Poe and Frankenstein

Welcome to Celebrate Poe - Episode 334 Poe and Frankenstein

Both Mary Shelley and Poe delve into Gothic themes such as monstrosity, isolation, guilt, and the boundaries of human experience.  For example, in Frankenstein, Victor Frankenstein's creation of the monster explores the consequences of transgressing natural limits, as well as themes of guilt and alienation.  Poe's works often feature characters grappling with madness, guilt, and confinement in a similar vein, such as in “The Tell-Tale Heart” or “The Fall of the House of Usher”.  Both Mary Shelley and Poe depict monstrous or para-human figures.  The creature in Frankenstein’is a literal embodiment of monstrosity, while Poe's characters often exhibit psychological or symbolic monstrosity, an example being Roderick Usher’s decayed humanity.

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Transcript

Ghost of Edgar Poe - bold, italic

Mr. Bartley - bold

Welcome to Celebrate Poe - Episode 334 Poe and Frankenstein

GHOST SOUND

And it looks like the Ghost of Mr. Poe is here today.

Well, hello Mr. Bartley.

Greetings, Mr. Poe.  Very glad you are with us. Let’s jump right into the subject that I have been thinking about - what connections are there between your stories and Mary Shelley's Frankenstein.

Mr. Bartley, I am forced to say that in your zeal to point out obvious connections you have probably overlooked the fact that there ARE NO direct connections.  But there are thematic and stylistic parallels that suggest a shared engagement with Gothic literature's motifs and concerns.

Well, I am reassured to hear that.  Could you elaborate on some of those connections.

Certainly, Mr. Bartley.  Both Mary Shelley and myself delve into Gothic themes such as monstrosity, isolation, guilt, and the boundaries of human experience.  For example, in Frankenstein, Victor Frankenstein's creation of the monster explores the consequences of transgressing natural limits, as well as themes of guilt and alienation.  I must admit that my works often feature characters grappling with madness, guilt, and confinement in a similar vein, such as in “The Tell-Tale Heart” or “The Fall of the House of Usher”.  Both Mary Shelley and myself depict monstrous or para-human figures.  The creature in Frankenstein’is a literal embodiment of monstrosity, while ny characters often exhibit psychological or symbolic monstrosity, an example being Roderick Usher’s decayed humanity.

The Tell-Tale Heart” has been compared to Frankenstein in terms of its portrayal of guilt and psychological torment. Victor Frankenstein’s overwhelming guilt for creating the monster mirrors the narrator’s descent into madness in my story.

Mr. Bartley, one must realize that  Mary Shelley and I both use suspense to engage readers, though our methods definitely differ. Mary Shelley employs epistolary framing (e.g., Walton's letters) to build intrigue, while I tend to use intense first-person narratives to evoke immediate emotional reactions.

Mr. Poe - were you influenced by Frankenstein?

Mr. Bartley, it certainly is possible that the sensibilities behind Mary Shelley’s Frankenstein DID influence my work.  Her novel predates much of my work and helped shape Gothic literature. Scholars have suggested that I may have drawn on Shelley’s exploration of monstrosity and transgression when crafting my own Gothic tales.

While there is no evidence that I directly referenced or adapted elements from Frankenstein, one must admit that Mary Shelley and myself both contributed significantly to the Gothic tradition and explored similar themes.  I like to believe that our works resonate through shared motifs such as guilt, isolation, and the consequences of human hubris. These thematic overlaps highlight our mutual engagement with the anxieties and imaginative possibilities of our era.

Interesting, Mr. Poe.  How would you say that the theme of guilt is part of "The Tell-Tale Heart" and Frankenstein.

Ah, Mr. Bartley - that is a most perceptive observation.  You see, the theme of guilt in "The Tell-Tale Heart" - for example - and Mary Shelley's Frankenstein presents a fascinating comparison, as both works explore the psychological torment and moral consequences of guilt, albeit through different narrative lenses and character experiences.

For example, in "The Tell-Tale Heart," guilt manifests as an overwhelming psychological force that drives the narrator to madness. The narrator murders an old man, due to his obsession with the man's "vulture eye." Despite his initial confidence in concealing the crime, the narrator's guilt becomes unbearable, symbolized by the imagined sound of the old man's heart still beating beneath the floorboards. And I wanted to show how the narrator's descent into madness highlights the internal nature of guilt as a destructive force. His denial of remorse and insistence on his sanity clash with his subconscious torment, suggesting that guilt operates independently of conscious acknowledgment. The story portrays guilt as an inescapable psychological burden that leads to self-destruction.

I fine this most interesting, Mr Poe.  What other of your stories have obvious similarities to Frankenstein?

I HAVE written stories with definite similarities to Frankenstein, though how obvious is a matter of opinion.  For one - The Fall of the House of Usher - both have characters that display madness and isolation. Both Dr. Victor Frankenstein and Roderick Usher descend into madness due to their respective obsessions—Victor with scientific creation and Roderick with his decaying family legacy. The isolation of the Usher mansion mirrors Victor’s emotional and physical isolation as he pursues his experiments.

And just as Victor's creation leads to the destruction of his family, Roderick’s connection to his sister Madeline results in the collapse of both their lives and the literal destruction of their home. This reflects Gothic themes of familial doom and decay.

Of course, I cannot forget the previously mentioned  "The Tell-Tale Heart.”

Like Victor Frankenstein, the narrator of "The Tell-Tale Heart" is plagued by guilt for his actions. Victor feels tormented by the havoc caused by his creation, while my narrator is haunted by the imagined sound of a beating heart after committing murder.

Yes, Mr. Poe, both characters experience psychological breakdowns fueled by their inability to escape the consequences of their deeds.

Sometimes you are brighter than you appear, Mr. Bartley. Yes, both works use introspective narration to delve into the characters’ inner turmoil, enhancing the Gothic atmosphere.

And one must not forget Berenice. In "Berenice," a character becomes fixated on his cousin's teeth, leading to grotesque actions. This parallels Victor Frankenstein’s obsessive pursuit of knowledge and creation, which results in horrifying consequences. Both stories explore the dangers of unchecked obsession.

Mr. Poe, that is a great way to put it.

Mr. Bartley, In Frankenstein, the monster seeks revenge against Victor for abandoning him, systematically targeting Victor’s loved ones. Similarly, in "The Black Cat," revenge plays a central role as the narrator's cruelty toward his pet leads to a series of tragic events. Both stories highlight how one’s actions can spiral into devastating repercussions.

Ah, yes I almost forgot the themes of knowledge and hubris. My works often critique humanity's hubris and its pursuit of forbidden knowledge, much like Frankenstein. For instance, in "The Facts in the Case of M. Valdemar," I attempt to explore scientific experimentation on death, echoing Victor Frankenstein’s attempt to conquer mortality.

Mr. Poe, you know that in Celebrate Poe I am currently emphasizing the importance of Gothic elements - from their origin in other writers to YOUR use of Gothic sensibilities.

As well you should, Mr. Bartley.  For example, both Mary Shelley and I shared gothic sensibilities with dark atmospheres, existential themes, and monstrous figures.

Mr. Poe - do you have any specific examples?

Ah, surely you jest, Mr. Bartley.  If one desires a dark atmosphere, one only needs to look at settings such as Frankenstein's laboratory or the Usher mansion - places that evoke dread through isolation, decay, and supernatural undertones.  Ah, in The Premature Burial I wrote that “the boundaries between life an death are shadowy and vague - who know where one ends and the other begins.”

Now both Mary Shelley and myself explored existential fears—Shelley through the boundaries between life and death, and me through themes of mortality and psychological collapse.

And while Shelley’s creature is an unnatural being rejected by society, I tend to depict characters who are monstrous in their mental instability or moral corruption.

While I did not write a novel directly comparable to Frankenstein - with the possible exception of Arthur Gordon Pym - many of my short stories share thematic parallels with Mary Shelley's work.  We both delved into Gothic explorations of human ambition, madness, isolation, guilt, revenge, and the consequences of tampering with natural laws. These shared elements make my works a rich companion to Frankenstein for readers interested in Gothic literature.

This may sound a bit strange, but what role does isolation play in both Frankenstein and your works

Ah Mr. Bartley - that is not a strange comment at all.  One must realize that
isolation is a central theme in both Mary Shelley's Frankenstein and my works, shaping the characters' experiences and driving the narratives. However, the role of isolation differs significantly between the two, reflecting their unique approaches to exploring human emotion and psychology.

Mr. Poe - how is that?

In Frankenstein, Mary Shelley portrays isolation as both self-imposed and externally inflicted, emphasizing its destructive consequences.  For example, Dr. Victor Frankenstein isolates himself in his obsessive pursuit of scientific knowledge. His detachment from family and friends leads to his physical and mental deterioration. Victor's choice to withdraw from society highlights how ambition, when unchecked by social connections, can result in personal ruin. He acknowledges this when he reflects on his neglect of loved ones while creating the creature.

The creature experiences profound loneliness due to societal rejection based on his grotesque appearance. Despite his initial benevolence and desire for companionship, humanity's fear and hostility drive him into solitude. This enforced isolation transforms him into a vengeful being, as he declares, "misery made me a fiend." His longing for connection is evident in his plea for a companion, underscoring the innate human need for relationships.

Mr. Poe - you have some very perceptive ideas regarding Frankenstein.

Thank you, Mr. Bartley.  You see, Isolation in Frankenstein leads to a cycle of despair and destruction. Victor's withdrawal from society blinds him to the consequences of his actions, while the creature's loneliness fuels his hatred and violence. This duality reflects how isolation can corrupt both creator and creation.

In contrast, I often explore isolation as a psychological state that often leads to madness and despair.  My works frequently depict characters who are physically or emotionally isolated, using this theme to delve into the darker aspects of the human mind.  For example, in my poem, Alone, I
reflect on my lifelong sense of alienation, stemming from childhood trauma such as the death of my parents. I describe feeling different from others, unable to share their joys or sorrows. This emotional solitude shaped my melancholic worldview and fuels my creative expression - a solitude I wrote about in poem - Alone.

From childhood’s hour I have not been
As others were—I have not seen
As others saw—I could not bring
My passions from a common spring—
From the same source I have not taken
My sorrow—I could not awaken
My heart to joy at the same tone—
And all I lov’d—I lov’d alone—
Then—in my childhood—in the dawn
Of a most stormy life—was drawn
From ev’ry depth of good and ill
The mystery which binds me still—
From the torrent, or the fountain—
From the red cliff of the mountain—
From the sun that ’round me roll’d
In its autumn tint of gold—
From the lightning in the sky
As it pass’d me flying by—
From the thunder, and the storm—
And the cloud that took the form
(When the rest of Heaven was blue)
Of a demon in my view—

Many of my characters experience isolation that drives them toward insanity. For example, in The Raven, the narrator's grief over the loss of Lenore isolates him emotionally, leading to obsessive despair. Similarly, in stories like The Fall of the House of Usher, characters are physically confined and mentally tormented by their solitude.

I must admit that I often use isolation to heighten the Gothic atmosphere of my works. Characters are left alone to confront their fears or obsessions, intensifying their psychological unraveling. This solitude becomes a lens through which readers explore themes of death, loss, and existential dread.

I hope this has not been too difficult for you, Mr. Poe, but looking back, how do your works, as well as Mary Shelley’s Frankenstein, ultimately make Gothic literature richer?

Ah, Mr. Bartley, Mary Shelley's Frankenstein and my works share several thematic and stylistic connections that highlight our contributions to Gothic literature and early science fiction. Allow me to point out some  key parallels and intersections between my works and Mr. Shelley’s groundbreaking novel:

We both delved into the fear of what lies beyond human comprehension. Shelley's use of science to create life reflects anxieties about the limits of human power, while my stories often explore existential dread, madness, and the supernatural.  Shelley’s Victor Frankenstein and my narrators frequently experience intense psychological turmoil. Victor is haunted by guilt for creating the monster, while my narrators often spiral into madness due to guilt or fear, as seen in The Tell-Tale Heart.

We both incorporated early scientific ideas into our works. Shelley's Frankenstein explores galvanism and the ethical implications of creating life, while my stories like The Facts in the Case of M. Valdemar examine mesmerism, blending Gothic elements with scientific inquiry.

Victor Frankenstein's attempt to "play God" by creating life mirrors themes in my works where characters challenge natural laws or face consequences for their overreach. This shared focus on human ambition aligns both Ms. Shelley and myself with early speculative fiction.

And you both learned how to work with that Gothic style.

I will take that as a compliment.  We both excelled at creating suspenseful, eerie atmospheres. Shelley uses Walton’s letters and Victor’s narrative to build tension in Frankenstein, while I often employed first-person narratives to immerse readers in his characters' psychological states.

But Mr. Poe - wouldn’t you say that isolation is a recurring theme in both of your works.

Ah, yes - another excellent - though obvious - observation.  Victor isolates himself in his obsessive pursuit of knowledge, while my characters often find themselves physically or mentally confined, such as in The Pit and the Pendulum or The Fall of the House of Usher.

Wouldn’t you say that your characters display a form of moral ambiguity?

Yes, we both challenge moral conventions through our characters' actions. Victor Frankenstein’s creation of life raises ethical questions about scientific responsibility, while my protagonists often grapple with guilt, madness, or moral corruption without clear resolutions.

In summary, Ms.Shelley and myself share significant thematic overlaps in their exploration of Gothic horror, psychological depth, and proto-science fiction elements. Our works reflect a fascination with human ambition, fear of the unknown, and moral complexity, making us foundational figures in Gothic literature and early speculative fiction.

I wrote extensively about what one might refer to as scientific matters in my last work - Eureka.

And, Mr. Batley, I trust that we will really delve into that  ork - Eureka can be quite complex.

Oh, Mr. Poe, you can rest assured that Celebrate Poe will delve deeply into the mysteries of Eureka, but for right now, I’d like to look at your relatively brief poem regarding science - To Science.

Of course, Mr. Bartley

Science! true daughter of Old Time thou art!
   Who alterest all things with thy peering eyes.
Why preyest thou thus upon the poet’s heart,
   Vulture, whose wings are dull realities?
How should he love thee? or how deem thee wise,
   Who wouldst not leave him in his wandering
To seek for treasure in the jewelled skies,
   Albeit he soared with an undaunted wing?
Hast thou not dragged Diana from her car,
   And driven the Hamadryad from the wood
To seek a shelter in some happier star?
   Hast thou not torn the Naiad from her flood,
The Elfin from the green grass, and from me
The summer dream beneath the tamarind tree?

Why, Mr. Poe - that is really quite moving, and expresses your ambiguous ideas regarding science.

Thank you, Mr. Bartley - To Science reflects my lament over the encroachment of science on imagination, myth, and poetic creativity. It is a meditation on the tension between science and art with science as a force that disenchants the world by replacing wonder and mystery with cold rationality. One might say that I personified science as the "true daughter of Old Time," implying its ancient and inevitable role in human progress. However, I criticize its probing, analytical nature ("peering eyes") for altering and dissecting the beauty and mystery of the world.  In fact, I liken science to a "vulture" preying on the poet's heart. This metaphor conveys a sense of destruction—science feeding on the imaginative spirit of poets and artists, leaving behind only "dull realities.”

Mr. Poe, I can see how that is deeply felt.

Ah, Mr. Bartley, I sincerely wonder how a poet could "love" or "deem wise" something that curtails their freedom to dream and explore fantastical realms ("wandering to seek for treasure in the jewelled skies"). The poet is forced to view science as an impediment to creativity, grounding him when he wishes to soar.  The symbols of nature, magic, and wonder are displaced by scientific explanations, leaving no room for the enchantment they once inspired.  And I mourn not just their loss but  the personal toll that scientific rationality takes on his imagination.

Thank you very much Mr. Poe - very well stated - I always enjoy hearing your ideas.

If you would excuse me, I must take my leave. Farewell, Mr. Bartley.

Goodbye, Mr. Poe

GHOST SOUND

Join Celebrate Poe for episode 335 More Poe and Frankenstein

Sources include: Frankenstein: The 1818 Text by Mary Shelley, Mary Shelley by Miranda Seymour, perplexity.ai, and the Complete Works of Edgar Allan Poe by Edgar Allan Poe.

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