The Master-Slave Dialectic in Frankenstein and its Miltonic Echoes.

Abstract

Mary Shelley's Frankenstein stands as a quintessential example of Gothic literature, presenting readers with a complex narrative that delves into themes of ambition, morality, and the consequences of unchecked scientific experimentation. Among the numerous intertextual references that Mary Shelley’s novel contains, the seventeenth-century Paradise Lost is relevant in enriching the narrative with layers of meaning and thematic resonance. This MA Thesis centers on the intertextual connections between Frankenstein and Milton’s epic poem, particularly focusing on the master-slave debate manifested in both narratives. In both works, masters exert power over their creations who, occupying the position of slaves, subsequently rebel, desiring to break free and assert their own agency. Their quest for autonomy and recognition leads to a reversal of the master-slave roles, in which the creatures gain power over their masters, unaware of the consequences of their actions. The struggle between Victor Frankenstein and his Creature echoes Satan's act of rebellion against God, opening to readings that relate to the contexts in which they were born. By closely examining key passages from both texts, in the light of critical literature on the subject, this dissertation elucidates the theme of responsibility of creation, disobedience, and unchecked ambition. Ultimately, a study is conducted on Alasdair Gray’s Poor Things and its possible resonances of the master-slave dialectic that emerged in the two previous narratives. As a postmodern homage to Mary Shelley’s Frankenstein, Poor Things explores power dynamics, depicting a creature like Victoria Blessington, alias Bella Baxter, rebelling against her creator in pursuit of autonomy and self-determination.