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.
Table of Contents
1. Introduction
2. Alchemy
2.1. Origin and contents
2.2. Fundamental Concepts of Alchemy
2.3. Frankenstein as an Alchemical Novel
2.3.1. Form
2.3.2. Content
3. The Golem
3.1. What is a Golem?
3.2 Features of the Golem in Frankenstein
4. Vampirism
4.1 Origin and Character
4.2. Vampirism in “Frankenstein”
5. Conclusion
Research Objectives and Key Topics
This academic paper explores how historical myths and legends—specifically alchemy, Golem lore, and vampirism—serve as foundational sources for Mary Shelley's "Frankenstein." The central research question examines how these supernatural and scientific motifs are integrated into the novel to reflect Romantic-era fears regarding industrialization, hubris, and the potential consequences of uncontrolled scientific advancement.
- The intersection of Romantic literature and historical occult traditions.
- The structural and thematic application of alchemical principles (e.g., Solve et Coagula) in the novel.
- Comparative analysis of the monster as a Golem and a vampire figure.
- Critique of the "universal man" utopia and the dehumanizing effects of mechanization.
- The psychological and metaphysical dimensions of the creator-creation relationship.
Excerpt from the Book
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. 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. 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.
Summary of Chapters
1. Introduction: The introduction establishes the Romantic context of Mary Shelley’s work and identifies alchemy, the Golem, and vampirism as the three primary mythic pillars influencing the novel.
2. Alchemy: This chapter defines Hermetic philosophy and explores its dual application in Frankenstein, analyzing how alchemical imagery shapes both the narrative structure and the protagonist's development.
3. The Golem: This section investigates Jewish Golem legends and parallels the monster’s creation and eventual turning against its master to the cautionary tropes associated with animated artificial beings.
4. Vampirism: This chapter discusses the origins of vampire lore and argues that both Victor Frankenstein and his creation exhibit "vampiric" tendencies, reflecting a cycle of eternal hunt and mutual dependency between life and death.
5. Conclusion: The conclusion synthesizes these findings, positing that the novel is not a dystopia but a timeless reflection on the nature of man, hubris, and the inevitable consequences of our own creations.
Keywords
Frankenstein, Mary Shelley, Alchemy, Hermetic Philosophy, Golem, Vampirism, Romanticism, Prometheus, Solve et Coagula, Homunculus, Hubris, Industrialization, Myth, Creation, Mechanistic Society.
Frequently Asked Questions
What is the primary focus of this paper?
The paper explores the literary and historical sources—specifically alchemy, Golem myths, and vampire lore—that underpin the thematic construction of Mary Shelley’s novel "Frankenstein."
What are the central thematic fields?
The work focuses on the intersection of Romanticism, scientific hubris, the fear of industrial mechanization, and the philosophical implications of artificial life.
What is the main research objective?
The objective is to demonstrate that "Frankenstein" functions as an "alchemical novel" and that its monsters represent deeper historical and psychological fears regarding the loss of human control over innovation.
What scientific methods are utilized?
The author employs a comparative literary analysis, evaluating the text against historical occult sources, the philosophy of science, and Romantic-era socio-cultural anxieties.
What does the main body of the text cover?
The main body examines the structural and thematic influence of alchemy, followed by a detailed analysis of the monster as a Golem figure, and concludes with a study of the vampiric characteristics of the protagonists.
Which keywords best characterize the work?
Key terms include Frankenstein, Alchemy, Golem, Vampirism, Romanticism, Hubris, and the nature of the "artificial man."
How does the author interpret the significance of the "Solve et Coagula" principle?
The author interprets this alchemical principle as a structural element of the novel, reflecting the process of dissolving and synthesizing information and material, mirroring the creation of the monster itself.
Why does the author argue that Frankenstein is not a dystopia?
The paper argues that the novel does not explicitly condemn new technology, but rather marks a historical turning point, serving as a reflection of the human condition and the consequences of moral irresponsibility rather than a simple anti-technological manifesto.
- Quote paper
- Bettina Klohs (Author), 2000, Being afraid of the Machine? Alchemy, the Golem and Vampirism as Sources for Mary Shelley's "Frankenstein", Munich, GRIN Verlag, https://www.grin.com/document/25939
