When Mary Shelley published her famous Frankenstein-novel in 1818, she hinted at a theme in the subtitle “The Modern Prometheus” that would run like a thread through all of her later novels. While much has been written about the Promethean element in Frankenstein – Dougherty focuses on the moral issues (Dougherty 111), Franklin reads the novel as a critique of the concepts of democracy in Prometheus and Frankenstein (Franklin 42), and Cantor focuses on identifying the Promethean figure – very little has been written on the element of fire in the novel.
This lack of interest in the fire imagery in research is interesting, because fire plays a rather dominant role in both the Promethean Myth and the novel itself. After all, it is fire in the form of a “spark of being” that gives life to the monster. Although Watson rightly states that “‘the Modern Prometheus’ concerns two legends of Prometheus – that he stole fire from heaven, and that he made a man from clay and used fire to give it life” (Watson 247), only Franklin grants the issue of fire more than just a few words. She then also fails to go into more detail after declaring that the monster is not given fire, but finds it himself (Franklin 42). Interestingly, unlike research, the film industry has spotted the importance of the fire imagery. It plays a dominant role in many adaptations of the novel – recall James Whale’s 1931 film version, where the villagers try to burn the monster in the windmill, or Kenneth Branagh’s 1994 movie, where Frankenstein creates two monsters and the former Elizabeth commits suicide by setting herself on fire.
The impact of the fire imagery in Shelley’s work becomes even more apparent in looking at her other novels. The symbolic use of fire is not restricted to Frankenstein and the Promethean theme, but is a general stylistic feature distinct of Shelley’s writing. In addition to Frankenstein, two other of Shelley’s novels will be examined in order to prove this point. Dougherty argues that fire mainly serves the purpose of providing heat and light (Dougherty 18). The notion ‘fire’ will thus not be restricted to the literal sense, but will also comprise light and warmth. The symbolism of the opposite forces – darkness, cold, and water – will also be considered.
Table of Contents
1. Introduction
2. Frankenstein
2.1 Light and Warmth as Positive Forces
2.2 The Monster and Images of Light and Warmth
2.3 Symbolisms of Coldness and Darkness
2.4 Frankenstein and the Monster: Clashes of Fire and Water
2.5 The Two Opposing Sides of Fire
3. The Last Man
3.1 Fire, Light, Warmth and Love
3.2 Cold, Darkness, Misery, and Isolation
3.3 The Sun Reversed: The Symbolism of Shelley’s “Black Orb”
3.4 Light and Darkness Combined: The Symbolism of Stars
3.5 Raymond, Fire, and Destruction
3.6 “The Checked Waters of Misery” (TLM 176): Perdita’s Suicide
4. Falkner
4.1 “A Soft, but Penetrating Fire” (F:215): The Symbolism of Warmth and Light
4.2 Warmth and Light as Female Attributes
4.3 Fire and Love in Falkner
4.4 Falkner, Fire, and Destruction
4.5 Darkness as a Means to Conceal the Truth
5. Conclusion
Research Objectives and Themes
This work explores the symbolic significance of fire, warmth, and light within the novels of Mary Shelley. By analyzing Frankenstein, The Last Man, and Falkner, the research investigates how these elements function as metaphors for love, social integration, and life, while simultaneously exploring the destructive counter-imageries of darkness, cold, and water.
- Symbolism of fire as a representation of love and human connection.
- The role of light and warmth in defining social belonging versus isolation.
- The impact of fire as a destructive force linked to egoism and the search for power.
- Comparative analysis of how these elements shape the narrative arcs of Frankenstein, The Last Man, and Falkner.
- The transition of Shelley’s symbolic language from themes of isolation to those of forgiveness and reconciliation.
Excerpt from the Book
2.1 Light and Warmth as Positive Forces
When Mary Shelley talks about “a torrent of light” her protagonist wants to pour into the world and about Frankenstein’s hopes to “infuse a spark of being into the lifeless thing that lay at my feet” (FRA:58), she uses metaphors for “that recently discovered caloric fluid called electricity” that her contemporaries regarded as a possible means to restore life. Mary Shelley is known to have shown great interest in recent developments in the field of science, and natural electricity was amongst one of the topics her circle discussed. She was familiar with the experiments undertaken by Luigi Galvani and Andrew Ure, who conducted experiments with electricity and muscles, making dead body parts appear alive.
Shelley even mentions Galvanism as a means to endue a creature with “vital warmth” in her introduction to the 1831 Frankenstein-novel (FRA:8). The similarities between a flash of lightening and her metaphors are apparent. Since electricity was mainly known to people in form of thunderbolts, Shelley’s use of a similar metaphor seems a rather obvious choice. What will be interesting to examine is what role fire – and, by extension, warmth and light – play in other instances in the novel.
Summary of Chapters
1. Introduction: Presents the central hypothesis regarding the role of fire imagery as a consistent stylistic feature throughout Mary Shelley's novels.
2. Frankenstein: Examines how the monster’s exclusion from light and warmth symbolizes his isolation, contrasted with the destructive use of fire by both creator and creature.
3. The Last Man: Analyzes the inversion of light and fire imagery, where the "black sun" and destructive flames mirror the protagonist's descent into loneliness and the collapse of his world.
4. Falkner: Discusses the transition to a more positive symbolic framework, where warmth and light are linked to forgiveness and reconciliation, distinguishing this final novel from the earlier, more desolate works.
5. Conclusion: Synthesizes the findings, confirming that while fire symbolizes love and life, its reversal into a destructive force highlights the consequences of egoism and the failure of human connection.
Keywords
Mary Shelley, Frankenstein, The Last Man, Falkner, Symbolism, Fire imagery, Light and Warmth, Romanticism, Isolation, Social integration, Destruction, Love, Forgiveness, Metaphor, Literary analysis.
Frequently Asked Questions
What is the core focus of this research?
The work focuses on the pervasive symbolism of fire, light, and warmth in the novels of Mary Shelley, investigating how these images evolve and function as metaphors for social and emotional states.
Which novels are central to the study?
The analysis primarily examines Frankenstein, The Last Man, and Falkner to demonstrate the continuity and evolution of Shelley's thematic imagery.
What is the primary objective of this thesis?
The objective is to prove that fire and light are not merely literal elements but fundamental symbolic tools used by Shelley to explore themes of life, love, isolation, and ultimately, reconciliation.
What methodology is applied?
The study employs a literary, thematic analysis that compares how the symbolism of fire and light impacts different characters and aligns with the shifting emotional tones of Shelley’s novels.
What aspects are covered in the main body of the text?
The chapters detail the specific roles of heat and light in defining human experience, the contrast between "socialized" warmth and "destructive" fire, and the movement from isolation to potential forgiveness.
How would you describe the key terms of this work?
The key terms involve Shelley's core stylistic markers: fire imagery, the duality of light and darkness, and the pursuit of social integration versus the reality of existential isolation.
How does the symbolism of the "black sun" in The Last Man function?
It represents the transition from happiness to devastation, serving as a sign of the protagonist's transition from a social being to a lonely wanderer in an apocalyptic landscape.
How does the role of fire differ in the novel "Falkner"?
In "Falkner," fire is less an agent of total destruction and more a symbol linked to the potential for human connection, forgiveness, and the repair of broken relationships.
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- Franziska Müller (Autor:in), 2015, Images of Fire, Warmth and Light in Mary Shelley’s Novels, München, GRIN Verlag, https://www.grin.com/document/345642
