Being afraid of the Machine? Alchemy, the Golem and Vampirism as Sources for Mary Shelley's "Frankenstein"

Contents

1.  Introduction  4

2.  Alchemy  4

2.1.  Origin and contents  4

2.2.  Fundamental Concepts of Alchemy  5

2.3.  Frankenstein as an Alchemical Novel  6

2.3.1.  Form  6

2.3.2.  Content  8

3.  The Golem  12

3.1.  What is a Golem  12

3.2  Features of the Golem in Frankenstein  13

4.  Vampirism  14

4.1  Origin and Character  14

4.2.  Vampirism in Frankenstein  15

5.  Conclusion  17

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1. Introduction

Life is a Dream. At least for the authors of the Romantic period including Mary Shelley. Inspired by a nightmare, she composed Frankenstein, representing the typical

Gothic Novel of the Romantic Period, from a variety of sources ranging from the

ancient Greeks to 19 th century Europe. Three very important sources are Alchemy or Hermetic Philosophy, the Golem Legends and Vampirism. Since it is a product of Romanticism, the novel contains various topics of this period, i.e. the image of the Universal Man which is closely connected with the Greek legend of the god

Prometheus who stole the fire from the Olympus to bring light to man and was therefore seriously punished. Other typical topics of Romanticism are Nature and the

Exotic. A third feature is the supernatural or the “other side” 1 .Myths and Legends have always been the most important means to express and interpret human fears and longings, in the Romantic period often taken up in relation to Industrialization and

social development and the fear of a mechanistic society. Myth and Legend are two of the oldest genres of literature (including non-written literature as well). Especially

Alchemy resembles various kinds of Myth. One is the cosmogonic Myth that describes the genesis of the entire world. A second kind of Myth is the Myth of cultural heroes. Although in Frankenstein the end is tragic because the heroic act of creation turns into

a catastrophe, it is indeed a story that tells of a person who makes an invention originally expected to be profitable. Other myths also show up in Alchemy as well as in

the concepts of the Golem and the Vampire, for example the Myths of birth and rebirth

or the foundation Myths 2 .The supernatural, the universal together with a sceptic attitude towards mechanical inventions is what connects the three important sources of

influence on Frankenstein: Alchemy, the Golem and the Vampire, unifying nature and the supernatural, the ordinary and the exotic, this side and the other side, represent the

search for universal knowledge and its consequences.

2. Alchemy

2.1. Origin and contents

Alchemy or Hermetic Philosophy as an all-embracing field of scientific study has various origins: Greek natural philosophy, Greek mythology, the Bible and the old

1 „“Romanticism“, Microsoft® Encarta

2 „Mythology“, Microsoft Encarta

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Arabic sciences. 3 As a method of scientific study it was accepted up to the 18 th century Alchemy was practised in two manners. The first is the true or hermetic mode, following the principles of imitating nature reasonably in the name of God and

refraining from instrumentalizing magic arbitrarily for evil and selfish purposes as the

second false or vulgar mode is described. 4 Alchemy rather aimed at synthesis, not at destruction. Chemical processes were mostly the main subject of study, including the

experimental work in the laboratory as well as recording the work and its results. This was often done by ciphered letters that could only be understood by other alchemists

for alchemy was a secret science. To avoid misuse the secrets were not to be revealed to everybody but only to the pupil or other alchemists.

2.2. Fundamental Concepts of Alchemy

Proceeding from the Aristotelian Doctrine that all things tend to reach perfection,

hermetic philosophy is based upon the theory of seven hermetic principles. 5 The “Principle of Spirituality” contains the idea that there is an all-embracing spirit from

which everything derived and which is to be found more or less easily in everything. Another idea is that everything is in motion, nothing stands still. This idea is anchored

in the “Principle of Vibration”. Another principle is the “Principle of Polarity” which says, in the widest sense, that everything in the world has its counterpart. Vibration and polarity together bring forth another principle, the “Principle of Rhythm”. Every

movement happens rhythmically in (at least) two directions. Therefore nothing can happen by accident. Everything happens within a chain of causations. This is called the

“Principle of Cause and Effect”. The last principle is the “Principle of Gender”. It says that both male and female features can be found in everything. If these features are united universality is reached. It is the all-embracing spirit that represents the ultimate

union. With these principles as a basis alchemical thought brings forth a certain imagery, that occurs again and again in Romanticism and especially in Frankenstein.

This kind of philosophy, which stretches throughout the whole text, in mind and adding alchemical imagery one can conclude that Frankenstein is an “alchemical novel” in

both, form and content. 6

3 Gebelein, s.99 ff

4 Gebelein, p.12ff

5 Gebelein, p.41ff

6 Gebelein, p.222

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2.3. Frankenstein as an Alchemical Novel

2.3.1. Form

The first allusion to alchemy appears within the title. The name Frankenstein alludes to the ultimate goal, the former scientists were trying to reach: The discovery of the Philosopher’s Stone. It was said to be the medicine for any kind of illness and to give

universal knowledge to him who is in possession of it. Its various functions are marked through a strong symbolism. It is referred to by several names, for example Tree, Child

or Homunculus, Quintessence and Hermaphrodite. It is also said to be a kind of Eternal

Light. 7 According to Greek mythology, the god who once brought light to man was Prometheus. In this context light can be interpreted as knowledge. Frankenstein who is

named “The Modern Prometheus” in the subtitle, is obsessed with gaining knowledge and thus becoming god-like. A second kind of Promethean Myth , the Myth of

Prometheus Plasticator who created a human being is also embedded in the novel. 8 Though imperfect Frankenstein discovered a way to create a human being not unlike the alchemical image of the homunculus. He gained knowledge. For it was forbidden

knowledge he, like Prometheus, was punished for stealing the divine light and for creating a human being. Playing creator is only possible within certain borders and the

result is imperfect.

The structure of the novel is also “alchemical”. Since alchemy aimed at observing,

imitating and improving nature and not at destructing it, experiments were done in a

certain mode, following the principle of Solve et Coagula 9 . It says that the alchemist gains knowledge while he observes the dissolving of a solid into a fluid substance

(body into spirit). Afterwards the process is reversed. The substance is coagulated again. This process was repeated frequently, for the alchemist resumed that the more

often a process is repeated, the purer the substance becomes. It is an imitation of the eternal circle of life and death. It also represents the hermetic principle of Gender. A metal is dissolved and coagulated frequently. Its male and female features are

separated, purified and united again until the process results in the universal oneness of both, until it becomes gold. It is an imitation of creation. This analogy of man and

creator, art and nature is theoretically possible but actually forbidden or at least not reachable totally and dangerous. The concept of Solve et Coagula is one of the main

7 Abraham, p.145ff

8 Smith

9 Abraham, p. 186f

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