“the_Role_of_Theology_in_Mary_Wollstonecraft_Shelley’S_Frankenstein__the_Modern_Prometheus”

William R. Halstead March 23, 2008 ENG 121: Composition I Professor Jayni Breaux “The Role of Theology in Mary Wollstonecraft Shelley’s Frankenstein: The Modern Prometheus” A frequent underlying theme which can be found in the Gothic classic, Frankenstein, is the theme of Man versus G-d. Rather than simply using ominous sounding theological arguments about how Shelley demonstrates the clash between free will and predetermination, another way of looking at Frankenstein is the concept of Creation versus Creator; the story offers a denial of “the implications of recent theological emphases on human beings as „created co-creators‟ with God” (Lustig, 8). Whichever point of view or choice of language that the reader elects to use as their frame of reference, the fact remains that Shelley‟s classic work is a strong condemnation on the Calvinist idea that one‟s spiritual fate is predestined and to make her condemnation, Shelley lampoons the idea that playing G-d, that operating independently outside of His control, must have terrible consequences. For Shelley, Viktor Frankenstein steals the authority of G-d and, much like the ancient Greek Titan Prometheus, brazenly opts to create man “in his own image.” Victor Frankenstein, like Prometheus, like the Industrial Revolution taking over England in the nineteenth century, is the battle between Nature and G-d against Creation and Technology, the battle between the old and the new. When we think of Frankenstein, we usually think of the monster, of the creation, and not of Viktor Frankenstein, the creator. Somehow, we almost instinctive run to the idea of the monster and the vicarious thrill of judging Viktor for usurping the role of G-d. Theologically, Viktor steps out of his appropriate role as a man and commits the same sin that condemns Prometheus to being chained to the mountain by Zeus and having his eyes plucked out by eagles continuously. Prometheus steals fire from the gods and is punished and Viktor creates is monster and must be punished in a relentless pursuit because he dared to explore beyond the Halstead 2 “The Role of Theology in Mary Wollstonecraft Shelley’s Frankenstein: The Modern Prometheus limits that G-d, the Church, and society set for him. Prometheus sought to share the knowledge of fire as a tool with mankind, a transgression against the gods. Frankenstein seeks to expand mankind‟s knowledge and understanding of life and death—with the aim of defeating Death—and must be destroyed. Frankenstein‟s theology of punishing those who seek to expand their knowledge finds precedent in the Christian Bible in the third chapter of the book of Genesis. This book recounts the myth of Adam and Eve eating of the Fruit from the Tree of Knowledge and the mandatory punishment that they must suffer. 6And when the woman saw that the tree was good (suitable, pleasant) for food and that it was delightful to look at, and a tree to be desired in order to make one wise, she took of its fruit and ate; and she gave some also to her husband, and he ate ... 16 To the woman He (G-d) said, I will greatly multiply your grief and your suffering in pregnancy and the pangs of childbearing; with spasms of distress you will bring forth children. Yet your desire and craving will be for your husband, and he will rule over you. 17And to Adam He said, Because you have listened and given heed to the voice of your wife and have eaten of the tree of which I commanded you, saying, You shall not eat of it, the ground is under a curse because of you; in sorrow and toil shall you eat [of the fruits] of it all the days of your life. This is a theology of judgment and of vengeance. It is a theology of the consequences for rebelling against a divine plan and order, much like Lucifer‟s rebellion against a heavenly G-d. The monster represents man, the creation. Frankenstein portrays both Satan and G-d as Creator (G-d) and as Rebel against the divine order (Satan). The theology of creation poses a conflict for Judeo-Christianity and it poses a problem with Shelley‟s universe as inhabited by Frankenstein and his creation. The Tanakh and the Christian Bible imply that G-d created everything (although it would seem that he was not alone when He did so as implied by the term “elohim” which would refer to a group of lords). If this assertion is correct, then G-d had to have created the serpent, Lucifer, and the possibility of evil and conflict. Religion‟s G-d created His own enemy. Viktor Frankenstein created his “monster,” something he considered an abomination and a mistake. He created the monster which he Halstead 3 “The Role of Theology in Mary Wollstonecraft Shelley’s Frankenstein: The Modern Prometheus would hunt (his own enemy as Lucifer would be to G-d) and which, in turn, would hunt down to destroy his own creator. Shelly repeats the religious tension of good versus evil, G-d versus Satan, and Frankenstein versus his creation for the epic battle in which Light and Darkness must seek to destroy each other. The Christian Bible portrays G-d as caring for His creation. He plays the role of the Heavenly Father, concerned for His children. Frankenstein depicts a heretical perspective of its creator. In the novel, Frankenstein reacts with disgust at the mere physical unattractiveness of his creation or his child despite the obvious quick mind displayed by the creation throughout the story. Consider Frankenstein‟s own words which demonstrate a quick judgment based solely of aesthetics as opposed to the creation‟s content” How can I describe my emotions at this catastrophe, or how delineate the wretch whom with such infinite pains and cares I had endeavoured to form' His limbs were in proportion, and I had selected his features as beautiful. Beautiful!—Great God! His yellow skin scarcely covered the work of muscles and arteries beneath … Immediately, we are given his initial reaction to his own creation, a reaction of shock and disgust. The value represented by the above observation indicates that a person‟s worth is dependent on appearances, an attitude that would be in keeping with the Calvinism of the 1800s and its focus on the spiritual worthiness of a Christian being measured by that person‟s material success. Because the creation fails the test of being an obvious member of “G-d‟s elect,” he must be faced with a fate that decrees "Yet you, my creator, detest and spurn me, thy creature, to whom thou art bound by ties only dissoluble by the annihilation of one of us. You purpose to kill me. Indeed, as observed by the neglected and hated creation, I am thy creature; I ought to be thy Adam, but I am rather the fallen angel, whom thou drivest from joy for no misdeed." The creation, instead of being Adam, G-d‟s prime creation, is painted as G-d‟s archenemy, Lucifer, the fallen angel who led the heavenly rebellion against G-d. The theology of Frankenstein presents technology and science as negatives. Victor Frankenstein creates his “monster” and despises it, a far cry from the act of Creation when G-d created mankind. In the former example, man performs the act of creation and the result if a monster that is a failure according to the creator‟s original plan; man cannot create man by technology and science. In the latter, a man-created G-d creates man and we see the pinnacle of the Creation process. Only G-d can create man. Only G-d can create an Adam who is fit to have dominion over the earth and the animals; man can only create an inadequate and inferior mockery of an Adam. This theology of good versus evil and of judgment can lead to only one conclusion. In a system of black and white with no shades of grey, death is a necessity. The Greeks may have allowed Prometheus to survive (although eternally tortured), but the Calvanist form of Christianity demands a judgment that can end only in death. If man steps beyond his appointed authority and interferes in the realm of what may be considered G-d‟s, then man must die. If the creation fails to meet the standards established as the way to determine salvation as one of G-d‟s elect, evidenced by success and beauty, the creation must oay the price and die. There can be no room for mercy or compassion; religious justice must not deviate from the straight and narrow. As such, all evil must die and the monster and Frankenstein are theologically obliged to follow this mandate.