The work of Mary Shelley founded one of the few modern myths that calls into question the scientific manipulation
Inside each of us lives a monster. The ego, ambition, curiosity and capacity for destruction is a fire that burns in the soul. Inspired by the figure of Prometheus, that Titan who gave them the sacred fire to mortals and who because of their pride had to suffer eternal torture, a young writer derided the tedium of confinement with his pen.
with the remnants of the Greek myth gave birth to a genre and a classic of literature. Mary Wollstonecraft, who then signed with the surname of her husband and would be released as Mary Shelley, created science fiction. Villa Diodati, inhabited by then by the controversial and famous poet Lord Byron, was the witness mansion of the passions unleashed by these exponents of romanticism and, therefore, not surprising that there was a time in the summer, a meteorological phenomenon, the excuse to move these emotions to paper.
Each of the guests had to write a horror story and then share with those present in the evenings-that thunder electricity that comes from nature it is not a mere detail for Shelley, desire and alcohol. In that impromptu contest where the only trophy was to generate fear, he was born a story about an anatomist seeking insufflate life to the dead. Frankenstein, or the Modern Prometheus came out of the darkness and took his first beats two centuries ago a June 16, on the shores of Lake Leman.
“Diodati moves”
in Spain, the writer Fernando Marias prompted the authors self-appointed group of Sons of Mary Shelley, bringing together 150 feathers. To celebrate the bicentenary, and a literary contest, Marias and Rosa Masip organized “Diodati moves” a festival beginning 24 current and extending for 48 hours around a Madrid lake to pay homage to the poets of that emblematic meeting.
“ Frankenstein a book of new look for its time trying to delve into the solitude of the human being, his fate is. it is a philosophical novel, but while Mary found a great argument where we all see ourselves reflected, and hence the fascination that never ends. in each new reading generates a reflection and feeling, a great work done in grace. and then there is the magic of conception the novel. All this involves Frankenstein in a halo which multiplies to infinity its importance, “says Marias.
in this improvised literary laboratory germinated Gothic, with identity necrophilia and darkness. Shelley was dedicated as a pioneer, to write about another pioneer, a bold man, a reflection of herself, who had a knowledge and special talent.
It was a transgressive as were his creature, his proposal and treatment of a sensitive topic in the prudish Victorian society ( “I am not at all indifferent to how they affect the reader existing moral trends in feelings and characters in it are contained, whatever,” he writes in the preface September 1817).
the writer knew how tedious it was to challenge the finiteness of which gave many of his contemporaries account and how hard was the gaze of others. Daughter of philosopher William Godwin, whom he dedicated the novel, and a homonymous feminist, scandalized context because he had an affair with a married man, the poet Percy Shelley, whose name would take when he remained a widower and could marry her.
in a misogynist universe, the first edition of Frankenstein, or the modern Prometheus was released in 1818 under the pseudonym “the Author” hiding that talented writer was woman. Despite his secret identity, he confesses that this text has been inspired by Paradise Lost , Milton; Iliad and The Tempest and A Midsummer Night’s Dream , both of Shakespeare.
The writer Colombian William Ospina published the year summer never came, where a storyteller first-person account in more detail those days in the Villa Diodati, where in addition to Lord Byron, Percy Shelley, her unknown girlfriend and half sister of this young doctor John Polidori was. Perhaps inspired by the blood he had seen in their consultations and surgery, the doctor wrote a story about vampires in a primitive version of what later became known as Dracula .
metaphor of terror
the Gothic reflection of Shelley on the scope and limits of science, parenthood, death and eternity has had countless versions in movies and on TV ( the Frankenstein Chronicles , Penny Dreadful or recent Second Chance ) and cinema, from the iconic monster Boris Karloff, in 1931, through the parody of Mel Brooks and the vision of Kenneth Branagh to the tributes that has given Tim Burton, both explicit and not, as in the case of the Edward Scissorhands .
often identified the title of the novel, that name is now metaphor of terror and ugliness, with the monster, perhaps echoing the creatures are much more than children of his magicians, they can even survive them. Being immortal. A Mary Shelley was interested in focusing on the profile and the consequences of the act of the offender, Victor Frankenstein, that brilliant mind playing God moved by the death of a loved one.
There is in this work a literary prowess behind that tells Shelley, that is to say that we are also what we create, as parents and as authors reason. We can not escape from that nature, and if we reject as we pursue shade, as the monster does with the scientist. Shelley, on the contrary, who fathered the character piety, occurs a reverse mirror of what happens in your story and not about persecution, but an eternal vigil where is the monster who makes immortal to its creator.
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