Milton’s 10,565 lines of unrhymed iambic pentameter took a skeletal story outlined in a few pages of Genesis — about a universe created and its human inhabitants expelled from a garden — and retrofitted it with the trappings of classic narratives about heroic battles and perilous journeys.Milton also turned the story of a serpent’s deception of Adam and Eve into a tale that paralleled an altogether different plotline about a war in heaven.
He feels that it is Victor’s fault that he is lonely, detested, and abhorred by every living creature. Why, in that instant, did I not extinguish the spark of existence which you had so wantonly bestowed? It is this anguish that the monster feels that compels him to seek revenge on Victor, and destroy his life.
He is convinced that Victor is the reason for his loneliness, and wonders why he was ever created. “…despair had not yet taken possession of me; my feelings were those of rage and revenge,” pg 124.
Both Victor and the monster feel revenge throughout the novel.
The monster feels revenge on both Victor and every other human in the world.
in the fall of 1815, she and Percy Bysshe Shelley were living in sin, and Milton’s epic poem about the Fall of Adam and Eve had not yet figured in the background of the novel she began writing the following year. “It moved every feeling of wonder and awe, that the picture of an omnipotent God warring with his creatures was capable of exciting,” the Creature reflects.
The epic poem causes him to reflect bitterly on the differences between himself and Adam, who “had come forth from the hands of God a perfect creature, happy and prosperous,” while he himself was “wretched, helpless, and alone.” Satan, the Creature realizes, was “the fitter emblem of my condition.” First published in 1667, Milton’s was in the 18th century regarded as a worthy successor to the epics of Homer and Virgil, molding the English tongue into a fit vehicle for immortal verse.
At the same time, his Creature sees Frankenstein the way Satan sees God: a tyrant rightly deserving destruction.
As Satan cannot distinguish between justice and revenge, so Frankenstein’s monster feels that he has no choice but to exact vengeance on an unjust creator. The 1818 edition’s title page — lacking the author’s name — is remarkable for another reference that it makes, and for another significant omission.
both ask the hardest question that theologians ever have to answer: Why is there evil in this world? That edition subtitles the work “The Modern Prometheus,” as Shelley invokes a different ancient myth about creation, by Aeschylus, in which the Titan man Prometheus steals fire from Zeus to give to mankind.
And it is difficult not to feel as Milton’s Adam feels in his sinful state when he laments his condition: “Did I request thee, Maker, from my clay / to mould me man? ” Shelley’s Creature expresses a similar challenge, if only to distinguish himself further from Adam after discovering in Frankenstein’s journal how his ugliness inspires hatred and contempt: “Why did you form a monster so hideous that even you turned from me in disgust? Prometheus rebels against the King of the Olympians, who is doomed to be overthrown, and although the Titan is without hope for himself, he sets the stage for human innovation.