by science fiction author Joanna Russ, who, at the end of her groundbreaking feminist novel The Female Man (1975), pays homage to her literary ancestress with the command: “go, little book, trot through Texas and Vermont and Alaska… bob a curtsey at the shrines of Freidan, Millet, Greer… recite yourself to all who will listen…wash your face and take your place without fuss in the Library of Congress.” Significantly, however, while Mary links her desire for literary success to the memory of a happier past with her husband and friends, Russ looks forward to a happier future when “we will be free” because feminist endeavors—including the creation of feminist science fiction—have paved the way for true equality between the sexes.
Influences & Adaptations
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Kevin Sandler: Mary’s physical description of the creature in this passage found its way into a motley collection of representations for Saturday morning television cartoons in the late 1960s, in the wake of the two-year runs and subsequent syndication success of The Addams Family (ABC, 1964–66) and The Munsters (CBS, 1964–66). Unlike the Universal Television-produced Munsters sitcom—which could use the iconic copyrighted designs from its sister film studio’s classic monster series for its Frankenstein’s creature, the family patriarch Herman—independent television producers had to develop their own depictions of the creature, with widely varying appearance and costume. For example, skin tones ranged from the Caucasian Milton the Monster (ABC, 1965-68) to the robotic blue of Frankenstein Jr. (CBS, 1966–68) to the sickly green of Frankie in The Groovie Goolies (CBS, 1970–71). What these cartoons all had in common, however, was an inability to capture Mary’s rich description of the creature’s features because of the economic and time constraints of producing Saturday morning television. Production companies were beholden to television networks, who demanded large amounts of animation quickly to meet broadcast air dates but paid very little money for animated programming.  The result is a sparseness of detail, which is evident in the episode “A Gaggle of Galloping Ghosts” from Scooby-Doo, Where Are You! (CBS, 1969–71). Scooby-Doo’s animators designed a low-fidelity, graphically simple version of the creature with smooth green skin, a lifeless and static swatch of jet-black hair, and vacant white eyes.  This simplified portrayal of the creature could only superficially represent the monstrous form that so frightens Victor in this passage.
Health & MedicineMary ShelleyScienceTechnology
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Jonathon Keats: When Mary wrote these lines, the fictional Victor Frankenstein was not alone in infusing sparks of being into lifeless things. Ever since the Italian physician Luigi Galvani made frogs’ legs jump with static electricity in the 1780s—and hypothesized that bodies were animated by an “electric fluid” inside the brain—electrically stimulating the dead was practically a mania in Europe. The most notorious experiments were performed by Galvani’s nephew, Giovanni Aldini, who zapped newly executed criminals with primitive batteries, achieving results that were profoundly disturbing. (Following one encounter, Aldini memorably wrote that the cadaver’s “jaw began to quiver, the adjoining muscles were horribly contorted, and the left eye actually opened.”) Performed in public, the experiments were widely reported, and most certainly inspired Mary’s fiction. Even though Mary’s story was speculative, and remains forward-looking even today, Frankenstein was still very much a product of its era. The dual nature of Frankenstein is also true of Aldini’s experiments. They were premised on a theory that was disproven when electricity was shown not to be a fluid, but they nevertheless provided the experimental basis for electrophysiology, electroencephalography, and brain-machine interfaces. Electricity is an essential mechanism of communication between the brain and body. Monitoring electrical signals continues to provide fundamental biological insights as well as vital medical diagnostics. Yet it’s the brain-machine interface that brings us closest to Victor’s “spark of being.” Motor signals from the brain can now be detected with EEG headsets and used to control lifeless robotics. The operator need not lift a finger. And there’s nothing to stop a future Aldini from swapping the robot for a cadaver. I’ve been exploring these ideas in Mental Work, an art-and-science installation using brain-machine interfaces developed at the École Polytechnique Fédérale de Lausanne, a research institute in Switzerland, just around the corner from where Mary originally conceived of the idea for Frankenstein. Human participants use their brainwaves to control aluminum-and-chrome machines inspired by the Industrial Revolution, conjuring the possibility of a Cognitive Revolution: a speculative future in which factories are untouched by human hands but nevertheless guided by human cognition and intention.
Health & MedicinePhilosophy & PoliticsScience
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Eileen Gunn: One of the ideas that Mary explores throughout the novel is that of human intelligence and the ways in which we acquire knowledge and, ultimately, gain wisdom. Note the path that the creature, by its own description, follows: at first its mind is a blank slate upon which ideas and emotions are written by events, and then, through reason, it transmutes its experience into meaningful thought and takes control of its own actions. This “tabula rasa” model of human intelligence has been debated for several millennia, and probably preceded Aristotle and Plato, each of whom tackled it in his fashion. Mary is most likely drawing on the thinking of John Locke, whose Essay Concerning Human Understanding (1689) she was reading when she wrote Frankenstein. But is she swallowing Locke’s tablet whole? Shelley’s characterization of the creature was influenced, as well, by Jean-Jacques Rousseau’s concept of the uncorrupted “natural man,” and further by her personal revulsion at Rousseau’s abandonment of his own children (per James O’Rourke’s essay “‘Nothing More Unnatural’”).  The creature is not a completely blank slate, nor it is he a being with a natural tendency toward the good—but he does learn to assess his own actions and those of others, and to make moral judgements about the difference between what should be and what is. Present-day philosophers and cognitive scientists continue the task of building a theory of the mind and self that incorporates the accumulated knowledge of human and animal neurology, social theory, and psychology. The epicenter of original thought in this area right now is about what constitutes an intelligence, including nonmammalian intelligences, such as social insects, cephalopods (especially octopuses), and certain slime molds (miniscule creatures, neither animals nor plants, some of which exhibit collective problem-solving abilities). In addition, the German philosopher Thomas Metzinger raises provocative, neurologically based questions about whether the human “self” actually exists, or whether it is an illusion, an image generated in the brain, a process rather than a physical entity (see this interview with Metzinger in Nautilus magazine, and his 2003 book Being No One, for more on his thinking). The good news is that you’re not alone in the universe; the bad news is that you’re not actually there at all. Mary’s creature is sufficiently complex and malleable that these twenty-first-century ideas of the mind do not leave him behind. Rather, they inhabit the creature and make him larger.
Mary ShelleyPhilosophy & PoliticsTechnology
Damien Williams: As Charles E. Robinson notes, in his introduction, Mary’s choice of the word “dæmon” throughout the text is deliberate, and not necessarily intended to mean “an evil beast.” Though this spelling seems archaic, if we follow its transformation over time, we can better understand how the term signals Mary’s understanding of the creature, and we can make connections to our modern-day technology, including computing. The Greek word “Δαιμον,” or “Daimon,” meant “divine spirit,” “soul,” or any supernatural entity other than a god. In his Nicomachean Ethics, the Greek philosopher Aristotle used the word “Ευδαιμονια” or “eu-daimonia” to mean “a good spirit,” or a human soul in harmony as a result of cultivating a virtuous character. When the Romans came, the word “δαιμον” became “dæmon,” which was later simplified to “demon” as a result of the Neo-Latin turn beginning in the fourteenth century. But religion and culture changed along with language. As Christianity spread and the Roman Empire gave rise to the Holy Roman Catholic Church, the metaphysical implications of words were altered. “Demons” could no longer be neutral spirits. There was good, and there was Evil, and that meant that anything not sent by God must be evil. A Greek word for “Spirits From God” had already been adopted (“Αγγελος” or “Angel”), so Demons became Evil Spirits. As Mary was versed in Latin and Greek language and history as well as Christian traditions, it is likely that she would have known most of this, leading to her intentional usage of the term. She wanted her readers to understand the otherworldly awe the creature is meant to inspire—a being made to be like us, but also powerful and alien.We still use the word “dæmon” today: It is the name we give to any automated process running in the background of a computer system. If you’ve ever received a bounced email, then you’ve encountered the Mailer-Daemon. Though the name comes the Maxwell’s demon thought experiment, in which a small spirit sits in the background of the universe, computer Dæmons are born of an operation whereby a “parent” process splits off a “child” and then “orphans” it, to complete its operations in the background of the world. As we think about animating spirits, orphaned children, and computer programs, it might behoove us to think more carefully about how we engage with the digital offspring we are generating today. Though it may possess a powerful and even unpredictable nature, a dæmon is not necessarily evil; it merely requires care and cultivation to understand.
Health & MedicineMotivations & Sentiments
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Corey Pressman: These anticipations of joy, albeit tragically inaccurate, are evidence of the creature’s inherent humanity. The restorative power of spring is a well-known tonic for cloudy spirits. Living under the sky as he was, the creature is benefitting from the practice of Shinrin-yoku. A direct translation from Japanese defines Shinrin-yoku as “taking in the forest atmosphere or forest bathing” (Tsunetsugu et al., 2008). Recent research into the therapeutic effects of forests indicate clear psychological and physiological benefits of spending at least 40 minutes a day outdoors and, if possible, around trees. These positive effects include lower blood pressure, better pulse rate, and a decrease in salivary biomarkers for stress (Tsunetsugu et al., 2008). Other studies associate forest therapy with boosted immune function (Lee et al. 2012) and elevated mood (Berman et al. 2012). These effects may be attribute to phytoncide, a pheromone released by evergreen trees. The creature is also a beneficiary of another human boon—a capacity for awe. The wondrous landscape is having a predictable and specific effect on him. Sensations of wonder, unlike delight or humor, actually work to slow our hearts and provide a broad sense of perspective and grandeur. According to the research, such expansive states serve to instill and reinforce prosocial behavior, optimism, and adjust time perception to the present (Rudd et al. 2012). The creature’s description of his state here reads like a handbook for feeling awe. Frankenstein’s creature’s reverie is short-lived. The poets speak of this, the hidden curse of spring, the peril of a joy so fleeting, however wondrous. April may be, in this way, the “cruellest month,” as T. S. Eliot wrote in his poem “The Waste Land.” In “Such Singing in the Wild Branches,”poet Mary Oliver (2006) at once mourns and reclaims the brevity of spring’s wonder: “Such soft and solemn and perfect music doesn’t last / for more than a few moments,” she observes, but “once you’ve been there / you’re there forever.” She goes on: “Are there trees near you / and does your own soul need comforting? / Quick, then— open the door and fly on your heavy feet; the song / may already be drifting away.”
Health & MedicineMotivations & Sentiments
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Corey Pressman: The creature is desperate, alone, and terrified. He is poised to do one of the things most frightening to us all—introduce himself to strangers. Any hope for a warm reception is destroyed by self-reflection. Literally. And he has months to stew in misery before the deed is to be done. This most common and self-deprecating anxiety is an everyday opportunity for courage. In this instance, the creature finds courage by way of the imagination. He will crush his fear with the weight of his daydreams. To be fair, his present fear is also the product of daydreaming, of imagining terrible outcomes. Daydream scientist Jerome Singer (1975) calls this sort of fearful ideation “guilty-dysphoric daydreaming.” This is characterized as obsessive, anxious fantasizing. Few things are more human. But so is the creature’s antidote. He wills his daydreams to better pastures, to “ramble in the fields of Paradise,” where he encounters lovely and sympathetic inner angels. This sort of daydreaming is what Singer calls “positive volitional daydreaming,” characterized by playful and hopeful imagery and creative thinking. This isn't just mind-wandering—it is doing so on purpose, and while sustaining a positive focus. Singer’s questionnaire and interview studies as well as more recent brain scan research (Smallwood and Schooler, 2015) indicate that daydreaming encourages open-ended future planning and situation rehearsal; increases creativity; strengthens problem solving abilities; promotes the synthesis of disparate streams of thought; allows us to create meaning from thoughts, experiences, and events; enhances learning; and increases compassion and empathy. Encouraging indeed!
Technology
Bob Beard: Amid this squalor, Victor sets about to build a mate for the creature. The setting for this process predates the era of personal computing by many decades, but is reminiscent of the Silicon Valley entrepreneur myth: that institutional resources and influence are secondary to those with, in the words of management researchers Pino Audia and Chris Rider, “a garage and an idea.” Indeed, Victor only makes real advances in his grisly work after rejecting his formal studies. The garage myth encourages us to venerate figures like Hewlett and Packard, Jobs and Wozniak, Gates and Allen, whose world-changing technologies were birthed without the benefit of formal settings and unnecessary overhead expenses.During the PC revolution of the 1980s, several science fiction films mined this iconography to great effect. The neighborhood eccentric’s garage in Back to the Future (1985), the condemned New York City fire station in Ghostbusters (1984), and the decrepit warehouse space owned by Jeff Goldblum’s doomed scientist in The Fly (1986)—among others—further entrenched the garage as a symbol of roguish innovation and unspeakable power in the hands of the average person.
Equity & InclusionPhilosophy & Politics
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Andrew Dana Hudson: Karl Marx (1818–1883) was born the same year Frankenstein was first published, less than 100 miles from the Frankenstein Castle in Mühltal, Germany that no doubt inspired Shelley’s title. As a literary-minded youth, Marx no doubt read the novel, perhaps in his early university days or later on a research trip to London in the mid-1840s (it remained popular and in print well past the 1848 publication of The Communist Manifesto). It is not hard to imagine that Frankenstein’s themes of alienation and rejection in the modern world would have resonated with Marx. Marx’s early writings dwell a great deal on the ways in which industrial society alienates workers from labor, community, and spiritual fulfillment—all of which the creature complains of as well. And indeed, the creature’s story parallels Marx’s own life, much of which, as a young man, was spent conspiring in secret with fellow radicals whilst being hounded around Europe by conservative authorities.Marx’s theories built on a critique of class relations that, as we see in Mary’s writings, was already common in public discourse in the early nineteenth century. The depredation of the lower classes by monarchs and aristocrats was being swapped for exploitation by wealthy capitalists, and everyone (including the creature, as we see in this passage) seemed to know it. From his lurking observations, the monster learns about the poverty, waste, and inequality in the “strange system of human society.” And so he turns his back on the human race, disgusted. I wonder if the story would have been different if the creature had learned about these realities from overhearing Marx’s Das Kapital, rather than Volney’s Ruins of Empires.
Equity & Inclusion
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Amanda Holderread Heggen: In 1977, Douglas Biklen and Robert Bogdan developed a list of 10 stereotypes that are widely used in media representations of people with disabilities: pitiable and pathetic, sinister and/or evil, the object of violence, supercrip (possessing specific skills or powers), the object of ridicule, their own worst enemy, a burden, merely atmosphere, asexual, and incapable of participating in everyday life. Within this single confrontation between Victor and the creature, nearly every description of the creature and line of dialogue concisely articulates one or more of these stereotypes. The sole stereotype the creature escapes is “merely atmospheric,” which Mary avoids by making the creature a central figure in the narrative, rather than a passive scene-setting figure in the background of someone else’s story. The creature, of course, is far more complex than just a pasted-together agglomeration of stereotypes. While Biklen and Bogdan’s stereotypes are certainly reinforced throughout the novel, Mary also uses the life trajectory of the creature to critique people’s assumptions about, and treatment of, those who look, speak, and move in ways that are different than what we have been told is “normal.”
Philosophy & PoliticsTechnology
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Alecia Radatz: The creature coming to life brings a whole host of possibilities to both the creature and the people that surround him—and as it turns out, most of these possibilities are unintended and unanticipated by his creator. Self-driving vehicles, similarly, will bring a set of intended and unintended possibilities as these modern autonomous creatures come to life. The self-driving vehicle will turn on its lights, rev its engine, and have its wheels convulse into motion, à la Mary’s description. It will also, like the creature, grapple with moral decisions. The difference, however, is that this vehicle will be carefully designed by a variety of stakeholders. The technology is not just the byproduct of a lone scientist’s tinkering, but instead is developed through a system of complex interactions across manufacturing, technological, policy, legal, and software spaces. While the creature could make his own decisions, albeit influenced by his unique surroundings, the self-driving vehicle’s decisions will be structured and dictated by choices made by people working across the system from the beginning, and in ways that are much more scripted than in the story of Frankenstein. Readers can look to a variety of places to learn more about how these vehicles might be designed to interact with the world in very structured ways: safety policy developed by the National Highway Transportation Safety Administration, moral programming in artificial intelligence, and existing transportation infrastructure.
Philosophy & Politics
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Adam Chodorow: With the decline of the notion that government and its rulers were divinely appointed, Enlightenment-era philosophers in the seventeenth and eighteenth centuries sought other justifications to support both the existence and form of government. Often this involved returning to first principles and imagining the state of nature, before the establishment of organized societies, then reconstructing both the reasons for government and methods by which it arose. The philosopher Thomas Hobbes (1588­–1679) described life in the state of nature as nasty, brutish, and short, a condition that government, any government, might ameliorate. In contrast, John Locke (1632–1704) and Jean-Jacques Rousseau (1712–1778) describe a social contract whereby people give up some of their rights and freedoms in order to obtain other rights and protections. Implicit in these latter formulations is the consent of the governed: the notion that, if government fails to perform its intended and desired function, the governed may rise up and replace it. These principles were an important inspiration for the American Revolution and the drafting of the U.S. Constitution. Here, the creature comes to recognize the need for government, grounded in people’s ability to harm one another.
Philosophy & Politics
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Adam Chodorow: The Swiss legal system differs from the English and American systems in several important respects. The English and American systems are “common law” systems, in which the judges make the law, which can be found in the opinions they issue. Even where there is an underlying statute, courts will look to the opinions of other courts to see how the statute should be construed. In contrast, the Swiss system (and that of most European countries) is a “civil law” system, in which the law is found in codes or statutes based on Roman law and in particular on the Emperor Justinian’s Code, compiled in the sixth century. The civil codes, and not the decisions of other judges, purportedly contain the answers for all legal questions. Another key difference is that the English and American systems rely on juries as fact finders, while civil law countries rely on judges.
Equity & InclusionPhilosophy & Politics
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Adam Chodorow: Victor’s declaration flips on its head the famous statement by English jurist William Blackstone that "It is better that ten guilty persons escape than that one innocent suffer," revealing his utter disdain for the judges, who seem more interested in getting a conviction than discovering the truth. This notion can be traced back to Abraham, bargaining with God about the destruction of Sodom and Gomorrah (Genesis 18:16-33), and forward to the present as one of the cornerstones of the American criminal justice system. Indeed, it underpins our presumption of innocence and a host of procedural protections designed to ensure that the accused have a fair trial, including placing the burden of proving guilt on the state.
Philosophy & Politics
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Adam Chodorow: The administrative state, with its thousands of government employees, is a fairly modern invention. Before modern transportation and communications, there were plenty of areas with scant government presence. This was true of the courts, as well. Thus, judges would “ride circuit.” They would move from town to town, dealing with whatever legal issues had arisen since the last visit. Small-scale issues were typically handled by a local citizen, often a noble, designated as a justice of the peace. More serious crimes were saved for the traveling judges. Thus, when Victor was charged with a serious crime, he was held until the next assizes—that is, visit from a judge—when the charges against him could be heard by the judge, and if appropriate, a jury the judge empaneled.
Equity & InclusionPhilosophy & Politics
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Adam Chodorow: The legal system at the time of the novel had progressed somewhat from the days of the witch trials, where defendants were subjected to various tests (like the trial by water, in which suspected witches were bound and tossed into water to see whether they would sink or float) to determine their guilt or innocence. Nonetheless, an abiding belief persisted that a defendant’s demeanor (especially nervousness) could readily disclose guilt. Today, we still observe demeanor to assess credibility, but we typically require more than that to convict.
Motivations & SentimentsTechnology
Ed Finn: After all that he has suffered because of his work, Victor still manages to condescend to those who he feels are inferior to his creative genius. In Mary’s time the word “projector” was somewhat akin to our “inventor” or “entrepreneur,” but with the added negative sense of a schemer or huckster. Victor’s hubris at the end of this novel has its echoes in contemporary entrepreneurs who we both celebrate for their genius and chastise for their self-importance, particularly the tech industry titans of Silicon Valley. As Heather E. Douglas argues in her essay in this volume, the call of “technical sweetness” can overcome many ethical qualms, and it can also function retrospectively for those in its sway, allowing them to convince themselves that ethical compromises were worthwhile sacrifices for some technical achievement.
Technology
Ed Finn: Victor considers using the law as a kind of instrument for inflicting a punishment on himself in this passage, assuming that its operations will be predictable and just. There is a growing tendency to conflate the law with other deterministic processes in contemporary culture, particularly as we depend on computational systems to help us make decisions. The legal scholar Lawrence Lessig has pointed out the dangers of conflating legal code, the body of laws that make up our system of justice, with software code, the collection of algorithms and programming structures that make up our increasingly computational world. We have a tendency to imagine computers as purely objective, rational systems—a little like Dr. Spock or Data from Star Trek—and to trust their recommendations more than we would  other people’s. Software, like the legal system, is built by fallible humans and embeds the assumptions and biases of those who created it, just as it embeds their ambitions and hopes. The unjust punishment of Justine is a reminder that these systems are imperfect instruments which can only reach their highest purpose through the dedication and attentive engagement of thoughtful humans.
Health & Medicine
Ed Finn: Victor’s lament here reminds us of the paradoxical fragility and resilience of the human form. William, Justine, and Clerval were defenseless against the attacks of the creature, their lives easily snuffed out by the creature’s superior strength and agility. And yet Victor can suffer the grief of their deaths, and the remorse of his own role in those deaths, and live on to experience further pain. On the one hand, our vulnerability poses significant challenges to engineers and designers creating technologies and materials for humans to interact with, from the air bags in our cars to the challenges NASA faces in planning long-term missions for astronauts in our hazardous solar system. On the other hand, our resilience and adaptability have enabled us to survive many natural and human-instigated calamities, and we continue to adapt to our tools and systems on social, cultural, and even biological levels. As we continue to adapt to smartphones and other networked devices, are we becoming more or less resilient?
Motivations & SentimentsTechnology
Ed Finn: The novel reflects on the importance of letter-writing as a way to maintain social ties (in this passage, a letter has an almost-magical power to revivify). In Mary’s day, letters were a vital form of discourse across international boundaries, and in London the Royal Mail would deliver letters several times a day (seven times a day by 1844, and up to 12 times a day by the end of the nineteenth century), enabling correspondence roughly equivalent to the pace of email in the early twenty-first century. Indeed, many of the concerns Mary’s letter-writers reflect on throughout the novel are still present in our internet era, where digital communications technology seems to simultaneously bring us together in new communities and reinforce our solitude and loneliness. Unlike the hand-written, deeply personalized letters of Mary’s era, most of our correspondence today is more ephemeral and anonymous—or even pseudonymous—creating many more opportunities for misunderstanding and deliberately cruel and dehumanizing speech. How would Walton’s expedition to the Arctic have changed if he and his sister had access to the internet and contemporary social media? How might their relationship and connection to one another be different?
Philosophy & Politics
Ed Finn: Once the creature meets his basic needs and begins to encounter other sentient beings, he starts to think of a future beyond his immediate problems and circumstances. The “thousand pictures” that the creature imagines here reflect that form of imagination where we envision possible future scenarios as a way to evaluate them. Professional researchers and consultants use variations of this method in the fields of foresight studies, futurism, and related disciplines to explore possible futures. By extrapolating from known data, constructing fact-based scenarios, and juxtaposing visible trends and events with possible future developments, these practitioners provide models for what might happen, and use these insights to offer advice about the choices we should make today. The science fiction writer Kurt Vonnegut pointed out at the end of his life that there is no “Secretary of the Future” on staff in the U.S. Cabinet, and there is almost no long-range planning going in the U.S. government, “no plans at all for my grandchildren and my great grandchildren.” If we started to count the needs and opportunities of future generations into present-day decision-making, how might that change the choices we make?
Technology
Ed Finn: The creature is more powerful and agile than Victor, echoing the many ways that contemporary science and technology quickly accelerate beyond our expectations. In 1965, an early pioneer in the semiconductor field posited Moore’s Law, which predicted that the number of transistors on an integrated circuit would double roughly every year until 1975, and then every two years after that. Moore’s Law has held ever since, leading computer power to double roughly every 18 months. This kind of exponential growth has gradually brought more and more problems within the grasp of computational systems, from driving cars to predicting stock markets. Today, distributed computation in the “cloud” services many systems, including Apple’s Siri and Amazon’s Alexa, using tremendous quantities of electricity to run millions of processors operating in parallel. As computation continues to expand its reach, it also continues to master new fields of practice, from playing games of chess and Go to composing music and writing horror fiction.
Health & Medicine
Ed Finn: Scientists have pursued life extension research for decades, exploring the process by which cells and organisms age and die as a genetically determined phenomenon. For example, the geneticist Cynthia Kenyon discovered that a single gene mutation could double the lifespan of the roundworm C. Elegans, and researchers continue to wrestle with the question of why some cells reproduce indefinitely while others gradually “slow down” and contribute to our mortality. This work approaches mortality not as a universal certainty but as a kind of disease, one which can be treated and perhaps reversed. One frame for understanding how multicellular organisms age is the scientific field of epigenetics, or the ways in which genes and gene expression interact with the environment. The shocks, diseases, and bad habits our bodies suffer from during our lifespans can all leave their traces in our genes and contribute to signals for aging and altered cellular behavior. If scientists succeed in unraveling the mystery of aging, we will confront a host of new questions about who should be allowed to live indefinitely and how we decide to die—not to mention what human art and culture might look like without the grim fact of mortality shadowing every endeavor.
Philosophy & Politics
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Adam Chodorow: During times of war, British ships were entitled to take enemy vessels, including merchant vessels, as “prizes.” The prizes belonged to the crown, but the captain and crew were awarded some portion of the value of the ship and merchandise as prize-money as a way to create incentives for the taking of such ships. A Prize Court determined whether the ship was properly captured and how much would be distributed and to whom. Payouts depended upon a sailor’s rank and function on the capturing ship. Many a sailor made significant sums in prize-money, but, as sailors are wont to do, many squandered their prizes as quickly as they earned them. Thus, the phrase “spending money like a drunken sailor” contains an implicit reference to prize-money, though it is by no means limited to such funds.
Influences & AdaptationsMary Shelley
Ed Finn: Lord George Gordon Byron (1788–1824) answered his own challenge that evening by writing the first paragraph of a vampire story inspired by the German ghost stories. John Polidori (1795–1821) later extended that beginning into “The Vampyre” (1819), a short story that went on to inspire Bram Stoker’s tremendously successful novel Dracula in 1897.
ScienceTechnology
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Nicole Herbots: When Captain Walton talks about the “wondrous power [of] the needle,” he talks about magnetism and its very first application in a compass. For centuries, people ascribed magical powers to magnetite and lodestones, until William Gilbert (1540–1603) first discovered the basic features of magnetism and the fact that Earth itself is a weak magnet. The links between electricity and magnetism were a major subject of scientific investigation during Mary’s lifetime, and a number of expeditions departed for the North and South Poles in the hopes of discovering the secrets of the planet’s magnetic field.
Influences & Adaptations
David H Guston: “How sharper than a serpent’s tooth it is To have a thankless child!” Perhaps Mary has Victor make this apparent reference to Shakespeare’s play King Lear (I.iv.288–289) to show that he recognizes his paternity of the creature, but, like Lear, he still does not recognize his own full measure of culpability and responsibility.
Motivations & SentimentsPhilosophy & Politics
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Carlos Castillo-Chavez: Robert Walton, in letters to his sister, Mrs. Saville, revisits the conditions of his own early life: “[my] education was neglected, yet I was passionately fond of reading … [and I] inherited the fortune of my cousin” (here). The knowledge gained from understanding his own initial conditions may have inspired Walton’s decision to set challenging goals for himself. He seems to have worked hard at addressing some of his educational shortcomings as well as his limited perspective on hard work and hardship. Albert Bandura reminds us that “people motivate and guide their actions by setting themselves challenging goals and then mobilizing their skills and effort to reach them. After people attain the goal they have been pursuing, those with a strong sense of efficacy set higher goals for themselves” (1994, 265). Walton does not appear to be an exception. His intellectual isolation grows during this fateful voyage, with the need for finding a wiser, highly experienced, caring “companion” becoming of paramount importance. His cry for intellectual companionship, a mentor or mentors, is rewarded in two ways, with approval and intimacy. The value that Walton places on approval is rather telling: “I must own I felt a little proud, when my captain offered me the second dignity in the vessel, and entreated me to remain with the greatest earnestness; so valuable did he consider my services” (here). However, it is the arrival of an educated, enigmatic stranger that brings forward the excitement that Walton places on intellectual companionship (mentor–mentee dynamics): he worries that he “should find no friend on the wide ocean; yet I have found a man … so gentle, yet so wise; his mind is so cultivated; and when he speaks, although his words are culled with the choicest art, yet they flow with rapidity and unparalleled eloquence” (here). Walton finds a “true friend,” an intellectual companion, a great mentor, a divine wanderer “a celestial spirit, that has a halo around him” (here).
Motivations & SentimentsPhilosophy & Politics
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Mary Margaret Fonow: This is how Victor appears to the leader of the rescuing ship, Captain Robert Walton, though Walton knows only that Victor is European and not comparable to the seemingly “savage” (here) creature he is chasing. Even in his much diminished state, Victor’s noble qualities are apparent. Victor might become the noble friend Walton so longs for, someone of equal status who understands him and can provide wise counsel. Mary attributes both noble and not-so-noble qualities to Victor, but Walton will need to hear the full story before the complexities of Victor’s character are revealed.
Equity & Inclusion
Joey Eschrich: Throughout Frankenstein, Mary utilizes an epistolary structure: significant sections of the novel are made up of letters exchanged among the characters. These letters are often long and tender, and they contain a wealth of personal details and endearments that do little to move the plot forward. This approach might seem like an inefficient storytelling strategy, but it is quite the opposite. Mary uses these letters strategically to emphasize the importance of the social bonds that give characters such as Victor and Captain Walton emotional sustenance during incredibly stressful times. The letters are tangible artifacts of emotional labor—the investments of time, wit, and emotional energy that make human relationships functional and rewarding. They contrast with the creature’s life and reveal precisely what he is missing. He has no one with whom to share his experiences and frustrations, so his life becomes unbearable, and he lashes out violently.Language is an important way that we show love and understanding as well as receive it. The laborious, solitary way that the creature acquires language, through scavenging books and eavesdropping, demonstrates just how removed he is from any form of nurturing social interaction.Walton narrowly avoids making the same mistake as Victor, pursuing scientific discovery without considering the safety and well-being of the people around him. Walton is luckily in continuous written contact with his sister, Margaret, who lovingly discourages him from going through with his expedition to the North Pole. Their conversation, conducted through a series of letters, might be what saves his life and the lives of his crew.
Influences & Adaptations
David H Guston: Mary has Captain Walton allude to the poem The Rime of the Ancient Mariner (1798), written by Samuel Taylor Coleridge (1772–1834). In the poem, which Mary heard Coleridge reading during his many visits to the Godwin house, the title character kills an albatross that has been following his boat, turning a good luck sign into an ill omen.
Mary ShelleyPhilosophy & Politics
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Mary Margaret Fonow: There are two meanings to the word nobility, and they are often conflated. The first refers to possessing a character with the highest qualities found in human beings, such as integrity, decency, honor, and goodness. But these qualities are often attributed to persons of the highest social rank in society—the second meaning of the word. The lieutenant, who gives up the woman he is engaged to when she says she loves another and generously provides her lover with the financial means to gain the acceptance of her family, goes well beyond what is expected. Perhaps this behavior earns him the exclamation point? Mary gives these noble qualities to Walton’s second in command, perhaps challenging the taken-for-granted hierarchy that typically ascribed these qualities to individuals at the top. Yet she qualifies this choice by stating that the lieutenant didn’t know any better, given that he spent so much time aboard a ship, further hinting that in the end his sacrifice was no great loss to him. In real life, Mary marries into a noble family that opposes her union with their son because of her father’s indebtedness.
Equity & InclusionMary Shelley
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Ron Broglio: Throughout the novel, the problem of companionship recurs for Walton, for Victor, and for Victor’s creature. Friendship is one of the foundations for community because it connects the individual to a larger human endeavor—be it society, government, or scientific exploration. The novel explores the value of trust and camaraderie wherein one can divulge deep concerns, passions, and ambitions with another and so gain another’s insight into one’s own perspective. Throughout the novel, the failure to connect with a friend becomes a problem with serious consequences. Mary rarely has such companionship except, perhaps, with Percy Shelley. Percy’s friendship with Lord Byron is well documented and acclaimed as an example of romantic poets and thinkers who shared ideas and artistic passion.
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Maria Jimenez: When I moved to a different high school, I tended to isolate myself from my new classmates by being distracted texting my old friends in class. I’ll never forget my first friend at this school. She introduced me to all my new classmates and advised me to live in the moment. She made me feel connected to my classmates and a part of the community.
Philosophy & Politics
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Ariel Anbar: The phrase manifest destiny emerged in nineteenth-century America. It described the notion that the expansion of the American people, culture, and institutions across North America was a mission of divine Providence, not merely one driven by practical need for more land and resources. But the concept is much more deeply rooted and widespread, appearing in the earliest Western writings in the form of the Promised Land of Abraham and his Israelite descendants. Robert Walton invokes the concept implicitly in his exploration, which seems to need no justification other than that it might help him to “accomplish some great purpose” (here). By the nineteenth century, the development of science and industry not only facilitated such explorations but also made the conquest of knowledge itself into a frontier that began to rival the conquest of land in importance—and that was similarly justified in terms of a manifest destiny. The story of Frankenstein mirrors this transformation as Walton’s determination to visit that which has never before been visited is juxtaposed alongside Victor’s determination to do that which has never before been done. We often use the metaphor of the frontier—for example, “frontiers of research”—in describing the reach of scientific inquiry. Worried that the American westward expansion and the manifest destiny that fueled it had run its course, MIT engineer and presidential adviser Vannevar Bush (1945) coined the phrase the endless frontier for the title of a report issued to President Harry Truman toward the end of World War II. The report advocated for continued strong support of scientific research by the federal government after the war ended because scientific research could provide the inspiration and economic benefits that westward expansion had previously provided.
Influences & AdaptationsScience
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Braden Allenby: For moderns, this comment may seem self-evident, if a little florid. But such Promethean ambition does not characterize all historical periods or all cultures or all individuals; rather, it reflects the interesting combination of curiosity, ambition, and historical perspective that coevolved with the European exploration of science and a profoundly multicultural world. Mary was writing at the close of the Age of Discovery, during which Europeans rounded the southern tip of Africa, “discovered” and colonized the New World, and circumnavigated the globe. Polar exploration was one remaining feat. It was also the age of romanticism, the paintings of Caspar David Friedrich (1774–1840) and Eugène Delacroix (1798–1863), as well as the music of Ludwig van Beethoven (1770–1827) and Hector Berlioz (1803–1869). This eagerness for exploration is express in “Ulysses,” the poem written in 1833 by Alfred, Lord Tennyson (1809–1892):“I cannot rest from travel: I will drinkLife to the lees: All times I have enjoy’dGreatly, have suffer’d greatly, both with thoseThat loved me, and alone, on shore, and whenThro’ scudding drifts the rainy HyadesVext the dim sea: I am become a name;For always roaming with a hungry heart.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .I am a part of all that I have met;Yet all experience is an arch wherethro’Gleams that untravell’d world whose margin fadesFor ever and forever when I move.” (Tennyson 2004, 49)The irony, at least to modern sensibilities, is that this romantic language befits the pursuit of art, not the rational pursuit of science.
Mary ShelleyScience
Jason Scott Robert: Erasmus Darwin (1731–1802), a friend of Mary’s father, William Godwin, was a physician, naturalist, philosopher, and poet. He contributed an early formulation of a single origin for all life, which undergirded what came to be known as the theory of evolution as elaborated by his grandson, Charles Darwin.
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Noor Malallah: Shelley's objective to find the real truth of the elementary concepts of human being nature and provide several impressive suggestions associated with those basic human facts. The allusion is always to the age of Romanticism as well as the Gothic novel. Romantic novels concern themselves with enthusiasm, not explanation, and creativity and intuition, as opposed to the logical.